EXPOSURES

Hello adventurous reader who is interested in contemporary photography as well as a behind-the-scenes look at the writing process! It is now about 3PM on January 11 !"13# $he e%hibition which inspired this is over# I&ve had time to let these notes rest a while# I now see them with new eyes and ideas# It will take time 'or the 'ollowing to become a proper essay but perhaps skimming through this is interesting### I am capable o' writing complete sentences even books# http://www.blacksteps.tv/?p=117 (nd i' you know anyone in )ydney 'eel 'ree to share*tweet this+ http://www.blacksteps.tv/? p=129 $he e-catalogue 'or the e%hibition can still be downloaded 'or 'ree at http+**ikkan-art#com* (bout the author )tephen ,lack+ http+**domainartgallery#com*artist*stephen-black http+**glossi#com*bookmerah*---.-book-merah http+**glossi#com*bookmerah*/0/.1-bus-monet My favourite thing is to go where I've never been # - 2iane (rbus I want a History of Looking. For the Photograph is the advent of myself as other a !unning disso!iation of !ons!iousness from identity. "ven odder it was before Photography that men had the most to say about the vision of the double. Heautos!opy was !ompared with an hallu!inosis# for !enturies this was a great mythi! theme.$ 3 4oland ,arthes 5amera 6ucida+ 4e'lections on Photography It&s !"1- and I am recovering 'rom a re7uired distractions#www#blacksteps#tv is now an active blog and a center 'or pro8ects# 9ou are welcome to take a look#$hough this has not been altered with new words this pro8ect constantly circles the activities o' my li'e# I carry a camera constantly and nearly every time I press the shutter this essay makes a little noise# :orms*a 'orm seems to be emerging####

After Detroit
$he danger o' including my own e%periences# (ccusations o' arrogance I' I do I do so with reluctance and in a spirit o' e''iciency;sel' as recorder# I have a degree in photographic :ine (rt and worked as a photographer be'ore I could drive# I have been an observer i' not a participant in the the photographic art worlds o' Hong <ong $okyo Paris and =ew 9ork# ( tiny 'ish --no a plankton in a very big pond> 5ameras+?-1/ 5anon :tb 5anon :1 Polaroid )% ." disposable cameras o' all kinds :u8i instant camera @bony - %/ Hasselblad phone cameras and digital cameras o' all kinds###=ormally this type o' talk annoys me but here it provides historical conte%t# 5ameras as a metaphor;literary devices# :ilm and what it mean to develop 'ilm and make a print# Man 4ayAs7uote about (rt is not photography# =o theme# / million dollar shadow Ikkan blurs the boundary between gallery and museum# 2e'ining what this space is # ( store a wine cellar an investment house where emotions intimacies and philosophies are commodities# )peculators taste# @ducational intent )ugimoto##so 'ar cannot 'ind images he was making around 1B1B# I $HI=< there were

some o' his images at Min $anakaAs ,ody :arm art event in Hakushu# $he images were stapled to 'ences along a dusty road# ,lack and white shorescapes in which there were many lights possibly candles# $he e''ect was something like connect-the-dots but the dots were white small suns hovering over rocks and sand># Maybe talk about Japanese photography and contrast (raki )ugimoto 2aido Moriyama and Morimura>#Hosoe###Hosoe 4I$ story snippet o' imagery### @mmet Cowin 5huck 5lose portraits o' 4auschenberg and 6ichtenstien http+**en#wikipedia#org*wiki*4oyD6ichtenstein; his signature so big# @go or compositional device; PolaroidAs white space can make the most luscious grace'ulcomposition seem top heavy#$he surprise o' the show is by 55##in a corner on a table is a black rectangular bo%# Inside like a daguerrotype is the the image o' a lily### 5alia lily# 5alia 'rom the Creek word 'or beauty a ghost 'lower airy# )ilvery# Haunting# $he opening was like any opening# (perture# ( destination 'or those interested in viewing discussing and investing in 'ine art photography# Eaiters carrying trays o' things like chicken teriyake and bartenders pouring glasses o' red and white wine# $he usual# (boriginal art http+**www#redotgallery#com* Calerie )teph http+**galeriesteph#com* 4ichard <oh http+**www#rk'ineart#com*contact#html 4auschenbergAs works beauti'ul but normal with two e%ceptions (rbus; sword swallower ? mas tree black structure as symbol o' depressionF )tars+ 5allahan @leanor <yannon Genus @leanor in the water 5allahan# Eas at the beach with my girl'riend# $he sun went down spectacularly but it was the a'terglow that interested me the most# $he horiHon# I photographed the horiHon attracted to the line between the two dark blues o' sea and sky#$hen )ugimoto tapped me on the shoulder# I photographed my girl'riend in the water and then 5allahan tapped me on the shoulder# $his article as a lighthouse+ http+**www#themillions#com*!"13*1"*winning-over-8ameswood#htmlF utmDsourceI'eedburnerJutmDmediumI'eedJutmDcampaignI:eedK3(Lthemillionsblog K!:'edwL M$heLMillionsN @ssay shaped like a diagram# )ensitiHed plate MrecorderN lens Mbus 'ocusingN sub8ect e%hibition Craham ,arbie 5risp papery lea' on crstalline snow in bright sunlight; things are about to change I never wondered why @leanors eyes were close###the day was per'ect; dreaming Harry 5allahan http+**en#wikipedia#org*wiki*HarryD5allahanDMphotographerN Eeed against the sky###Japanese Miro Midwestern @leanor 1B-B when 5allahan was 3. years old @leanor how oldF 5ape 5od 2etroit Mlea' on )nowN (i%-en-Province 2etroit MpondN

1B1!-1BBB grew up in 2etroit brie'ly studied chemical engineering and business at Michigan )tate Oniversity be'ore taking a 8ob at the 5hrysler Motor Parts 5orporation in 1B30# ,egan as an amateur photographer In 1B31 he coined 5hrslerPs 5amera 5lub and two years later became a member o' 2etroitAs Photo Cuild##He attended a workshop by (nsel (dams in 1B-1 Met )teiglitH in 1B-!###decided to devote his energies to photography### ,y 1B-0 his reputation was such that he was invited by 6asHlQ Moholy-=agy a veteran o' the Cerman ,auhaus to teach at 5hicagoPs Institute o' 2esign# 6ater taught at ,lack Mountain 1B/1 and 4I)2# $he 8ukebo% is ornate

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The Career Path of Hai Bo

Han bao man coming and going !""1-1

Criticism
)hinc articles )wedish photographers Horst P# Horts =95drag 7ueensthis show is that it has already been criti7ued; the works and photographers have all been analyHed Introduction to ), Introduction to )how -Ikkan Mbackground; $okyo Paris =95 )ingaporeN Must be care'ul as it is easy to be labeled as being sel'-promotional and*or advertorial# (t the same time background in'ormation adds credence and depth to the te%t# :ine (rt Photography in )ingapore current and past situation -Pieces###which one 'irstF $he show may not have a theme but the writing must#$he catalogue starts with 2iane (rbus# ,eauty o' Ehat makes James Eood greatF Rne thing is his willingness to 7uote at length and it seems only 'air to grant him the same courtesy# Here is the long 'irst paragraph o' his review o' $he )trangerAs 5hild by (lan Hollinghurst a review that I think should be handed out on the 'irst day o' every M:( program# Most o' the prose writers acclaimed 'or 3writing beauti'ully do no such thing; such praise is issued comprehensively like the rain on the 8ust and the un8ust# Mostly whatAs admired as beauti'ul is ordinary; or sometimes itAs too obviously beauti'ul 'eebly 'ine S what =abokov once called 3weak blond prose# $he @nglish novelist (lan Hollinghurst is

