Considering Creativity

What does it mean to be creative? Does it mean you are witty, fun and different? Or that you can make tiny flowers from pieces of bread? Play cover songs in a band? How about writing an incredible document like Thomas Jefferson did? How do you define it? What are the qualities and how do you recognize them?

I've been spending a lot of time traveling and teaching wet plate collodion workshops all over Europe. In between the technical and the fun, I've had my ear, my mind and my heart bent toward the creative spirits I've met along the way. I'm not saying that I gave a lecture or an artist's talk and requested feedback, but rather that I've quietly observed and listened to the words and ideas behind the people in my travels. It's difficult to explain, but there are a lot of passionate people making art out there. We rarely get to see it, it's rarely in galleries and it's never the latest craze (which sickens me anyway). It's usually found in unknown, unpretentious artists that are honest and authentic. Not perfect in anyway, but at least accessible and real. This is the kind of thing that excites me. Knowing that there are people like me, driven to make art and asking questions about ourselves and one another. It's all about narrative for me. Making art that is generative and allows the viewer, if they are present, to wander to explore and ask their own questions – it’s open to reverie.

The poet/writer C.K. Williams said that the poet (artist) has, "the right to vacillate, to wobble, to shillyshally, be indecisive in one's labors, and still not suffer from a sense of being irresponsible, indolent, or weak." It feels good to read that. It's one of my greatest weaknesses, I'm rather insecure as an artist (all artists are, if they are honest). I've done a bit of that "shillyshallying" lately.

My work has taken a nice turn recently. At least I think it's nice. After considering that the Kristallnacht project is almost impossible (read: almost) to complete (time, money and cooperation), I decided that I wanted to blend it with my personal interests and make it less pedantic and more authentic and, in my opinion, interesting. So, I'm blending Kristallnacht, Portraiture Work and both historical and contemporary theories of difference into my images.

My latest incarnations:

Carmen the Putzfrau and Heidelberg Brown Shirt Street

Heildelberg Synagogue Arc (Memorial) and German Man With An Axe

Barcelona Wet Plate Workshops

I wanted to post an update on our Barcelona trip. I'm somewhat burned out writing here and on my forum, so I'm going to throw in a couple of links to the forum board. If you want to see more and read more, you can check these out:

Barcelona Wet Plate Collodion Workshop #1

Barcelona Wet Plate Collodion Workshop #2

We had a wonderful time in Spain. By far my favorite country in Europe. It's mostly due to the fact that people can be who they are and not be stared at or chastised for being different. That's a very different way of life from Germany. Maybe I am over-sensitive, but Germany is a difficult place to live at times.

16" x 20" Clear Glass Negative (Scanned) - The Jacobsons 
ATELIERETAGUARDIA Studio members, left to right; Israel, Ricard, Arcangela, Rebecca, Quinn, and Marti.

 

Barcelona, Spain (Catalonia)

There are so many wonderful things to say about Barcelona, Spain. There are also some bad things to talk about too. It's a poor city (for the most part) and relies on tourism as the main source of income. The irony here is that there are pickpockets and thieves out and about all of the time. They aren't violent, they only take what they can and tourists give them plenty of opportunities to do just that. It's kind of biting the hand that feeds when you have so much crime against tourists and they are the source of your income. Regardless, it's a safe city and you can walk the streets without any problems as long as you have some "urbana sensibildad". The people here are warm and friendly and the food and drink are some of the best in the world. We love tapas and all things seafood. We are sitting here in our apartment and I can see the ships on the Mediterranean Sea, c'mon!

The first thing I would say about Barcelona is that it's my favorite city in Europe. If I could, I would live here in a heartbeat. The city is full of energy and it's very "loose". That's both a good thing and a bad thing. I love the language (and can actually get by here). If I could spend six months here, I would be speaking Spanish again without too much trouble. This is our second trip here and will not be our last.

