Art / Work

3 Feb

Art/Work by Heather Darcy Bhandari and Jonathan Melber is a nice short book that collects observations and advice from different people in the art world, geared toward artists at the beginning of their careers. It’s not comprehensive enough to be a true reference, but it’s worth checking out of the library to go through once, because it has the distinction of addressing very nuts and bolts issues that art teachers and the art world don’t usually talk about. Stuff like keeping records, taxes (keep receipts for everything from museum visits to photobooks and photo magazine subscriptions!), invoicing, contracts. They don’t spell everything out, but I thought it was a good reminder of some practical things that I should start doing to make my life easier down the line.

As for the advice, people have different opinions but here’s a sampling of something people do agree on – the ever treacherous artist statement:

“You’re good at what you are good at. Writers are not asked to be visual artists; no one is asking that visual artists become highfalutin writers for their artist statements. The goal of your artist statement is to clarify and state your intentions. Do not add florid language and overthink it. The jargon isn’t necessary or desirable. Most of the time, especially for emerging artists, it can create a stumbling block between your reader and your work.”
- Sarah Lewis, Yale School of Art

“No amount of poor padding with theory is going to make work look any more convincing or intriging than it already is. I look at everybody’s images first. Then I go to project statemtns. Then maybe I read the artist statement. I am looking for plain language: ‘I am doing this and I am going to do this thig with it.’ I have stayed away from reading the more poetic, theory-heavy, phiosophizing artist statemnts because they kill it. Leave the interpretation to us, the audience. Someone else will put it into words at some point.”
- Shannon Stratton, ThreeWalls

“I am looking for nouns. Nouns and verbs. Anything that starts off too flowery I crumple up and throw away.”
- Leigh Conner, Conner Contemporary Art

“I will read artists statements but artists don’t have to be great writers. Actually, many of them are terrible writers, which is fine, since that’s no the primary ‘language’ of theirs that I’m listening to. If they have taken the time to write a text, I will read it and it can often be quite useful, though artists shouldn’t be overly converned with crafting a perfect, publishable piece.”
- Shamim Momin, Whitney Museum

weekend silliness: a couple of tracks

28 Jan

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Another handful of songs.

1. Neil Young – “Guitar Solo I” from the Dead Man soundtrack
2. Nico Muhly – “The Only Tune I: The Two Sisters”
2. Nico Muhly – “The Only Tune II: The Old Mill Pond”
2. Nico Muhly – “The Only Tune III: The Only Tune”
3. Faun Fables – “House Carpenter”

What people really want: film vs digital, longform vs shortform

26 Jan

Whereas Kodak has so far failed to adapt adequately, Fujifilm has transformed itself into a solidly profitable business, with a market capitalisation, even after a rough year, of some $12.6 billion to Kodak’s $220m. Why did these two firms fare so differently?

Both saw change coming. Larry Matteson, a former Kodak executive who now teaches at the University of Rochester’s Simon School of Business, recalls writing a report in 1979 detailing, fairly accurately, how different parts of the market would switch from film to digital, starting with government reconnaissance, then professional photography and finally the mass market, all by 2010. He was only a few years out.

Both firms realised that digital photography itself would not be very profitable. “Wise businesspeople concluded that it was best not to hurry to switch from making 70 cents on the dollar on film to maybe five cents at most in digital,” says Mr Matteson. But both firms had to adapt; Kodak was slower.

…Kodak sold cheap cameras and relied on customers buying lots of expensive film. (Just as Gillette makes money on the blades, not the razors.) That model obviously does not work with digital cameras. Still, Kodak did eventually build a hefty business out of digital cameras—but it lasted only a few years before camera phones scuppered it.

Kodak also failed to read emerging markets correctly. It hoped that the new Chinese middle class would buy lots of film. They did for a short while, but then decided that digital cameras were cooler. Many leap-frogged from no camera straight to a digital one.

- The Last Kodak Moment

 
THE BANKRUPTCY

The article talks about the different corporate environments at the two companies as well as Kodak’s failure to diversify contributed to its eventual sinking, but at heart the problem seems to be simply that the company failed to realize what it was that consumers were really buying.

Most consumers are not after a high quality camera – they are after the shareable moment. Even when we all had physical photo albums the point was to show it to people and share memories, and that is an act that has moved online. That Kodak thought it could be a powerhouse in digital printing indicates how out of touch they are with what people want to use their technology for.

 
THE HUM OF A THOUSAND CHATTING MONKEYS

I came across a couple of rants (ironically online) about the pointless noise of social media and when I saw this analysis of Kodak and Fuji, I realized that Kodak fell into the same trap people fall into when they complain about how the internet has increased the proliferation of absolutely useless crap and mindless exhibitionism.

What these people don’t realize is that a tweet about the morning coffee is not really significant for its content. It’s the act that is the key – people are reaching out for a social connection, and as long as humans have this urge, social media will thrive. And it will thrive in shortform. Shorter attention spans may have something tangential to do with the rise of Twitter, but I suspect the real reason is that most people want short bursts of interaction that mimic conversation, not primarily one-sided broadcasts.

Before Web 2.0, the technology was not truly capable of enabling short real-time interactions that can be simultaneous targeted toward specific organizations and individuals yet public and therefore injected with the exciting potential of hearing a strange new voice from the back of the room. We wouldn’t make as many horror films as we do if we didn’t enjoy the buzz of this scary surprise factor. Now that tech has caught up, we are sowing our conversational oats everywhere, just like we’ve always wanted in our caveman hearts.

To focus on the content of individual messages is to miss the real draw and usefulness of Twitter: the ability to see in one place what the masses are thinking and chatting about, and that has been something we’ve been deeply interested since the beginning of it all because, lt’s face it, we are all motivated to eavesdrop on what other people are saying about us and figuring out where we stand in the social hierarchy. (Full disclosure: I favor evolutionary explanations.)