one o' the 'ew contemporary writers who deserve the adverb# His prose has the power o' re-description whereby we are made to notice something hitherto neglected# 9et unlike a good deal o' modern writing this re-description is not achieved only by inventing brilliant metaphors or by 'lourishing some sparkling detail or by laying down a line o' clever commentary# Instead Hollinghurst works 7uietly like a poet goading all the words in his sentences S nouns verbs ad8ectives and adverbs S into a stealthy e7uality# I mean something like this 'rom his novel $he 6ine o' ,eauty M!""-N+ 3(bove the trees and roo'tops the dingy glare o' the 6ondon sky 'aded upwards into weak violet heights# Ee can suddenly see the twilit sky o' a big city a'resh and the literary genius is obviously centered in the une%pected strength o' the ad8ective 3weak which brings alive the diminishing strata o' the urban night sky overpowered by the bright lights on the ground# $he e''ect is parado%ical because we usually associate heights not with weakness but with power or command# (nd the poetry lies not 8ust in what the sentence paints but in how it sounds+ there is something mysteriously lovely about the rhythm o' 3weak violet heights and the way the two ad8ectives turn into a plural noun that is really 8ust another ad8ective; the sentence does indeed seem to dri't away into the 'ar distance# $his is not a particularly original passage o' criticism T 'or one thing re-description sounds an aw'ul lot like de'amiliariHation# ,ut it has two 7ualities I associate with Eood# :irst itAs absolutely correct; heAs a great reader whether you like him or not# $his passage is itsel' a re-description o' a sentence one might easily have passed without noticing# )econd itAs a close reading that is attuned to the signi'icance o' language within 'iction# $he second point is the signi'icant one# In the last ten or 'i'teen years precision o' language has become the password that marks out serious writers o' 'iction# MIn this respect though in 'ewer and 'ewer others John OpdikeAs in'luence remains enormous#N $here arenAt many literary novelists at the moment who are content to be plainspoken and those who are <aHuo Ishiguro 'or instance have clear narrative motives 'or the choice# Instead when you open almost any well-regarded novel today it will have long passages o' precisely poetic prose 'ull o' surprising and care'ully curated language# I attribute this generation o' writersA embrace o' non-narrative and e%tra-narrative observation at least in part to Eood# :rom his 'irst days at the Cuardian heAs been a persistent and sometimes lonely advocate 'or Hardy and 6awrenceAs brand o' languagebased realism# M$he writers heAs criticiHed over the years T 4ichard Powers (#)# ,yatt Paul (uster this last to devastating e''ect T o'ten have an element o' magic in their works and a 'air criticism o' Eood might be that he restricts his a''ections to books that even when they are 'anci'ul make total sense which sounds like a 'air metric until you think about it#N $o pick out language 'or special attention might seem like an a''ectation in a critic o' 'iction# 6anguage is important in a novel obviously but less so than in poetry where the sense o' distillation makes it overarchingly vital# =ovels should have room 'or mess and digression the way li'e does T and in my opinion they should also have some speed which precious language can check# http+**www#8oelyuen#com*FpageDidI!13 perhaps he could be interviewedF Interview people 'rom around the world# Have them look at the show with skype>#create a graph*database o' how people interact with the space###time eyelevel Rwl 5reek Incident Rn <awahara Rn Photography 'ilm digital

Daulism
E(4=I=C+ $his is raw un'inished writing and*or notes# 9ou are seeing a story being built and it may not all make sense##### (iming to have this done by early 2ecember# $otal word

count not yet known# >>>>>>>>>>>>>## ( 'ull day at the library was inspiring# I took notes photocopied got lost in and rolled my eyes at these books+ http+**www#amaHon#com*2iane-(rbus-,iography-Patricia-,osworth*dp*"3B33!0010 http+**www#amaHon#com*Ehy-Photography-Matters-=ever-,e'ore*dp*"3""1301-0 M)kim through to the comments section# Rnline there is also this http+**www#newrepublic#com*article*books-and-arts*the-restless-mediumN http+**www#amaHon#com*2ecoys-2isruptions-)elected-Eritings-1B./-!""1*dp*"!0!011/1. Hope to 'ind*read this+ http+**www#thedailybeast#com*articles*!"11*".*3"*diane-arbus-newbiography-reveals-dark-secrets-about-her-li'e#html http+**www#amaHon#com*5risis-(perture-Eriters-(rtists-Photography*dp*"1B3111//" Mono ha 2aulism+ data L soul# I' it cannot be de'ined and*or lacks a soul it is not (rt# @ntertainment $herapy )ocial*5ultural mechanism $his I 'ound very interesting+ http+**www#scribd#com*doc*0-"B"1.*2escribing-Pictures-andPeople (gain the importance o' conte%t# (gain relevancy to audience# Rver !"" """ readers have seen this# It would seem to have value# @%cept 'or the number o' readers the above statements are also true 'or this+ http+**www#scribd#com*doc*11.103"31*Photography-('ter-5onceptual-(rt :rom )cribd I was led to the website o' photographer*writer (le%is 5lements and this essay https+**'otopersona#s7uarespace#com*the-tourist* U(s an author as a person he is he becomes absorbed into what he is showing#P It is worth noting that the original prints o' the Oncommon Places images were modest in siHe;more broadly )horeAs photographic vision in that moment belongs to a historical moment immediately prior to the emergence o' the Utableau 'orm P above all that )horeAs photographs were not made 'or the wall a 'act that does not prevent Hilla ,echer 'rom praising them 'or their Upictorial 7uality#P Ehy Photography Matters book

The Eyes in this Show

@yes# I 8otted down some notes and the VeyesA in the show attracted my interest# $he tolerant slightly amused eyes o' EegmanAs dogs the closed eyes o' 5allahanAs wi'e the no-nonsense black stare o' Picasso> $o understand this situation re7uires time# I say WsituationV because I 'eel that W$o understand thise%hibition re7uires timeV is an i ncorrect statement 'or two reasons# $he 'irst reason is that I 'eel that the word We%hibitionV in common usage connotates a collection o' works which are connected by a theme# Rther than the 'act that these images capture (merica and (merican ideasMHai ,o )ugimoto :rank bornin )witHerlandFN their sub8ect matter is photography itsel'# (n economist would easily have a theme;these are photographic artworks priced between X/ """-3!" """M'ootnoteN# $o understand this situation#### what you are reading is an e%periment and a personal e%perience#I am'inding my way here; not writing as a photo critic not writing as a historian o' photography not writing asan art collector nor art investment advisor#### I am using my e%periences with this space and the works

within as a starting point 'or a piece o' writing which I hope will have interest to a 3general reader as wellas those 'amiliar with photography as an artistic medium# :or nowMthis online e%perimentN i am using WIV in a true way###8otting down my own interactions with the works and sometimes with the artists#### $his use o' WIV may continue and the 'oundation o' the 'inished piece# Rr the WIV in this story could represent the thoughts o' someone who is not me####:or e%ample+ I am a !" year old art student who has never held a'ilm camera and I am amaHed at this photo that includes an anti7ue black phone and a $G that is showing the serious 'ace o' a man with a moustache # M,altimore M2 (s an opthamologist I am delight to look into the eyes o' Picasso# His iris nearly as black as his pupil# 5huck 5lose S'ind eye disease story Irving Penn Picasso M! o' 0N 5annes 1B/. 4auschenbergVs eyes <ate MossVs eyes @tc etc###these e%amples o' WIV and the 3i issue are only some o' the possibilities o''ered by this situation in which I am writing 'or mysel' rather than 'or a magaHine*publisher*web site etc

