Thursday, April 22, 2010

"Is Photography Over?"


Oh man, I'm so excited to hear the audio from this discussion.  SFMoMA is holding a discussion today and tomorrow regarding the present and future of photography and it's state of existence as a valid artistic medium.  They have figures such as Charlotte Cotton (who I forgot to mention I met the last time I was in NY), Walead Beshty (who has a lecture on Monday here at MassArt), Philip-Lorca diCorcia and several others on the discussion committee.  Here's a general post in Foto8 about it as well as initial short responses by all of the panel members.

This is a big deal. As soon as the audio becomes available I'll try and post it on here, I'm sure it'll be monumental.


Also, some thoughts I've been having today.  I've been considering responsibility a lot lately.  What is my responsibility as a photographer and artist versus all the other roles I must divide myself into?  When I photograph, what responsibility to I transfer onto my subjects?  How do I differentiate between the photographs and myself?  I recently read an interview with Garry Winogrand (I've linked a pdf if you'd like to read it) and he stated:
 "What you photograph is responsible for how a photograph looks.  In other words, it's responsible for the form...the design, whatever word you want to use.  Because of that there's no way a photograph has to look, in a sense.  There are no formal rules of design that can apply."

I started thinking of this in terms of my roommate Rachel King's current undergoing.  She has been sending and handing out disposable cameras all over the US to people of varying demographics, personalities, points of view.  She asks them to take a roll of photographs of things that somehow are personal to them, that describe them in some way.  The hope of it all is to achieve a sort of self portrait of the masses and examination of how images can directly show personality.  The issue she's been having is what is her role within the piece?  Her responsibility is as organizer and collector, setting guidelines for the project, paying for the cameras, developing and scanning the images.  In the end she ends up having more of a curatorial role.  But are they her images?  To whom do they belong to?  In Sophie Calle's book Suite Venitienne Jean Bouillard writes about Calle's authorship of ideas.  Because she sets all the rules, makes the game happen in the first place the authorship of everything that happens becomes hers.  Perhaps they start somewhere as someone else's but in the process she creates the person's mind becomes her work of art.  (This was speaking specifically to her work The Big Sleep where she invited strangers to sleep next to her).  Is Rachel's process a similar authorship?  Do the people that took the images only own the action and moments in which they captured the images, plus the space they photographed?  After it's recorded on the film does it become Rachel's image?

Rose

Wednesday, April 21, 2010

An Incomplete Manifesto For Growth by Bruce Mau

1. Allow events to change you.
You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them.

2. Forget about good.
Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you'll never have real growth.

3. Process is more important than outcome.
When the outcome drive the process we will only ever go where we've already been. If process drives outcome we may not know where we're going, but we will know we want to be there.

4. Love your experiments (as you would an ugly child).
Joy is the engine of growth. Exploit the liberty in casting your work as beautiful experiments, iterations, attempts, trials, and errors. Take the long view and allow yourself the fun of failure every day.

5. Go deep.
The deeper you go the more likely you will discover something of value.

6. Capture accidents.
The wrong answer is the right answer in search of a different question. Collect wrong answers as part of the process. Ask different questions.

7. Study.
A studio is a space of study. Use the necessity of production as an excuse to study. Everyone will benefit.

8. Drift.
Allow yourself to wander aimlessly. Explore adjacency. Lack judgment. Postpone criticism.

9. Begin anywhere.
John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.

10. Everyone is a leader.
Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.

11. Harvest ideas.
Edit applications. Ideas need a dynamic, fluid, generous environment to sustain life. Applications, on the other hand, benefit from critical rigor. Produce a high ratio of ideas to applications.

12. Keep moving.
The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.

13. Slow down.
Desynchronize from standard time frames and surprising opportunities may present themselves.

14. Don't be cool.
Cool is conservative fear dressed in black. Free yourself from limits of this sort.

15. Ask stupid questions.
Growth is fueled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.

16. Collaborate.
The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.

17. _________________.
Intentionally left blank. Allow space for the ideas you haven't had yet, and for the ideas of others.

