Photographs on the Brain #41

A dreamlike quality is often created by reducing the specificity of a place and a culture to such a degree that it closes down our expectation of uncovering the ‘where and when’ of a photograph. – Charlotte Cotton

©Adrian Hill

Left: ©Ben Alper; Right: ©Jessica Eaton

©Pierre Wayser

Left: ©Evelyn Hofer; Right: ©Michael Julius

©Chris Dorley-Brown

Consulting the rules of composition before taking a photograph is like consulting the laws of gravity before going for a walk. – Edward Weston

Left: ©Joao Canziani; Right: ©Gabriela Herman

©Rob Hogenbirk

Left: ©Frauke Thielking; Right: ©Natasha Klimchuk

Missy Prince

Left: ©Chad Pelton; Right: ©Juliana Henao Alcaraz

I take no offense in comparisons. I often think artists and people who write about art place way too much importance on the appearance of novelty and obtuse sound bites, but if they really did their homework they’d see relationships and historical precedents all over the place. Arbus and Lisette Model, Robert Frank and Walker Evans, etc. are obvious examples. No one works in a vacuum; there is precedent and dialogue in every medium and expression and those relationships can be really interesting. (“Tradition and the Individual Talent” by T.S. Elliot should be required reading). The uniqueness or particularity of serious work is often in more thoughtful, quieter differences – all of which have to do with our own biography, experiences, and the world that we’re faced with at any given time. – Katy Grannan

  • Davidsimonton

    A great collection! The old, the new and the unexpected. All fascinating—and all the more so for the careful, color-based(?) sequencing and adroit  juxtapositions. A visual and intellectual pleasure. Thanks!