Heautosco y
is a term used in psychiatry and neurology 'or the reduplicative hallucination o' Yseeing one&s own body at a distanceY#Z1[ It can occur as a symptom in schiHophreniaZ![and epilepsy# Heautoscopy is considered as one possible e%planation 'or the doppelg\nger phenomena http+**hallucinations#enacademic#com*1!-*heautoscopy )ingapore is a child learning the alphabet# Here the books on art were written in 5hinese inMalay in $amil or in @nglish under the supervision o' the ,ritish# Post Independence the islandhas the style o' no style; a collage o' unrelated concerns uni'ied only by the 'lag under whichthey were created# $he traditional arts# $he 'lavor-o' the-month art-as-trendy'ashion the heavysouls who share their burden the political activists who share theirdisappointment*rage*poison*hope the galleries o' all types that are in the business o' art# $hethis-is-where-I got-myart degree 'rom types> http+**www#'rieHe#com*issue*article*a-kind-o'-'aith* In philosophy you come across the attitude that you shouldnAt really say what it is you want to do and you learn to describe your work in a certain conceptual language that builds 'orti'ications around yoursel'# $he writers I en8oy reading are those that donAt do that# S (re the original Polaroids on display or are they photographs o' Polaroids####a'ter

checking###can see the'aintly raised sur'ace marks le't by the chemicals##the s7uirt marks like a row o' the shadows 'rom strangetrees $he show has no theme# Perhaps a starting point is to look at the ages o' the artists their ages when the image was created# Personal interaction+ 4auschenberg story 4obert :rank at 9:G( 5allahan $okyo earth7uake E Eegman )PPPolaroid =95 ,ook in bookstore reading Joanne Gerberg was an intern at $he @astman House 'rom .--.0 and a curator 'rom.--.. ,6(5< (66 )$(4)*=I5@ I$(6I(= JR,) $he late @ighties =ew 9ork 5ity a warm autumn )unday a'ternoon# I&m walking in 'ront o' o' the $ower 4ecords on 6a'ayette# ( large black car like a limousine at the curb with a O-haul trailer behind it# I walk by# $he door opens and Mike Eallace gets out very tan and with a paper cup in hand# )miling like the skipper o' a yacht# I pass by and then suddenly realiHe I need to get some blank video tapes at $ower# I spin around to see Mike doing a kind o' awkward 8ig; stretching his legs rolling his shoulders and swiveling his arms# @%cept it isn&t Mike Eallace-it&s 4obert 4auschenberg now almost directly in 'ront o' me# Y Hello Mr# 4auschenbergY# He smiles and says &hello& right back# ( conversation starts the highlight o' which involves a terrible pun about Ypopping over to JapanY# I am soon on my way with an opening party invite in hand# ]uite late I went to the opening someplace uptown# $he place was empty but 'or 4auschenberg and the woman who seemed to run the gallery# $hey spoke in 7uiet businesslike voices# I circled a 'ew o' the brightly painted crushed wire sculptures le't be'ore I was noticed# and worked as a photographer be'ore I could drive# I have been an observer i' not a participant in the the photographic art worlds o' Hong <ong $okyo Paris and =ew 9ork# ( tiny 'ish --no plankton in a very big pond> 5ameras+?-1/ 5anon :tb 5anon :1 Polaroid )% ." disposable cameras o' all kinds :u8i instant camera @bony - %/ Hasselblad phone cameras and digital cameras o' all kinds###= / miilion dollar shadow =ormally this type o' talk annoys me but here it provides historical conte%t# 5ameras as a metaphor; literary devices# :ilm and what it mean to develop 'ilm and make a print# Man 4ayAs 7uote about (rt is not photography#

!""an
is the start o' a te%t*internet pro8ect about a photography show that opened in )ingapore on Rctober !3 !"13# Have no idea what the 'inal 'orm will be despite the 'act that it has been toyed with very 'ew days since early Rctober !"13# $he press release 'or the show can be 'ound here+ http+**www#scribd#com*doc*1.!00".!/*Masters-o'-Modern-5ontemporary-PhotographyPress-4elease-Rct-!"13 $he e%hibition includes works by+ 2iane (rbus http+**en#wikipedia#org*wiki*2ianeD(rbus Hai ,o http+**www#haiboyu#com* Harry 5allahan http+**en#wikipedia#org*wiki*HarryD5allahanDMphotographerN Eilliam 5hristenberry http+**en#wikipedia#org*wiki*EilliamD5hristenberry

5huck 5lose http+**en#wikipedia#org*wiki*5huckD5lose Eilliam @ggleston http+**en#wikipedia#org*wiki*EilliamD@ggleston http+**oneonethousand#org* 4obert :rank http+**en#wikipedia#org*wiki*4obertD:rank 6ee :riedlander http+**en#wikipedia#org*wiki*6eeD:riedlander http+**www#nytimes#com*!""1*"1*"3*arts*design*"3'rie#htmlFre'Ilee'riedlander Minsight'ul article on Cary Einogrand http+**lens#blogs#nytimes#com*!"13*"/*13*garrywinogrands-nonstop-and-unedited*FhpJDrI" 5ompare*contrast (rbus*Einogrand*:riedlander =9 0"s*."s###:rank as wellF @mmet Cowinhttp+**en#wikipedia#org*wiki*@mmetDCowin Paul Craham http+**en#wikipedia#org*wiki*PaulDCrahamDMphotographerN 4ichard Misrach http+**en#wikipedia#org*wiki*4ichardDMisrach Irving Penn http+**en#wikipedia#org*wiki*IrvingDPenn 4obert 4auschenberg http+**en#wikipedia#org*wiki*4obertD4auschenberg 6ucas )amaras http+**en#wikipedia#org*wiki*6ucasD)amaras Hiroshi )ugimoto http+**en#wikipedia#org*wiki*HiroshiD)ugimoto Joann Gerburg http+**8oannverburg#com* Eilliam Eegman http+**en#wikipedia#org*wiki*EilliamDEegmanDMphotographerN http+**www#anothermag#com*current*view*!//0*ManD4ayD$opD/D]uotes $here is no progress in art any more than there is progress in making love# $here are simply di''erent ways o' doing it# ^ $hroughout time painting has alternately been put to the service o' the 5hurch the )tate arms individual patronage scienti'ic phenomena anecdote and decoration > all the marvelous works that have been painted whatever the sources o' inspiration still live 'or us because o' absolute 7ualities they possess in common# $he creative 'orce and the e%pressiveness o' painting reside materially in the colour and te%ture o' pigments in the possibilities o' 'orm invention and organisation and in the 'lat plane on which these elements are brought into play# ^ (s 7uoted in Y(merican Modernists in Painting take the Public into their 5on'idenceY in 5urrent Rpinion Gol 6? =o# / MMay 1B10N p# 3/1 http+**www#8ansvenungsson#com*by*mrmmDeD!""-#html a personal essay about a li'e being in'luenced by the writing and work o' Man 4ay ( creator needs only one enthusiast to 8usti'y him# I have been thinking o' nearly all o' the points covered in this article# I will be happy to re'erence it Man 4ay Paul Craham street scene =ew 9ork centric =o theme# Ikkan blurs the boundary between gallery and museum# 2e'ining what this space is # ( store a wine cellar an investment house where emotions intimacies and philosophies are commodities# )peculators taste# @ducational intent )ugimoto##so 'ar cannot 'ind images he was making around 1B1B# I $HI=< there were some o' his images at Min $anakaAs ,ody :arm art event in Hakushu# $he images were stapled to 'ences along a dusty road# ,lack and white shorescapes in which there were many lights possibly candles# $he e''ect was something like connect-the-dots but the dots were white small suns hovering over rocks and sand># Maybe talk about Japanese photography and contrast (raki )ugimoto 2aido Moriyama and Morimura>#Hosoe###Hosoe 4I$ story snippet o' imagery### @mmet Cowin $he installation was more complicated than usual as the )ingapore ,iennale had swept up

all o' the art movers and installers more had to be brought in 'rom Indonesia and 5hina# ,iennale advertising# Halutrans Possible titles+ ,ig =egatives 2aylight )avings too easy Pictures on the :loor>###maybe My time here is limited###which piece do I want to savour the mostF 5ontenders;)ugimoto 6ake )uperior @agle river##details in teh print reward close up inspection MsiHeNEegmans pleasant even as a postcard @leanor 5hicago 1B-B 'ind that crumpled copy 'rom a magaHine Icarried all over 'or years 4auschenberg 'lat black and white 8ewels 4obert :rank =ope## his book and my memories o' it the treasure###these are always reminders relaing onthe couch### (bout photography about a photography show !3 !"13# Have no idea what the 'inal 'orm will be despite the 'act that it has been toyed with very 'ew days since early Rctober !"13 )teiglitH (tget Hosoe####)ingapore had no art photography scene###commercial work weddings little work e%hibited in which photography was used 'or persoanl e%pression### Photograph the galleries using a tripod in such a way that the gallery lighting is actually the sub8ect o' the photograph# (ir conditioned air the small sounds o' people walking and talking in other parts o' this white space# $he lights are 'ocused upon images large images# :rom the entrance one con'ronts*is con'ronted by an image on the other side o' the space a photograph o' a 5aucasian manAs 'ace three meters across by 'ive meters high# I should respect these images# $hey re'lect society and society says that this image is worth FFF thousand dollars# $his image e%isting in a network that will Mwith more money time and verbiageN proclaim that its value has increased# @conomists en8oy contemplating things like this# (ir and water 'or e%ample are the most valuable and necessary things on earth# $hey are 'ree# =o one needs this photograph in order to e%ist# Rr do theyF I' possessions determine identity and identity is necessary 'or mental well-being and survival and owning this image de'ines the owner then the value becomes a 7uicksilvery ob8ect o' great value# - Masterpieces 'ound in 'lea markets the value o' a 2amien Hirst decreasing by millions overnight# $ime era age shutter speed decisive moment $he press release 'or the show can be 'ound here+ http+**www#scribd#com*doc*1.!00".!/*Masters-o'-Modern-5ontemporary-PhotographyPress-4elease-Rct-!"13