18. Stay up late.
Strange things happen when you've gone too far, been up too long, worked too hard, and you're separated from the rest of the world.

19. Work the metaphor.
Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.

20. Be careful to take risks.
Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.

21. Repeat yourself.
If you like it, do it again. If you don't like it, do it again.

22. Make your own tools.
Hybridize your tools in order to build unique things. Even simple tools that are your own can yield entirely new avenues of exploration. Remember, tools amplify our capacities, so even a small tool can make a big difference.

23. Stand on someone's shoulders.
You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.

24. Avoid software.
The problem with software is that everyone has it.

25. Don't clean your desk.
You might find something in the morning that you can't see tonight.

26. Don't enter awards competitions.
Just don't. It's not good for you.

27. Read only left-hand pages.
Marshall McLuhan did this. By decreasing the amount of information, we leave room for what he called our "noodle."

28. Make new words.
Expand the lexicon. The new conditions demand a new way of thinking. The thinking demands new forms of expression. The expression generates new conditions.

29. Think with your mind.
Forget technology. Creativity is not device-dependent.

30. Organization = Liberty.
Real innovation in design, or any other field, happens in context. That context is usually some form of cooperatively managed enterprise. Frank Gehry, for instance, is only able to realize Bilbao because his studio can deliver it on budget. The myth of a split between "creatives" and "suits" is what Leonard Cohen calls a 'charming artifact of the past.'

31. Don't borrow money.
Once again, Frank Gehry's advice. By maintaining financial control, we maintain creative control. It's not exactly rocket science, but it's surprising how hard it s to maintain this discipline, and how many have failed.

32. Listen carefully.
Every collaborator who enters our orbit brings with him or her a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires, or ambitions, we fold their world onto our own. Neither party will ever be the same.

33. Take field trips.
The bandwidth of the world is greater than that of your TV sets, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic-stimulated environment.

34. Make mistakes faster.
This isn't my idea - I borrowed it. I think it belongs to Andy Grove.

35. Imitate.
Don't be shy about it. Try to get as close as you can. You'll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp's large glass to see how rich, discredited, and underused imitation is as a technique.

36. Scat.
When you forget the words, do what Ella did: make up something else ... but not words.

37. Break it, stretch it, bend it, crush it, crack it, fold it.

38. Explore the other edge.
Great liberty exists when we avoid trying to run with the technological pack. We can't find the leading edge because it's trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.

39. Coffee breaks, cab rides, green rooms.
Real growth often happens outside of where we intend it to, in the interstitial spaces - what Dr. Seuss calls "the waiting place." Hans Ulrich Obrist once organized a science and art conference with all the infrastructure of a conference - the parties, chats, lunches, airport arrivals - but with no actual conference. Apparently it was hugely successful and spawned many ongoing collaborations.

40. Avoid fields.
Jump fences. Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. They are often understandable efforts to order what are manifold, complex, evolutionary processes. Our job is to jump the fences and cross the fields.

41. Laugh.
People visiting the studio often comment on how much we laugh. Since I've become aware of this, I use it as a barometer of how comfortably we are expressing ourselves.

42. Remember.
Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That's what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.

43. Power to the people.
Play can only happen when people feel they have control over their lives. We can't be free agents if we're not free.

Tuesday, April 20, 2010

thought.


































































© Mandie Lousier

This is a repercussion of thought. This is the delicate time between each thought, and the mesmerizing rhythm between quietness and thinking. This is peaceful tranquility visualized, a time where all that can be done is to breath in the fresh air and feel.

Something new I have been working on and finally a combination of night and day.

Saturday, April 17, 2010

Thesis,

What's it like?  Tell me about it!  I skyped the opening on Wednesday to say hi to the seniors but couldn't really see the work because of video quality. Plus I only saw a small fraction.  Whose work do you like, what went wrong, is the show as a whole good?

