At 20:04 3/24/02, Tris Schuler wrote [in part]:
For those of a more artsy sway I suppose pictures don't come as readily.
They come differently, but not necessarily with greater or lesser
difficulty. In some situations it can be easier than for those who strive
for pure representational images (*what* you see is what it is). Not that
this is a Bad Thing; it's what the photographer wants (or is attempting) to do.
Maybe I should dig through some of my older negatives and then fudge the
date of the exposure. <g>
You're not the only one with this thought, however fleeting it might have
been. This one was a struggle, but not without some growth in finally
working through it.
An aside:
One of my frustrations within the fine arts community is encountering a few
[IMO snobs] who define "art" as something that has properties and meaning
beyond pure representation; then define photography as being purely
representational (it can *never* be anything more than that); then proceed
to assert: therefore, photography is *not* and *never* will be art. This
is a non-argument. The formal logic is sound (its structure) which makes
it deceptive; the informal logic (its content) is fallaciously founded on
premises with completely arbitrary definitions.
I made two large prints of my TOPE 7 image for two shows that ran
concurrently last year. One of them hung at work in my office (an
"overflow" gallery) and another at home on a long wall with other large
prints. One of the managers with whom I work walked in and it immediately
captured his undivided attention. After a couple of subtle questions I
realized he "saw" the symbolism I did whan I visualized it and made the
photograph. I don't *need* two of them in a rapidly growing collection of
large framed prints, so I gave it to him. In part, it was a "reward" for
seeing beyond pure representation. I had also been looking for a good home
to adopt it; one of the few duplicate prints without a "plan" for what to
do with it afterward.
-- John
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