We're here because I was asked to come and teach two wet plate Collodion workshops.  I just finished with one (Friday, Saturday and Sunday). I will teach another this Friday, Saturday and Sunday. In the interim, we have been walking the city, riding the subway and just taking it easy. Tomorrow, which is Wednesday, May 28, 2008, I am going to work with the studio that sponsored me here to make giant wet plate images (16"x20") of the "Botero Gato" en la Rambla - (a giant Botero Cat). I'm looking forward to that. We have to watch the crowds, again, a security issue, but it will be fine. The newspapers will be there to interview me and the studio - a historic event! I'm fortunate to be involved with it!

I'll try to make another post when we get back to Germany next week. Enjoy the photos and video!

Jeanne enjoying tapas y Sangria!
Did Summer assist in the workshop?

This is us on the Port of Barcelona. I'm not pissed, I'm not used to the sun (Germany) so I am squinting a little bit.  
Carrer del L' Hospital
Fruit and meat market just off of Las Ramblas.

 

Kristallnacht Lecture: Mannheim High School

On Monday, April 28, I was invited (by Summer's teacher) to be a guest speaker in two honor history classes. Summer had told her about my project. I was happy to oblige. If you know me, you know that I rarely turn down an opportunity to have people listen to what I say and look at what I make. Needless to say, I accepted.

The classes, one with about 10 students and the other with about 18, just started reading Elie Wiesel’s, “Night”.  This is a powerful and disturbing account of the Wiesel family’s torture and suffering in the concentration camps of Germany and Poland. Although my project is directly related to the Holocaust, it’s (Kristallnacht) more obscure and less known.

I started by asking definition of words like “anti-Semitism” and “pogrom”. I talked about what I believe caused the world to turn against the Jews and to allow the near annihilation of them. For me, it was important to stress that living in Germany and understanding this history changed how I viewed the world. How living here made an abstract idea, a real life “concrete” event for me.

I quoted Martin Luther King, Jr., "In the end, we will remember not the words of our enemies, but the silence of our friends." I talked about "indifference" and silence - or turning your head when bad things are happening to other people. I referenced this poem by Pastor Martin Niemöller too.

------------------
When the Nazis came for the communists,
I remained silent;
I was not a communist.When they locked up the social democrats,
I remained silent;
I was not a social democrat.When they came for the trade unionists,
I did not speak out;
I was not a trade unionist.When they came for the Jews,
I remained silent;
I wasn't a Jew.When they came for me,
there was no one left to speak out.
-------------------

I showed a 6 minute presentation I put together of my work so far and then took questions. It was very rewarding and I look forward to doing it again.

 

"Ich bin ein Berliner?"

My first impressions of Berlin were, "Ummm, this is Berlin?" In other words, I wasn't that impressed. It's a large city, some 3 - 4 million people. It's spread out and takes forever to get anywhere (by foot). The U-Bahn is good, but again, somewhat inconvenient. However, I think the biggest let down was the "industrial" feel of the place. I'm not going to kvetch about the entire trip or city, because there are some very good things in Berlin to experience.

 Suckin' the espresso!
The Jewish Museum Berlin: This is an amazing place. Moreover, we got to see an exhibit called, "Typisch - Klichees von Juden und Anderen" ("Stereotypes - Cliches of Jews and Others"). The show consists of common stereotypes about groups of people as well as out right racial and ethnicity issues. It's frightening when I think about all of the subtle racial and ethnic beliefs we all have. There were a couple of very moving/interesting pieces in the show. The first was "49 Jewish Noses" from Dennis Kardon. It was interesting to find the "nose" of Nan Goldin in this piece. She's a photographer that I like (and met once). When I met her, I was challenging her on her view, and what she had said about the work of Donna Ferrato. She said I was "belligerent". I thought that it was uncalled for at the time, but I my passion sometimes translates as aggression. Another piece that stood out was called, "You Don't Have To Be Jewish To Love Levy's Real Jewish Rye" by Howard Zieff. I bought the catalog/book.

"49 Jewish Noses" 

Anne Sprinkle, Tit Print

 
"A Bookend"


"You Don't Have to be Jewish..."

The museum is huge. You could spend days in it and not see everything. I had flashbacks of the Louvre when we were walking through it. It starts at the beginning of the Jewish history and works its way through the Holocaust. Daniel Liebeskind did an amazing job with the architecture. If you look at an aerial of the building is looks like a broken star of David.

Jeanne and Quinn The Memorial we were iin.
  