I came across a blog with work and interviews from MassArt's seniors, it's interesting. Take a look.

side note: I met the Triiibe triplets last night, if you're not familiar you should take a look.  They're performance artists who realize their performances as photographs, they have a team of people working with them to create absolutely amazing pieces.  Their photographer, Cary Wolinsky, is fantastic as are their makeup artist, editor, set designer and framer, among many others that work with them on occasion. I met them at a curator and collector opening for their current show at Gallery Kayafas. The show is astounding, the prints are perfectly pristine, quite huge and each is framed differently to accentuate the photographs. Also, each print is a unique object, there are no editions in the Triiibe world.  Once a print gets bought, the next one up for sale is visually altered in some way, changing the concept of the image as well as the physical art object. I love that idea, sometimes I get so put-off by editions.  It's a strange hierarchy of reproductions. Anybody have thoughts on editions?

Rose

Wednesday, April 7, 2010

Grounded,


I've been becoming more comfortable with this new series of mine, which as of now I've dubbed Grounded.  I was just able to display it at Boston's First Friday event in the studio where my internship is.  Here are a few images that I'm most settled with of the work-in-progress.

all © Rose Tarman

In the art community, a landscape has always been understood as a specific scene in nature, void of human presence and typically are-inspiring in beauty.  Why does a traditional landscape have to be perceived as a wide-angle view of a gracious mountainside, endless field or whatever else people like to look at?  Why should I care about that scene?  I contest that a contemporary landscape can be infinitely more than that, without the traditional understanding of land and space.  The places I photograph collectively speak of human connection, abstraction of location and have a level of ambiguity that allows them to be associated with a variety of experiences.  They speak to a deeper and more rounded understanding of the spaces I travel through and inhabit through the comparisons and contrasts within their pairings and groupings.

 
At First Friday:


Rose

Considering Collaboration,


Lately I’ve been collaborating quite a bit, something that I honestly never saw myself doing seriously in the past, or at least had never had the idea of considering previously.  But now I honestly I think it’s something that I will continue to consider.

My first collaboration came out of friendship and a mutual understanding of work ethic and interest.  My roommate Rachel King and I decided to take a journey together and photograph our experience within the place.  We traveled an hour north on the train to Lawrence, Massachusetts.  We haven’t finalized anything from the trip yet, we’ve just chosen the best images, scanned and edited them.  Here's a sprinkling of random images.

all above © Rose Tarman/Rachel King


I’ve also done a collaboration in one of my classes, as a required assignment, but it ended up really great.  My friend Erika Duran and I combined our separate photographs into a sequence and created text to go with it.  The piece is here, with a statement:

© Rose Tarman/Erika Duran

This collaboration came about through the common thread of physical and internal aspects of sleep.  We wanted our five images to evoke the vivid, visceral moments left behind when sleeping and upon waking.  Like the imprint left on the screen after turning a television off, these traces of dreams hint at the body’s restlessness; a movement and temporal element is also referenced by the filmstrip design, so a cinematic mood avails within the piece.  The words spoken aloud access an aspect of the rhythm of sleep as well as the textural elements of the photographs.  They create a cycle of sounds, repeated and turned over, whispering from their mask of dark grey.

 

Because we thought our process worked out so well Erika and I decided to collaborate for our final project in our class.  I’m really excited about our plan for the project, but it’s proving to be extremely elaborate, technical and detailed.  There are a million factors to consider, but I think as a collaborative effort we work really well with figuring out all the details together.  I hope it works out, even if it doesn’t I think it’ll be a novel effort. Cross your fingers for us! I’m seriously really excited about it and in some ways it’ll be a departure from my regular work but I feel like it still has some thread of similarity.  I’ll leave you suspenseful, be ready for a surprise (hopefully)!

Have any of you ever tried collaboration?  If you did, did it work out well for you?


Rose