#ight
6ight is energy# Photography is the recording o' light or to translate the Creek origins o' the word photography means writing with light# $here'ore photography can be said to be about the organiHation o' energy particles that is using lenses to 'ocus the waves o' light particles onto recording materials#

(s only physicists and technicians perceive photography this way the de'inition is useless# Just as no one sees a book as a collection o' shaped ink patterns on paper no one sees a photograph as the end result o' waves made o' particles o' light light entering the lens o' a camera and and trans'erring energy onto a sensitiHed sur'ace#People see photographs as captured 6i'e# =o one describes a sel'ie as a /Meg recording o' light o' /""" degrees <elvin taken at latitude%%% longitude %%% at /pm# It is is a YpictureY o' )tephen ,lack# that is positive negative and neutralF I' it were only that simple# Eho decides what is &positive& a word usually associated with &good&F $hese thoughts about light are too heavy at the moment# http+**www#anothermag#com*current*view*!//0*ManD4ayD$opD/D]uotes $here is no progress in art any more than there is progress in making love# $here are simply di''erent ways o' doing it# ^ $hroughout time painting has alternately been put to the service o' the 5hurch the )tate arms individual patronage scienti'ic phenomena anecdote and decoration > all the marvelous works that have been painted whatever the sources o' inspiration still live 'or us because o' absolute 7ualities they possess in common# $he creative 'orce and the e%pressiveness o' painting reside materially in the colour and te%ture o' pigments in the possibilities o' 'orm invention and organisation and in the 'lat plane on which these elements are brought into play# ^ (s 7uoted in Y(merican Modernists in Painting take the Public into their 5on'idenceY in 5urrent Rpinion Gol 6? =o# / MMay 1B10N p# 3/1 http+**www#8ansvenungsson#com*by*mrmmDeD!""-#html a personal essay about a li'e being in'luenced by the writing and work o' Man 4ay ( creator needs only one enthusiast to 8usti'y him# I have been thinking o' nearly all o' the points covered in this article# I will be happy to re'erence it Man 4ay Paul Craham street scene =ew 9ork centric =o theme# Ikkan blurs the boundary between gallery and museum# 2e'ining what this space is # ( store a wine cellar an investment house where emotions intimacies and philosophies are commodities# )peculators taste# @ducational intent )ugimoto##so 'ar cannot 'ind images he was making around 1B1B# I $HI=< there were some o' his images at Min $anakaAs ,ody :arm art event in Hakushu# $he images were stapled to 'ences along a dusty road# ,lack and white shorescapes in which there were many lights possibly candles# $he e''ect was something like connect-the-dots but the dots were white small suns hovering over rocks and sand># Maybe talk about Japanese photography and contrast (raki )ugimoto 2aido Moriyama and Morimura>#Hosoe###Hosoe 4I$ story snippet o' imagery### @mmet Cowin $he installation was more complicated than usual as the )ingapore ,iennale had swept up all o' the art movers and installers more had to be brought in 'rom Indonesia and 5hina# ,iennale advertising# Halutrans Possible titles+ ,ig =egatives 2aylight )avings too easy Pictures on the :loor>###maybe )teiglitH (tget Hosoe####)ingapore had no art photography scene###commercial work weddings little work e%hibited in which photography was used 'or persoanl e%pression### Photograph the galleries using a tripod in such a way that the gallery lighting is actually the sub8ect o' the photograph#

Moonrise over :ukushima 1B." Me 2ecade minimalism was tired conceptual art was avoiding the production o' art ob8ects

Data $ soul % Daulism

=ot a re8ection o' previous art theories and startegies bit a distillation# Ehether the topic is art brut 2ada Rp (rt postmodernismet al two components are constant+ data nad soul# 2ata could as YsimpleY as historical data or technical in'ormation or as comple% as the marketing campaigns that surround art investment pro8ects such as the Hirst or <oons brand# )oul is unde'inable# Eords associated with it are passion inspiration rage genius serenity mastery commitment understanding 'aith### ( drawing o' a cat by a mentally handicapped child a stainless steel sculpture based on a dog made o' balloons#Perhaps these are the e%tremes but thinking like this assumes art can be de'ined and measured# It assumes the art world is based on logic# $he chaos o' the soul the unpredictability o' the markets#5hance and chances taken# $he dances o' chromosomes the waves o' history and the countless per'ect storms o' human interaction; that have resulted in artists being in the right place at the right time# @l Creco in $oledo da Ginci in Picasso and those who ate o' the moveable 'east Mishima and the unwanted birth o' butoh Earhol and his mirror in postwar =ew 9ork# )tructuralism is close but it lacks spirit; the sould# $he http+**www#hu''ingtonpost#com*!"13*1!*1"*denis-tarasovDnD--1-1..#htmlF ncidIedlinkusaolp"""""""3

2enis $arasov Ontitled M'rom the @ssence )eriesN !"13 5-print 11B#! % 1"1#/ cm McN 2enis $arasov !"13 Image courtesy o' the )aatchi Callery 6ondon $hese gravestones are not uni7ue occurrences $arasov e%plained# $hey e%ist in ma8or cities across 4ussia ,elarus Okraine and other 'ormer )oviet countries usually concentrated in one area within a cemetery -- an e%clusive Mand e%pensiveN space that seems too eerily like an eternal GIP resting place# Ehile most o' the tombs belong to gangsters the trend was upheld by heads o' 4oma and (rmenian 'amilies as well as other wealthy people with a 'lair 'or a dramatic a'terli'e# Y2espite the 'act that they are all made in the same style they still di''er 'rom each other Y $arasov noted# Y@ach has some peculiarity some distinguishing 'eature something that is 'or me a kind o' punctum# ( punctum can serve as more than 8ust the 'igure on the gravestone# It can be the scenery on it the other surrounding gravestones or nearby shrubs or 'lowers#Y and dances o' chromosomes that result in one artist being in the right place at the right time# 2ecoration and representation were unpopular things appealing to the eye were uncool and emotional appear cheap sloppy gauche Y$he average year o' creation o' the piecesY (rtspeak and third glass o' wine talk UMade 'or the wallP

&Punctum& will likely never be a word I use with ease# (t the time o' e%posure the e%perince o' creating an image is wordless# Punctum and composition and meaning are traps that wait in the editing process a maHe one needs to 8ump through without touching anything# Rnly when there is a collection o' images should words start to 'all into the process 'all like dust in the light# People MagaHine )PP 9otsuya <aH&s crowd drunk phone call ,ullet $rain inventor o' Mario visa =95 cold snowy lonely Polaroids

Ro&ert Rauschen&erg
4auschenberg 'lat black and white 8ewels Personal interaction+ 4auschenberg story 4obert :rank at 9:G( 5allahan$okyo earth7uake 4obert 4auschenberg http+**en#wikipedia#org*wiki*4obertD4auschenberg 4auschenberg##blue prints MblackprintsFN 'or ideas that he would later silkscreen and paint onto canvas 4auschenberg contact prints - %.F 2ouble e%posures daring cropping out o' 'ocushorse

