Mar 19, 2014
: In Controlled Burns
, swirling and imposing clouds of smoke contend with one another in a physical battle between diametrically opposing explosions of black and white. From a structuralist point of view, this imagery serves as metaphor for binary opposition, e.g. good vs. evil or day vs. night, yet this is not the sole line of inquiry. Inspired by the smoke signals of the recent Papal conclave which uses smoke as form of basic communication, this series is apart of a larger artistic pratice focusing on human relationships to nature. Fire is a powerful natural force that we harness for greater good, and it is the only Classical element, that we can create on demand, yet when out of control it has the potential for grave destruction. Contolled burns, is a visual representation of an inherit duality in how we interact with nature, symbolizing our desire to conquere and control nature, reminding us that sometimes we must fight fire with fire.
Mar 18, 2014
(14 January 1928, New York City – 19 March 1984, Tijuana, Mexico) was a street photographer known for his portrayal of the United States in the mid-20th century. John Szarkowski called him the central photographer of his generation. Winogrand was known for his portrayal of American life in the early 1960s. Many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. Winogrand's photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals (1969), a collection of pictures that observes the connections between humans and animals. His book Public Relations (1977) shows press conferences, protesters beaten by cops, and museum parties. In Stock Photographs (1980), Winogrand published his views of the Fort Worth Fat Stock Show and Rodeo. At the time of his death there was discovered about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and contact sheets made from about 3,000 rolls. The Garry Winogrand Archive at the Center for Creative Photography (CCP) comprises over 20,000 fine and work prints, 20,000 contact sheets, 100,000 negatives and 30,500 35mm colour slides as well as a small group of Polaroid prints and several amateur motion picture films.
Mar 3, 2014
" I make photographic images by opening heart and mind to their naturally wakeful state—a vivid, raw, intimate experience—like licking honey from a razor blade and not backing away. Choice of subject is guided by what flickr colleague Brad Wise calls the hidden energies within ordinary objects. This has helped me to take myself less seriously, accept that everything changes--and eventually ends--and realize that extraordinary and ordinary both manifest from the same essential energy. The viewer brings his own openness and life to his collision with art and artist, and finds resonance, annoyance, recognition, excitement, or boredom. Or, as my young friends say, It is what it is and It's all good. I have been inspired by a line from Rilke's poem THE WAY IN: Whoever you are, some evening take a step out of your house, which you know so well, enormous space is near........ Rilke wants us to see that infinite space is right in the midst of our ordinary, day-to-day life. Step out, he says. See the extraordinary in the ordinary! Then, familiarity gives way to shock and awe as we come eye to eye with life's inconceivable spaciousness and vastness--existing alongside the world we know so well--reveals itself. We may become confused in that moment, as well, and ask: is this nonsense, clear seeing, fantasy, or the true nature of reality? Often asked about my water and ice images Is it real or is it Photoshop? the answer, almost always, is This is how it really is. A photograph captures a MOMENT--too brief to see. Within the moment is a FLASH--color, form, or movement--always different, always extraordinary. A photograph FREEZES the moment. Ice, light, and water move, morph, flash, and change. Little pieces of paint take on a life of their own, suddenly exploding, colors streaming everywhere--CLICK--and then, they are gone forever. It is at once so breathtaking, heartbreaking, and compelling that I have missed more than a shot or two. " - Cliff Briggie