Draft of a Presentation by Thomas Weski
灰小 (BANG temper)
读过 Los Alamos
- 章节名:Draft of a Presentation by Thomas Weski
"At the first glance, his pictures appear like the photographs of an amateur. But his 'snapshots' have consistency that ultimately cannot be the result of an accidental creation. Upon closer inspection, you notice that his photographs are the result of an artistically justified appropriation of a popular and thus easily accessible visual language. Occasionally, it is augmented by uncommon perspectives, but usually a likely human viewpoint is favored. The result is paradoxical: Charged by the artist with a dimension hitherto unknown to us, the world presents itself as familiar and strange at the same time." "This technique(color print) allows William Eggleston to subjectively control colors like a painter. And this manner of interpretation contributes to the fact that you often have the feeling of consciously seeing an object for the first time or of getting to know an aspect of its character that has remained hidden to us so far." "Only photographers like Nan Goldin, Richard Billingham, and Wolfgang Tillmans--from different creative perspectives, but with great ease--have ignored these boundaries and have insisted that their genuinely photographic works are part of fine art...they continued an already existing artistic tradition of appropriating the snapshot style as a device that allows for chance in the process of finding images and assigns it a significance, recognizing that the unpredictable enriches the content of the images. They work within the technical limits of photography as they understand the specific characteristics of the medium to be its strength. They also follow their predecessors in their attitude as authors who arrange single images in visual essays, be it in a linear, serial form, or in the manner of an open arrangement. The goal is to devise an accessible, readable, yet complex visual structure that gives the viewer the opportunity to associatively collaborate." "At first, objects present themselves in an entirely natural manner in William Eggleston's photographs, which are not narrative in a traditional way. They first exude a sense of "This is the way it is" to subsequently develop their uncanny essence. The images don't explain the world in an analytical, matter-of-fact, and distanced way to the viewer, but we find ourselves exposed to the suggestive lure of the photographs that we cannot resist. This is because the photographer manipulates color to emotionally affect our perception. Other ways of reading objects, associative developments of their nature, and hence entirely individual understandings are released" "A lack of spatial depth and a narrowing of perspective in the majority of the photographs give the objects an unusual, sometimes almost unbearable presence and penetrative obtrusiveness as if you were on drugs--they all contribute to the intensity of this experience. The mood of the images turns from familiar to menacing, and we loose our certainties. Between the single images of the series a meaning arises that renders visible the cracks in the surface of the American dream. We all know its manifestations--alienation, loneliness, and desire--as they can be found everywhere in Western civilization, and we all suffer from them. Our head still dizzy from the magic tricks of the photographer, who appears in some of the photographs as a shadow or fleeting image in a mirror, we notice that we have been lured into his idea of the world." http://www.egglestontrust.com/los_alamos_weski.html
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