Rolan' Sontag
Ehat I 'eel the need to do is compile the notes I have collected since my last posting# 5amera 6ucida by 4oland ,arnes###could this be a direction 'or meF Eith 5amera 6ucida ,arnes created a work that was e%tremely personal as well as impersonally theoretical# Mget e%amples###one o' his sentences about his mother 'or e%ample and combined with something about the nature o' punctum#N U$he unary Photograph has every reason to be banal &unity& o' composition being the 'irst rule o' vulgar Mand notably o' academicN rhetoric+ &$he sub8ect & says one handbook 'or amateur photographers &must be simple 'ree o' useless accessories; this is called the )earch 'or Onity#P 34oland ,arthes 5amera 6ucida+ 4e'lections on Photography =athaneal ,oothon Coodreads $his book is not a view o' photography as an art-'orm but ,arthesA attempt to understand e%actly why certain photographs snagged him tugged at his soul# He distinguishes between studium that 7uality that makes the photograph o' passing interest and punctum the telling detail Ma pair o' shoes the te%ture o' a dirt roadN that causes the photograph to seem to say more than it does# He suggests that it is so because the punctum gives hints o' a 'ragment o' time captured# Indeed 'or ,arthes there is a deeper punctum that is $ime itsel' since every photograph carries with it the assurance that a thing once was and that it is no more and so carries 2eathSsince death is the implicit end o' all things photographed# (t times he approaches the mystic speaking o' the photograph as created 'rom rays coming 'rom the thing or person photographed giving them a continuance in the photograph even though they are no longer thereSand he even likens the photograph to @astern Rrthodo% icons in that 'or both the image itsel' becomes transparent and the viewer*worshipper looks at Mor seems to look atN the thing imaged# IAm still not entirely clear

on much o' ,arthesA thoughtSI read the entire book over the course o' a daySand his closing thoughts on the rise o' image-based culture certainly deserve more re'lection# He suggests that the photograph is tamed by being made art or banaliHed by being 'ound everywhere in modern culture; in the end however Msince there is no mediating artistic consciousnessN he seems to suggest that what matters is the posture o' the person viewing# Ee can either be dulled by the image or we can look 'or those points o' punctum that will awaken us to reality#MlessN ERE http+**www#alphaville8ournal#com*IssueK!"-*H$M6*4eview,otH-,ornstein#html ERE but s l o w l y http+**philosophynow#org*issues*B/*$heDRntologyDo'DPhotographyD:romD(nalogueD$oD2 igital 4yan on Coodreads (long with )usan )ontag&s Rn Photography 5amera 6ucida is one o' the earliest and still most 're7uently cited analyses o' the medium# $his might seem strange considering how personal and &literary& it is but whether 'or or against academics continue to use this little book to make all sorts o' e%aggerated claims about visual culture# (s he acknowledges ,arthes& take on photography is determined by a phenomenological reduction# Y###I decided to take mysel' as a mediator 'or all Photography# )tarting 'rom a 'ew personal impulses I would try to 'ormulate the 'undamental 'eature the universal without which there would be no PhotographyY M1-BN# He splits the photograph into punctum -- a &point o' interest& within the photo that is both responsible 'or its aesthetic 7uality and uni7ue 'or each individual observer -- andstudium or more or less everything else+ the signs o' the photographer&s intention and technical skill the use o' stereotypes the setting organiHation the style o' composition everything to do with the photograph&s &themes& and culturally determined meanings# How does one 8usti'y leaving out so muchF ,arthes does it by associating several 'eatures o' photography with the studium while never associating any o' them with each other# )o &taste& in the banal sense technical knowledge M,arthes doesn&t actually know anything about photographyN knowledge o' the thing photographed and empathy with the photographic sub8ect are all acknowledged separately but declined on the same grounds+ they don&t pertain to photography&s &essence#& $hey are rather 'unctions &myths & involved merely in Yreconciling the photograph with societyY M!1N# )o 'or ,arthes the really radical thing is to relegate historical political biographical personal or whatever content o' a given photograph to the realm o' dull convention# It is &un'ortunate & ,arthes writes though apparently necessary that he 'inds <oen Eessing&s photos o' =icaragua Ybanal#Y M!3N# I think the problem is that like photography ,arthes never goes beyond sur'ace impressions# In a sense ,arthes& analysis 8ust repeats what he says photography does+ Yby leading me to believe###that I have 'ound what 5alvino calls &the true total photograph & it accomplishes the unheard-o' identi'ication o' reality M&that has been&N with truth M&there-sheis!&N; it becomes at once evidential and e%clamative; it bears the e''igy to that craHy point where a''ect Mlove compassion grie' enthusiasm desireN is a guarantee o' ,eingY M113N# 4ecogniHing the ease with which photography con'uses e%periential 'act with $ruth ,arthes accepts the con'usion as necessary leading to the parado%ical claim that the 4eal $ruth o' a photo is more visible the more it is &liberated& 'rom all e%planatory conte%t# Its 'alse impression o' immediacy can then be re'le%ively e%perienced in idiosyncratic ways by the observer Mwho 'or instance can go on to write about

photography by writing about his momN# (nother good line again relevant to both photography and ,arthes& method o' analysis+ Yphotography in order to surprise photographs the notable; but soon by a 'amiliar reversal it decrees notable whatever it photographsY M3-N# MlessN )usan )ontag# =ow seems to be the time to sit down with Rn Photography### http+**www#philosophymatters#org*!"1!*"/*review-susan-sontag-on-photography* http+**www#medialit#org*reading-room*sontag-photography-two-views http+**en#wikipedia#org*wiki*RnDPhotography and Rn the Pain o' Rthers

The Sha'ows of Buil'ings

Partial collection o' notes 'rom the opening https+**www#'acebook#com*pages*Ikkan-(rt-International*!"-.00-B0!31!33 @%hibition catalogue P2: http+**ikkan-art#com*pd'*@-5atalogueD1"!3#pd' (ir conditioned air the small sounds o' people walking and talking in other parts o' this white space# $he lights are 'ocused upon images large images# :rom the entrance one con'ronts*is con'ronted by an image on the other side o' the space a photograph o' a 5aucasian manAs 'ace three meters across by 'ive meters high# I should respect these images# $hey re'lect society and society says that this image is worth FFF thousand dollars# $his image e%isting in a network that will Mwith more money time and verbiageN proclaim that its value has increased# @conomists en8oy contemplating things like this# (ir and water 'or e%ample are the most valuable and necessary things on earth# $hey are 'ree# =o one needs this photograph in order to e%ist# Rr do theyF I' possessions determine identity and identity is necessary 'or mental well-being and survival and owning this image de'ines the owner then the value becomes a 7uicksilvery ob8ect o' great value# - Masterpieces 'ound in 'lea markets the value o' a 2amien Hirst decreasing by millions overnight# $ime era age shutter speed decisive moment $he danger o' including my own e%periences# (ccusations o' arrogance I' I do I do so with reluctance and in a spirit o' e''iciency;sel' as recorder# I have a degree in photographic :ine (rt relationship between gallery showrooms and ivory towers># art like war can 'unction as entertainment eye lens aperture doorway# $he room as something like a piece o' 'ilm recording impressions# Perhaps not IkkanAs but a museum># Purity Irritation Money $he show has no theme# Perhaps a starting point is to look at the ages o' the artists their ages when the image was created# Personal interaction+ 4auschenberg story 4obert :rank at 9:G( 5allahan $okyo earth7uake $H4@@ 5R($) I like this as a title# :or now anyway# $he large all-white gallery is being painted with dark green and dark red bands so that the photos will not be lost against the large walls# It will take three coats o' paint# $hree coats reminds me o' the idea o' someone who wears more than one hat that is someone who can do two or three things####In this pro8ect I am writing as an artist as a historian o' sorts and as a person who has interacted with some o' the pieces and*or photographers#

