Post your response as a comment. You can keep them short and in a conversational tone.
I'll be posting some notes from the class later in the week for you to look over.
One of Nathan Harger's images fromt he show.
Saturday, February 7, 2009
Hasted Hunt
Hopefully you all found the first class, or at least the gallery visit, interesting. As you first assignment please connect the phrase "the camera never lies" to a specific image from the "contradictions in black and white" show we saw at Hasted Hunt
Post your response as a comment. You can keep them short and in a conversational tone.
I'll be posting some notes from the class later in the week for you to look over.
One of Nathan Harger's images fromt he show.
Post your response as a comment. You can keep them short and in a conversational tone.
I'll be posting some notes from the class later in the week for you to look over.
One of Nathan Harger's images fromt he show.
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3 comments:
Nathan Harger’s image, Untitled (Crane 2), makes me question what defines a photograph and also what I am able to accept as truth in the photographic image. The contrast is so heightened that the image looks more graphic than photographic. Without the second part of the title, one would hardly recognize the subject as a section of a crane. The subject is taken out of its context and size becomes irrelevant. A black and white image also implies formality and timelessness signifying the importance of the subject. Taken out of its context, the actual importance or function is unknown to the viewer or he or she is manipulated to reassign its function.
At a quick glance, Irvin Penn's Deli Package looks like it could be part of a Rorschach test rather than in item we might have held in our hands. A close study of the bent wire, the clusters of grain, the pockets of highlights, and the scattered specks of "dirt" surrounding it's borders assures us that it is a cardboard food container. Unlike most containers however, this one seems to have found itself under the unmerciful tires of a New York City taxicab.
At its birth, photography’s power seemed to be in its ability to depict a moment so truthfully. A photograph was the most accurate visual representation of reality to date, more objective than a painting, drawing ect. As photography was crafted and mastered it is easy to see why an adage like “the camera never lies” would come to be. After mastering its truth-telling side, photography found a new power in the art of its lie. When looking away from the truth, a photo can offer us a new perspective of an old reality by lying to our eye. Snow for example, thinly veiled in Michael Floman’s Barfeild, is at first glance a moonscape, an ocean… but at closer look the snow is revealed. The eye can move between the lie and the truth and is offered fresh perspective on a banal snowscape. A camera may not lie but a photograph may not be the truth.
Sara Becker
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