This is the memorial we were in (above photo)
those are olive trees growing on the tops of the
pillars - the ground is uneven and disorienting.

One place that was especially moving is called "The Holocaust Tower". Jean and I were the only ones in it for a few minutes. It's very dark and very cold. There is one bit of light at the top (way up there) and you can hear the outside world. It was eerie. When we tried to leave, I couldn't open the door (I was pulling and should have been pushing) it freaked me out!  There was a large room with metal "faces" called "Fallen Leaves" this too was very moving and eerie - I've uploaded a video here.

Inside the Holocaust Tower
When we were finished at the museum, we headed over to "Checkpoint Charlie" and "The Wall". It was a great day, and like all of our adventures here, will be indelibly burned into our memories!

Checkpoint Charlie: East Germany met West Germany

West Berlin - US Soldier photo.

 
"The 'real' still standing wall that separated
the East from the West - mind blowing history"

  
East Berlin - Soviet Soldier photo.

  
"Quinn and Jean in front of a piece of the Wall"

Kristallnacht: The Beginning


I really love this image (it will probably end up on the front of my new web site) - this was the first plate of the day. It's an 8" x 10" black glass Ambrotype shot with a small Jamin-Darlot (c.1864) lens - I like the "keyhole" effect this lens gives the image.

We visited Mainz, Germany today. It's about 45 minutes to the north of us. I made three wet plate collodion images there of the former synagogue. It was perfect weather and a perfect day for it.

The Germans were very friendly in Mainz. We had a paper ready to handout to them explaining what I was doing. There were a few very positive and encouraging responses; I was surprised. There were a few that stayed and watched as I went through the entire process and saw the final plate coming up in the fix. Really great stuff!

I am very excited about this project now; the results were fantastic today and I look forward to going out again in a few days to make more images. Jean and Summer were outstanding! I love you both! Thank you for all of your help - I couldn't do this crazy thing without you!


The memorial plaque - this plate is exquisite in real life. The details are amazing - especially the stones
and the relief of the old synagogue. This is an 8" x 10" Ambrotype on black glass.

 
Quinn exposes a plate as Summer rolls video.


Here's the setup: Toyota 4Runner and a portable darkroom!

Making & Printing A Wet Plate Collodion Negative

I'm always thinking about how to improve my craft. I've found that teaching about what I do helps me learn a lot about what I do.

Here's a video that Summer shot for me today as I demonstrated how to make a wet plate collodion negative and then P.O.P print. I know people will write me and say, "Why didn't you show the details in how you did this or that..." and I'll respond, "You'll get all of the details when I release my revised book and DVD set in July" - these are only demo videos... I'm just testing the waters and getting feedback.

Anyway, here's the video:

When The Concept Is Bigger Than The Craft

It seems that I've been waiting forever for my portable dark box to arrive (here in Germany). It was shipped on February 5, 2008 from Rochester, New York. You wouldn't think it would take a month, but then again one of the biggest and most annoying things about living here is the APO system and the expense of commercial post (like FedEx and DHL). It's outrageous on both ends.

 

Quinn's darkbox

In hindsight, it's actually been a very good thing. I've been able to gather my thoughts about my approach to working through my Kristallnacht project. At first, I thought I would approach it a stand alone, no interference, straight forward (almost documentary) project.  I simply wanted to photograph the locations I have pre-selected and making 8x10 Black Glass Ambrotypes (wet plate collodion images). That’s not going to happen and, moreover, I don’t want it to happen. You see, I realize that the concept of this project is bigger than the craft of this project. It other words, the idea is much stronger than the images I would or could make of former synagogue sites. It’s a strange problem to have. It’s usually the other way around for an artist; it’s all craft and no concept. Hit a random “fine art photo” site and you’ll see what I mean.

The Mainz Synagogue


Here's my solution: I'm goign to include my portraiture work, landscape work and object work all under the umbrella of the Kristallnacht project. I’ve decided that even though these objects, people or landscape scenes, weren’t (necessarily) here, they all share a common link to either the victims or the perpetrators both in idea and the physical world. And, after all, my message is about the questions surrounding Kristallnacht and ultimately, the Holocaust.