Eritten during the installation (bout photography about a photography show about a moment#I saw about 1"K o' the show during its installation# ,eauti'ul and thought-provoking works o' course# (gain the 7uestion o' a theme# Eorks resting on cushions ob the 'loor waiting to be hung# I savour the 'leeting moment the unusual angle# @veryone will see these 'astened to the wall# 4auschenberg photos http+**www#nytimes#com*!"13*1"*!"*arts*design*the-photographer-in-robertrauschenberg#htmlFDrI" :ilm )tars as a titleF :ilm )tars and %%%%%%%%%% more rhythm and in'oF 5huck 5lose portraits o' 4auschenberg and 6ichtenstien http+**en#wikipedia#org*wiki*4oyD6ichtenstein; his signature so big# @go or compositional device; PolaroidAs white space can make the most luscious grace'ul composition seem top heavy#$he surprise o' the show is by 55##in a corner on a table is a black rectangular bo%# Inside like a daguerrotype is the the image o' a lily### 5alia lily# 5alia 'rom the Creek word 'or beauty a ghost 'lower airy# )ilvery# Haunting# $he opening was like any opening# (perture# ( destination 'or those interested in viewing discussing and investing in 'ine art photography# Eaiters carrying trays o' things like chicken teriyake and bartenders pouring glasses o' red and white wine# $he usual# (boriginal art http+**www#redotgallery#com* Calerie )teph http+**galeriesteph#com* 4ichard <oh http+**www#rk'ineart#com*contact#html 4auschenbergAs works beauti'ul but normal with two e%ception (rbus; sword swallower ? mas tree black structure as symbol o' depressionF )tars+ 5allahan @leanor <yannon Genus @leanor in the water 5allahan# Eas at the beach with my girl'riend# $he sun went down spectacularly but it was the a'terglow that interested me the most# $he horiHon# I photographed the horiHon attracted to the line between the two dark blues o' sea and sky#$hen )ugimoto tapped me on the shoulder# I photographed my girl'riend in the water and then 5allahan tapped me on the shoulder# $his article as a lighthouse+ http+**www#themillions#com*!"13*1"*winning-over-8ameswood#htmlFutmDsourceI'eedburnerJutmDmediumI'eedJutmDcampaignI:eed K3(LthemillionsblogK!:'edwLM$heLMillionsN PennAs portrait o' :rancis ,acon ,@5(O)@ R: $H@ 54OMP6@2 P(P@4 R= $H@ E(66 ,@HI=2 HIM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>#

The Smell of Salt

(pproaching 'rom downtown )ingapore with the highway above and the old Malayan train station to the right one cannot help but notice the endless 'ortress made o' stacked container units###$his is the harbor and 'or miles the le't side o' the road is dense with the conatiners that 'it on railroads semitrucks and the holds o' ships# $he container units are stacked !" % -/# 6iterally cubist+Huge blocks o' utilitarian colors; dull red clearly visible yellow metallic grey a blue that is nothing like the sky Pi%els sculptures#:unctional muscular a place with trucks and cranes#4ain or shine day or night;things get done here#)ugimoto $hree 5oats I should respect these images# $hey re'lect society and society says that this image is worth FFF thousand dollars# $his image e%isting in a network that will Mwith more

money time and verbiageN proclaim that its value has increased# @conomists en8oy contemplating things like this# (ir and water 'or e%ample are the most valuable and necessary things on earth# $hey are 'ree# =o one needs this photograph in order to e%ist# Rr do theyF I' possessions determine identity and identity is necessary 'or mental well-being and survival and owning this image de'ines the owner then the value becomes a 7uicksilvery ob8ect o' great value# - Masterpieces 'ound in 'lea markets the value o' a 2amien Hirst decreasing by millions overnight# $ime era age shutter speed decisive moment

(illiam Eggleston
@ggleston I have never met# 5ertainly though as I was learning what a camera was capable o' his work was on the periphery#Photography magaHines# 2iscussions with people who had seen his show at MRM(# $he critics always the critics#I remember being intrigued by a statement made by 2avid ,yrne when discussing the $alking Heads movie called $rue )tories the statement being about how @ggleston&s work had contributed to the movie# YHow does that work Y I thought Yhow can still photographs motion picturesFY It was a con'using and e%citing thought# M=ote to sel'+)ee movie again so as to describe scenes which re'erence @gglestonN (rbusF I was too young U$he photograph is literally an emanation o' the re'erent# :rom a real body which was there proceed radiations which ultimately touch me who am here; the duration o' the transmission is insigni'icant; the photograph o' the missing being as )ontag says will touch me like the delayed rays o' a star#P 3 4oland ,arthes 5amera 6ucida+ 4e'lections on Photography

)acation
U$he :ranks were o'ten described as a Vpagan couple Amadly in love and so poor they 're7uently e%isted on a diet o' bananas and 5oca 5ola# $heir children Pablo and (ndrea ran wild# Rne o' them had recently been hit by a car# :or me the sub8ect o' a picture is always more important than the picture# (nd morecomplicated# - 2iane (rbus Y2iane (rbusY =ew 9ork+ 2on (rbus and the @state o' 2iane (rbus and (perture:oundation Inc# 1B.! page 1/ 5ircus :at 6ady and her dog $roubles 1B02iane yearned to dance too but believed she could not### In the summer o' 1B/1 the :ranks and the (rbuses rented houses near each other in $ruro on 5ape 5od and Mary began drawing prodigiously+ the curve o' the beach the line o' the ocean# $he light on the 5apewas clear shimmering pierced with deep shadows# 2iane photographed a lot that summer S most memorably her younger daughter (my (my in a 'lannel nighttie 8ust be'ore taking her a'ternoon nap#$hat elo7uent photograph was later published in Harper s ,aHaar and then in the $ime-6i'e book on 5hildren in Photography which commented+ (my

stands tiny indomitable against a background o'storm-tossed clouds#)he appears to have all the charged emotion o' a 1Bth 5entury romantic# I always thought o' photography as a naughty thing to do -- that was one o' my 'avorite things about it and when I 'irst did it I 'elt very perverse# - 2iane (rbus Rn Photography by )usan )ontag I),=+ "31/!0."01 P@4H(P) one part o' the essay contrasts 'ilm-based vs# digital# (void cliches and sounding like a lecturing old man# $he 'acts are interesting and speak 'or themselves# ( related blog post+ http+**philosophersplayground#blogspot#com*!"1!*"1*has-digitalphotography-removed-art#html (s the darkroom was to silver so is so'tware to digitalF Most current e%ample being the 6ytro non'ocus camera which allows the image to be re'ocused a'ter the e%posure has been made# http+**en#wikipedia#org*wiki*6ytro Ehat moves me about###what&s called techni7ue###is that it comes 'rom some mysterious deep place# I mean it can have something to do with the paper and the developer and all that stu'' but it comes mostly 'rom some very deep choices somebody has made that take a long time and keep haunting them# - 2iane (rbus :or me the sub8ect o' a picture is always more important than the picture# (nd more complicated# - 2iane (rbus Y2iane (rbusY =ew 9ork+ 2on (rbus and the @state o' 2iane (rbus and (perture :oundation Inc# 1B.! page 1/ 4obert :rank# Images 'rom the (mericans# http+**www#npr#org*templates*story*story#phpFstoryIdI1""0111/=ew Rrder music video http+**www#youtube#com*watchFvIJ42k1p"=DDk (rbus; ( House on a Hill Hollywood 5ali'ornia 1B03 read about )teiglitH and his @7uivalents as Minor Ehite said is a metaphor 'or the artistAs 'eelings and Uprobably the most mature idea ever presented to picture-making photography#P (lbino )word )wallower at a 5arnival M2 1B." ?mas tree in a 6iving 4oom 6evitton 6#I# 1B03 $his particular period T 10!-- was one o' the most productive and energiHing periods o' 2ianeAs li'e# )he had 'inally ad8usted to the 4ollei and one o' her 'irst set o' prints made with it and completed in 1B0! was o' kids playing grown-upsSkids posed like 4oger and (staire 'or a dance contest; there was also the now 'amous shot o' the grimacing boy with a toy hand grenade taken in 5entral Park# $he photos she took 'or Cloria )teinemAs story on movie theatres in Rhio were re8ected# Mae Eest photos =95 Eeegee P6(5@) 5ape 5od

(i%-en-Provence 2etroit Poems about geography 5ali'ornia 4ocke'eller 5enter =ew @ngland ,attleground Point M- di''erent images; 3! 3" _- _3 1!/th )t# Bth March !"1" !#"B#30 pm two photos within the same minute 5hina Creensboro (labama Hale 5ounty (labama Earsaw (labama 6evittown 6#I# M2 Hollywood 5hicago 2etroit (i%-en Provence 5ape 5od =ew 9ork Paris 5annes Eashington 2#5# ,altimore :lorida Philadelphia Portland =ashville Cala% Girginia 6ondon

