How would anyone else compare the photos of artists that deal with the deadpan aesthetic, such as bernd and hiller becher, thomas struth, thomas ruff, andreas gursky, renike dijkstra? and if anyone could name any other similar artists/ photgraphers that would be great.
Speaking of Walker Evans and his work, he certainly was the forerunner of what I think Sarah refers to above. He was the very first, I think, to disguise prose as documentary photography.
The straight-on, frontal, and seemingly unemotional look at the commonplace is one of the basics of the grammer of photography, and, in my opinion, it's all owed to Walker Evans.
What's even more stunning for me is that this artist had to have done what he did without any real sense of the magnitude of his contribution. Almost like a Van Gogh. Maybe in his later years he realized something of this. I don't know.
When I add in the time context of Evans' work, late 30's and 40's (I think) his work takes on an even more haunting, enduring quality for me.
Sarah, thanks for bringing to my attention the above photographers you cite. I'd like to become more familiar with their work.
A well-made point, especially with your addition of a real example.
What I now ask is, what was going on for the photographer? Did he consider that he had captured a poetic spirit or feeling behind his document?
My supposition is that most of these (mid-nineteenth century) photographers were likely creating beautiful, mesmerizing artifacts with one hell of a wow factor. If I had managed to produce works like that during that time period, considering all the poisonous chemicals, time, and shenannigans it would have taken, I'd be feeling like I'd just scaled Mt. Everest.
On the other hand, I'd have to bet there were persons who wanted to look past the immediate object to " see" all that was actually "visible."
Walker Evans, I suppose it could be said, had to have been very conscious of the full truth and all the implications of what he was doing. For me, it is "written" over much of his work. I think the above lacks that sensibility or magic, as beautiful as it is.
Then again, beauty seems to be in the eyes of the beholder.
Regarding Walker Evans "..He was the very first, I think, to disguise prose as documentary photography". Not entirely. Ever heard of a certain Atget? Evans saw his work early on, and for many years he vehemently denied he ever did. A sure sign that he knew who close his work was to that of the parisian photographer. That said, I agree that Evans pushed that attitude a little farther and certainly inspired the group known as the new topographers (the Bechers are considered part of that) from which much of this aesthetic is derived.
Sarah you got to check out Gabriele Basilico for more on the genre. And a couple of other names that come to mind are John Davies and Guido Guidi.
Didn't know that about my man Evans. To a certain extent my balloon has burst!
But when I think of Atget, what I know of him, I think of an early version of photographic "cinema verite," and an accompanying consciousness of that.
Of course, who is to say that's all the further it went for Atget?
The thread for me now seems to be getting at the (slippery) idea of "layers" of meaning in a photograph. Even the idea of assuming things present in a photograph that were no more the intention of the photographer than the man in the moon. (What a bizarre and fascinating art and craft this is!)
I was important to make your point, Ken, that none of us can possibly know what was going on between the ears of the photographer. Thanks! BTW, I recognize your second shot, but can you tell us a little about it?
Can't possibly be the same basic idea as Evans work! Where is the sign in the background that says
"Watermelons - 5 cents?" Not to mention the shop window covered with wallet-sized photos of hundreds of people!
I guess there can be something in a straight-on, "unemotional" shot that can be wonderful and compelling - that intrigues the photographic (or painterly) explorer.
Sarah C., please come back and talk to us a little more! Didn't mean to get us off track. At least tell us, " Get your own damn thread!" Ha, ha!
Yep, that one predated Evans' work I am sure. My memory of it is that it is extremely powerful.
That acknowledged, Evans is still, for my money, in a class by himself. Not sure how to describe his perspective or viewpoint. Of all the other artists and their work which we have all cited, I am not sure how to put words around Walker Evans' distinctiveness. Maybe I (as the viewer) just, sort of, subjectively inject a certain kind of meaning because of my own particular hard-wiring.
If that's true, then this would seem to add another fascinating wrinkle to this medium, and to art in general.
I'm glad I am able to satisfy myself with my own work/explorations. I find myself, more or less, not really caring whether or not I am noticed. Tho it's always nice when someone says they like or find value and meaning in what I do.
Posting Permissions
Reply With Quote
Bookmarks