 
THE GIANT EAR

That the iPhone has been a boon to the mobile web is almost poetic. What you believe to be your LCD screen has a secret identity as a giant ear. What Apple has done is to put pretty packaging around what is quite possibly the most impressive eavesdropping device we’ve ever invented. (Can you believe you also hold that thing up to your ear? It’s like a conspiracy or something.) When you think about it that way, can you really blame people for becoming device-zombies? We like gossip a lot more than we like brains, I tell ya.

That Twitter doesn’t really have any competition gives it a viability that Livejournal or Moveable Type or WordPress never really had – every conversation is searchable in one place rather than over the entire scattered net. Google’s good, but not that good. And, given that each message is only 140 characters, searching Twitter feels more like overhearing conversations than doing research, which is what searching the longform net resembles. Not that there’s anything wrong with research, but let’s not kid ourselves. The existence of this post indicates which way I swing, but I can’t deny that on any given night, the number of people who prefer to sit in a cafe or bar and chat vastly outnumbers the number who sit down to hear hour-long talks.

Now, I suppose the number of people who sit in front of their TVs in fact outnumbers either of those, but then again TV production values exceed those of your average lecture or conversation (hat can we do to ensure that conversational production values will skyrocket in the next decade?) and your average working human will prefer relaxed passivity to many things in his end of day stressed out, sleep-deprived state. But that’s neither here nor there.

 
THE APOCALYPSE – NO, THANK YOU

The world will not end because everyone sees what your neighbor’s kid did last night on Facebook. We are not getting stupider because we’re tweeting up a storm even if our brains are changing. As far as I can see, the world still runs despite our Twitter fixation. (Ask me again in ten years.) And, generally, the best thing to do before complaining about anything other than the complainers is to ask yourself if the train has reached its last stop. Is this the endpoint technology? (The answer is always no.) Is this situation unchangeable? (Um, never, no, how could that be?)

Twitter, Facebook, Google+ and what have you – all these things are simply a nutrient-poor substitutes for normal social ingestions. We still miss Ingredient X – the eye to eye and skin to skin contact, but we’re such social creatures that even a recluse like me will trade Ingredient X for the possibility of making contact with someone out of my pre-web broadcast range. This is how we’re wired. We like social bonding and we’ll try almost anything to get more of it.

weekend silliness: real books

22 Jan

Pay to publish

20 Jan

We intend to establish a self-feed­ing platform that grows with the number of participants and can lead to var­ious me­dia, such as cat­a­logues, posters or exhi­bi­tions.

Goodness.

I discovered The Most Expensive through Dan Abbé’s piece in American Photo. TME is a publishing venture structured so that anyone can upload an image to the site, with the stipulation that each successive user pays $1 more to upload the next photo. When 300 photos have been uploaded (and $45,150 collected), the project closes and a book/catalogue is printed.

And the next project opens.

Pay to play scam or interesting photobook experiment? The answers is… sinking feeling in my stomach.

Black out

18 Jan

No doubt you’ve heard of all the SOPA protests online today. CNET has a run-down of SOPA and Pro Publica has a page with a list of House Reps by state and their stand on SOPA. You can contact them if you’d like to make your voice heard, especially if you live in a state with Congressmen who support the bill.

Interactive installation x 3

17 Jan


Yayoi Kusama


Roman Ondak


Karina Smigla Bobinski

weekend silliness: Fotoshop by Adobé

15 Jan

Speaking of beauty and glamor, Jesse Rosten made a spoof video shilling Photoshop as a beauty product.

(via Future Journalism Project)

Rineke Dijkstra at the SFMOMA

13 Jan

I thought I’d put this video up after hearing about the upcoming Rineke Dijkstra retrospective in February at the SFMOMA. If you time your visit right, there’s a window of a couple of days when you can see both this show and the Francesca Woodman show.

It is Rineke Dijkstra talking about her life and work with Louise Baring at the Tate. She talks about moving from commercial to art photography, and the differences in body image she saw shooting European vs American children. I don’t particularly like how much they try to read into the body language and expressions of the portraits, but one terribly telling story she mentions is of shooting the following picture at Hilton Head in South Carolina and hearing the mother shout in the background for her daughter to hold her stomach in because she’s so fat.

What an ugly thing we do to girls with this idea of “glamor” and “beauty.”

Environmental work, conscience

11 Jan

I wish I had gotten into the environmental work earlier because I think that’s a citizen’s fundamental responsibility. The channeling of creative arts in that direction has been very difficult.

- Ansel Adams, The Last Interview

As you know, I’m not a fan of Ansel Adams, but I read this interview and that quote jumped out at me and reminded me of a short piece in Orion Magazine early last year on the evolution of land art since Michael Heiser & Co’s earlier works (Sublime Interventions: Land art and the age of ecological awareness).

Something as niche as land art, especially the newer brand of ephemeral, more performance based land art makes me wonder about the viability of using avant garde art as a means of carrying political or social messages. For the vast majority of artists, the audience is so small even with the net – how can we convince ourselves that what we do matters to the degree that we’d like it to? Perhaps that would change if our media were capable of being more interactive and experiential instead of passive. I’d imagine that a location-based performance would be much more engaging if viewers felt the heat of the place and smell the stench of fracking waste water pools (see this article in the same issue of Orion: The Colonization of Kern County), but we haven’t figured out how to do that.

We need this ability. More photographers should be interested in multi-sensory installations of their work instead of the standard print-on-wall approach. I’m less enamored of Burtynsky now that I used to be, but can you imagine how different his work would be in an installation where you felt more of what it was like to stand in front of what he stood in front of?