@ast 4iver =95 ,lack'oot Idaho ,eau'ort )outh 5arolina 4obert :rank&s 5hicago##saw 5allahanF @ggleston )umner M) (lkali Eash and 2ry Eatering Hole =ear the Gery Eide (rray Magdalena =ew Me%ico R'' 4oad $ra''ic Pattern along the =orthwest )hore o' the Creat )alt 6ake Otah (lluvial 'an natural 2rainage near the 9uma Proving Cround and the (riHona-5ali'ornia ,order (eration Pond $o%ic Eater $reatment :acility Pine ,lu'' (rkansas Cold 5ourse Onder 5onstruction (riHona Mining @%ploration near 5arson 5ity =evada =atural 2rainage )ystems =ear the Palo Gerde =uclear Power )tation (riHona (d8acent :ields Eashington =orth (tlantic Rcean MarthaVs Gineyard )ea o' Japan 4ebun Island 6ake )uperior @agle 4iver 6ake )uperior 5ascade 4iver =orth (tlantic Rcean 5li''s o' Moher )outh Paci'ic Rcean Maraenui Ose Coogle @arth

(illiam (egman
Eilliam Eegman photographed a puppy in1B1B when E was -/ EE born 1B-3 I was living in $okyo at the time and ran into EE during a stay in =95# @arlier that year I had held an e%hibition at the Polaroid Callery in $okyo# It had gone reasonably well# Just be'ore I le't $okyo I had begun an investigation into the possibility o' using the !" % !- inch Polaroid camera# (bout a week later I received a reply# $here were only three o' the cameras in the world# Rne was in Rsaka and that one was being overhauled# (nother was

in 5ambridge Massachusetts the home o' Polaroid# $he other one was being used somewhere was all my contact could tell me# IAll bet that the portraits that 5huck 5lose took o' 4auschenberg and 6ichtenstein were also created with that camera> E#I#P# E Eegman )PP Polaroid Eilliam Eegman has had a strong in'luence upon me# His work is Pop it is personal and it is usually bursting with idea# is 8ust as more o' a Pop artist than Earhol yet Eilliam EegmanPs work is personal# Per'ormance art with pets# $he 'irst time I was really hit over the head with by a piece o' contemporary art was in a little bookstore in the basement o' the Ikebukuro subway station# ( small paperback book contained a collection o' photographs o' EegmanPs work# Rne showed a simple and small collection o' kitchen utensils Rne or two were obviously spoons and one or two were clearly 'orks# $he 'unctional part o' the other utensils was not included in the composition# $he piece was entitled something like V$wo or $hree :orks and $hree or :our )poonsA# )omething like that# Ehat struck me was that relationship to the title and the piece itsel'+ conceptual art 'irst and photographic art second# $he other image in the book which struck me was a sel'-portrait o' Eegman holding two books# )imple and striking one eye was clearly 'ocused on one book and the other eye was intent upon the other# $his was well be'ore Photoshop o' course# $he simplicity o' the black and white photograph made the image power'ul made it $rue# IAve met Eilliam Eegman met him on the street in Manhattan# Probably a 'ew doHen other people can say that as his dogs need to go outside every now and then and he is approachable# Ehat is uni7ue about our meeting was that he kindly invited me to witness a shoot going on in his lo't a shoot going on with Polaroid camera that produced images that were !" % !- inches long# Eas the camera impressiveF 5ertainly# )o was the 'act that there was a $G crew 'rom Japan there who was documenting the production o' a book that retold the story o' 5inderella- but with costumed Eeimaraner dogs portraying the characters# $he 'eeling was 1"K (ndy EarholAs 'actory 1"K canine Holiday on Ice 1"K 'riendAs living room# ,ut the camera was what commanded my attention#

*otsuya+sanchome an' (ase'a

)hould I use the e%hibition at Ikkan&s as the basis 'or a sel'-portraitF (ll o' my li'e I have re'rained 'rom the wordplay possibilities o' my name )tephen ,lack # ( crude e%ample 'or an e%hibition title+ )tephen ,lack and Ehite Eorks# (lready I have 8otted down stories about meeting people like 4auschenberg and Eegman# My two meetings with 4obert :rank were so brie' that they are nearly 'orgettable# However $suda -san the owner o' Mole Callery in $okyo and I had many discussion so' his work# $sudasan was o e%cellent terms with :rank and I believe he had visiited him in =ova )cotia many times# $hese were the days be'ore the internet o' course# Rnce $suda held an e%hibition o' :rank&s images o' Paris taken be'ore he moved to the )tates# Innocent and strong#(tmospheric without being nostalgic or cliche# (raki ,arae )PP 5olored 6ight ( diversion+ the 'ashion photos <enneth <eene )hin8uku sanchome @ndo san (ir conditioned air the small sounds o' people walking and talking in other parts o' this white space# $he lights are 'ocused upon images large images# :rom the entrance one con'ronts*is con'ronted by an image on the other side o' the space a photograph o' a 5aucasian manAs 'ace three meters across by 'ive meters high# I should respect these images# $hey re'lect society and society says that this image is worth FFF thousand dollars# $his image e%isting in a network that will Mwith more money time and verbiageN proclaim that its value has increased# @conomists en8oy contemplating things like this# (ir and water 'or e%ample are the most valuable and necessary things on earth#

$hey are 'ree# =o one needs this photograph in order to e%ist# Rr do theyF I' possessions determine identity and identity is necessary 'or mental well-being and survival and owning this image de'ines the owner then the value becomes a 7uicksilvery ob8ect o' great value# - Masterpieces 'ound in 'lea markets the value o' a 2amien Hirst decreasing by millions overnight# $ime era age shutter speed decisive moment# $hree coats reminds me o' the idea o' someone who wears more than one hat that is someone who can do two or three things####In this pro8ect I am writing as an artist as a historian o' sorts and as a person who has interacted with some o' the pieces and*or photographers# <onbu and raisin cracker Creen papaya with sour plum mango and chiku I saw the crates the photographs were packaged in I saw them being hung and I was the opening# :or 'our days I watched the gallery during which time I took notes read photocopies 'rom books and haphaHardly began building this essay# Rn a level that was almost physical I understood how power'ul =95 was# ,e'ore the internet and a'ter Eorld Ear II =ew 9ork was it# $he phenomenon o' (ndy Earhol could not have happened anywhere else# MagaHines shaped culture and editors picked photographers with style# 4obert :rank shot 'ashion and 2iane (rbus did 'ashion and advertising# MagaHines and curators; =ew 9ork# )Harkowki at MRM( showcased Eilliam @ggleston 'or its 'irst show o' color photography# Eilliam Eegman# 5huck 5lose#4obert 4auschenberg# Irving Penn and Hiroshi )ugimoto# $here is a small altar outside the gallery $aost bright silks o' red orange and yellow and incense sticks oranges# )mall 'orkli'ts whiH by and behind the building are stacks o' container units and a river o' trucks some naked without cargo others that are loaded and look heavy 4ochester the home o' <odak# $here are no barriers between the institutions+ 4#I#$# @astman House Gisual )tudies Eorkshop# )ilver; there was only 'ilm# IAve met Eilliam Eegman met him on the street in Manhattan# Probabaly a 'ew doHen other people can say that as his dogs need to go outside every now and then and he is approachable# Ehat is uni7ue about our meeting was that he kindly invited me to witness a shoot going on in his lo't a shoot going on with Polaroid camera that produced images that were !" % !- inches long# Eas the camera impressiveF 5ertainly# )o was the 'act that there was a $G crew 'rom Japan there who was documenting the production o' a book that retold the story o' 5inderella- but with costumed Eeinermeir MspN dogs portraying the characters# $he 'eeling was 1"K (ndy EarholAs 'actory 1"K canine Holiday on Ice 1"K 'riendAs living room# ,ut the camera was what commanded my attention# I was living in $okyo at the time and ran into EE during a stay in =95# @arlier that year I had held an e%hibition at the Polaroid Callery in $okyo# It had gone reasonably well# Just

be'ore I le't $okyo I had begun an investigation into the possibility o' using the !" % !- inch Polaroid camera# (bout a week later I received a reply# $here were only three o' the cameras in the world# Rne was in Rsaka and that one was being overhauled# (nother was in 5ambridge Massachusetts the home o' Polaroid# $he other one was being used somewhere was all my contact could tell me# E Eegman )PP Polaroid Eilliam Eegman has had a strong in'luence upon me# His work is Pop it is personal and it is usually bursting with idea# is 8ust as more o' a Pop artist than Earhol yet Eilliam EegmanPs work is personal# Per'ormance art with pets# $he 'irst time I was really hit over the head with by a piece o' contemporary art was in a little bookstore in the basement o' the Ikebukuro subway station# ( small paperback book contained a collection o' photographs o' EegmanAs work# Rne showed a simple and small collection o' kitchen utensils Rne or two were obviously spoons and one or two were clearly 'orks# $he 'unctional part o' the other utensils was not included in the composition# $he piece was entitled something like V$wo or $hree :orks and $hree or :our )poonsA# )omething like that# Ehat struck me was that relationship to the title and the piece itsel'+ conceptual art 'irst and photographic art second# $he other image in the book which struck me was a sel'-portrait o' Eegman holding two books# )imple and striking one eye was clearly 'ocused on one book and the other eye was intent upon the other# $his was well be'ore Photoshop o' course# $he simplicity o' the black and white photograph made the image power'ul made it $rue# Hiroshi )ugimoto http+**en#wikipedia#org*wiki*HiroshiD)ugimoto Ehen people call me a photographer I always 'eel like something o' a charlatan at least in 8apanese# $he word shashin 'or photograph combined the characters sha meaning to re'lect or copy and shin meaning truth hence the photographer seems to entertain grand delusions o' portraying truth#P Joann Gerburg http+**8oannverburg#com* :ebruary spring##blossoms##wish it was larger 1B." Me 2ecade minimalism was tired conceptual art was avoiding the production o' art ob8ects 2ecoration and representation were unpopular things appealing to the eye were uncool and emotional appeal cheap sloppy gauche Pleasant# ( sa'e show# =o Maplethorpe 'or e%ample#no war ecological damage is beauti'ul Misrach Petrochemical (merica ,attleCround Point _3" 4obert :rank http+**en#wikipedia#org*wiki*4obertD:rank Ehen people look at my pictures I want them to 'eel the way they do when they want to read a line o' a poem twiceP Uthis kind o' photography is realism# ,ut realism is not enough T there has to be vision and the two together can make a good photograph#A Philips 6ee :riedlander http+**en#wikipedia#org*wiki*6eeD:riedlander

1B03 'irst solo show+ @astman House Hotel rooms; beds and $Gs Philadelphia Eilliam @ggleston http+**en#wikipedia#org*wiki*EilliamD@ggleston MRM(As 'irst e%hibition o' color photography+ E@ 1B.0# UI want to make a picture that could stand on its own regardless o' what it was a picture o'#P http+**www#independent#co#uk*arts-entertainment*art*'eatures*genius-in-colour-why-williameggleston-is-the-worlds-greatest-photographer-1/..!"!#html (lec )oth+ ( 'ew years ago 4obert :rank said U$here are too many images too many cameras now# EeAre all being watched# It gets sillier and sillier# (s i' all action is meaning'ul# =othing is really all that special# ItAs 8ust li'e# I' all moments are recorded then nothing is beauti'ul and maybe photography isnAt an art an y more# Maybe it never was#P Ehat do you think about thisF Eilliam @ggleston+ I donAt disagree with any part o' that statement# Met show+ Ear on the Rrdinary )ugimoto moved to =9 in B.- at height o' Minimalism and 5onceptul (rt##<awahara RnF Eegman role play and humor whiel simultaneously presentinga rigorous e%amination o' 'ormal concerns# ,os work is less about what changes through time and more about what endures#His photography o'ten depicts people shown in various stages o' li'e as well as the passage o' time# Paul Craham (1 $he Creat =orth road 1B11-1B1! based 'irmly in teh observable world and never staged Crahams photographPs o' everyday people places and events challenge the viewer to ponder teh human condition as well as the language o' the medium itsel'# )himmer o' possibility bridge the perceived gap between still photography cinematography and conceptual art### Irving Penn was born in 1B1.# ,ananas 3Made 'or the wall 3(s an author as a person he is he becomes absorbed into what he is showing# It is worth noting that the original prints o' the Oncommon Places images were modest in siHe;more broadly )horeVs photographic vision in that moment belongs to a historical moment immediately prior to the emergence o' the 3tableau 'orm above all that

)horeVs photographs were not made 'or the wall a 'act that does not prevent Hilla ,echer 'rom praising them 'or their 3pictorial 7uality# Ehy Photography Matters book )teiglitH (tget Hosoe####)ingapore had no art photography scene###commercial work weddings little work e%hibited in which photography was used 'or persoanl e%pression### Photograph the galleries using a tripod in such a way that the gallery lighting is actually the sub8ect o' the photograph# U$he :ranks were o'ten described as a `pagan couple madly in love and so poor they 're7uently e%isted on a diet o' bananas and 5oca 5ola# $heir children Pablo and (ndrea ran wild# Rne o' them had recently been hit by a car# 2iane (rbus )pace photography Misrach :oolVs Pond ,us Movies @leanor 1B-. 5hicago 1B/" delicate Miro bas7uiet 5hicago )treet Portrait Making love in a darkroom; chemicals trays 'ull o' li7uids red light big camera 2oes 4I$ still have darkroomsF $o understand this situation re7uires time# I say WsituationV bcause I 'eel that W$o understand this e%hibition re7uires timeV is an incorrect statement 'or two reasons# $he 'irst reason is that I 'eel that the word We%hibitionV in common usage connotates a collection o' works which are connected by a theme# Rther than the 'act that these images capture (merica and (merican ideasMHai ,o )ugimoto :rank born in )witHerlandFN their sub8ect matter is photography itsel'# (n economist would easily have a theme; these are photographic artworks priced between X/ """-3!" """M'ootnoteN# $o understand this situation#### what you are reading is an e%periment and a personal e%perience#I am 'inding my way here; not writing as a photo critic not writing as a historian o' photography not writing as an artcollector nor art investment advisor#### I am using my e%periences with this space and the works within as a starting point 'or a piece o' writing which I hope will have interest to a 3general reader as well as those 'amiliar with photography as an artistic medium# :or nowMthis online e%perimentN i am using WIV in a true way###8otting down my own interactiosn with the works and sometimes with the artists#### $his use o'WIV may continue and the 'oundation o' the 'inished piece# Rr the WIV in this story could represent the thoughts o' someone who is not me####:or e%ample+ I am a !" year old art student who has never held a 'ilm camera and I am amaHed at this photo that includes an anti7ue black phone and a $G that is showing the serious 'ace o' a

man with a moustache # M,altimore M2 (s an opthamologist I am delight to look into the eyes o' Picasso# His iris nearly as black as his pupil#5huck 5loseS'ind eye disease story Irving Penn Picasso M! o' 0N 5annes 1B/. 4auschenbergVs eyes <ate MossVs eyes @tc etc###these e%amples o' WIV and the 3i issue are only some o' the possibilities o''ered by this situation in which I am writing 'or mysel' rather than 'or a magaHine*publisher*website etc photography but not part o' the show+ http+**www#artspace#com*magaHine*interviewsD'eatures*thomasDru''DcloseDlookF utmDsourceI)ailthruJutmDmediumIemailJutmDtermIGIPJune3JutmDcampaignIJuneD!/ D$homasD4u''D5ontemporaryDPhotos DGipart 310 """ !-/ """ 1- """ ." """ ." """ 1/ /"" 13 /"" 1/ /"" 13 /"" 13 /"" 13 /"" 11! """ /0 """ !3! """ 11" """ !1 """ !1 """ -! """ !1 """

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- B"" 11 !"" !1 """ 11 !"" !1 """ B 1"" -! """ -! """ -! """ -! """ Eegman Came ,oard )old out 6ee :riedlander http+**en#wikipedia#org*wiki*6eeD:riedlander http+**www#nytimes#com*!""1*"1*"3*arts*design*"3'rie#htmlFre'Ilee'riedlander Minsight'ul article on Cary Einogrand http+**lens#blogs#nytimes#com*!"13*"/*13*garrywinograndsnonstop-and-unedited*FhpJDrI" 5ompare*contrast (rbus*Einogrand*:riedlander =9 0"s*."s###:rank as wellF @mmet Cowinhttp+**en#wikipedia#org*wiki*@mmetDCowin