I recently started reading, "Criticizing Photographs: An Introduction to Understanding Images" by Terry Barrett. It's an excellent book, I highly recommend reading it. I've read it once or twice in the past, but it's one of those books that seem to change everytime you read it - you always find new and relevant insight.
Anyway, when I came across Allan Sekula's quote from "Dismantling Modernism" I was stunned. It was almost like I had thought that very thing but couldn't ever get it out (in written word). This quote sums up my theory about art and my purpose for making it. It's an evolution of understanding and it changes over time.
"Suppose we regard art as a mode of human communication, as a discourse anchored in concrete social relations, rather than a mystified, vaporous and ahistorical realm of purely affective expression and experience”.
Allan Sekula, “Dismantling Modernism” (1978)
Oh, and these are my new "Q" cards:
Quinn's new cards.
Montmartre am Main
Every once in a while, when you stop trying so hard to do something, it just shows up without you doing anything. I'm sure the gurus have a name for this kind of thing, I just call it ironic.
For many months, maybe I can even say years now (2 years plus), I've been sending our queries to German Kunstgalerie (Art Galleries) and various German artists that seemed to be interested in photography. All I've ever wanted is to find some kind of community and share/show my work with the German public. Until yesterday, nothing had happened in Germany for me.
Here's the backstory. Two weeks ago, I received an email from a very nice lady named Kathy. Kathy is an American artist that has been living and working Germany for many years. She, through many trials of her own, organized a group of artists to meet in Höscht, Germany to share and show work and mingle with the public. She asked me if I would be interested in attending and making some plates (do a demo/make some work). This was what I had been looking for through all my queries and begging for community - there it was, and she was contacting me. I had put an ad seeking Germans to sit for me for portraits in thelocal.de - Kathy saw the ad and emailed. I'm very thankful she did.
She said, "It's a totally open gathering of artists painting en plein aire along the riverside where a lot of Sunday strollers and bicyclers pass by. The artists attract a lot of attention and feedback." Her idea is brilliant and I want to support it as much as I can. I found this on a Frankfurt blog about Montmarte am Main:
The first "artspace" was probably back when Montmartre in Paris became the place for mostly unrecognized artists. Both Montmartre and Hyde Park were destined to symbolize the free artist together a group of like-minded but at the time, scorned artists. Now, Kathleen Schaefer is trying to start the premise of those two places in Germany where such a tradition was never tried out. It´s for all artists, especially the ones who are barred from galleries but who have earned through their talent the right to have their art be seen in public. At the same time an appeal is made to those "arrived" artists to support, by their presence at Montmartre am Main, the idea that the work of all artists the right to be seen. And, let's not forget the 99% of the population that does not feel comfortable entering an art gallery in the first place - they also have the right to see art in a natural and casual manner - just like at Montmartre am Main!
I totally agree. Here's her website.
Trudy, an artist set up next to me, did a wonderful sketch of me, I'll post it when can scan it. It was just a lot of fun to meet people, talk about art and make photographs.
Update: Here's the sketch she made of me - wonderful!
Quinn at Montmarre am Main - Frankfurt, Germany
Here are some of the portraits I made yesterday. I will use some of them in my project.
Helmut, a German painter.
Karin, a German painter.
Sandra, from Frankfurt, Germany
Trudy, a German artist.
Gabi, from Frankfurt, Germany
My Teaching Philosophy: It’s About Questions, Not Answers
I'm reminded daily of how much I don't know. Or, I question daily what I think I do know. I’ve often thought about doing some in-depth studying on epistemology. I think it’s a fascinating topic. Knowledge, how we know what we know, shapes our world view and accordingly dictates how we act and live.
These ideas seem to put a lot of responsibility on people who have a lot of influence. People like teachers, preachers, politicians and even pop-stars. I’m constantly being swayed by the power and potential "difference-making" of teaching, maybe even preaching. It’s something in me, and I’m not sure what it is. Maybe it’s just my ego, my need for attention, but I doubt it. It feels much more powerful than that. Sometimes, it feels like the same emotion of warning people of danger. Urgency comes to mind. Other times, it’s like the knowledge of revelation. Knowing something that needs to be said or taught and passing it on. In other words, it feels like I’m a participant in life, not a spectator. And I’m trying to do my part in the chain of human progression, one tiny word (or idea, thought, action) at a time to pull people off of the bleachers and into the game.
We talk a lot about the “what” in life but rarely the "why". The greatest gift education gave me was to question. Not the kind of questioning that you may relate to authority. Questioning like, “What is my purpose for taking space and sucking oxygen?” and one that has been rolling around in my head for a couple of years now, “Why did the Holocaust happen?” There aren’t any answers to these questions, not definitive anyway. However, I think people need to talk about these kinds of things - you know get ideas and philosophies out there for people to think about. We are in wars and have all kinds of problems because we don't ask or offer questions, we always think we know the answers.
I was fortunate to recently meet, and quickly befriend Elke. She is a cleaning lady in my building where I work. She asked if I would make her portrait. I gladly said, "Ja, Klar". She spent a couple of hours with us today making photographs, drinking espresso and talking about our lives. Although I'll use her image in my series about the German past (and she knows this), she is a very kind and loving person. I don't meet many Germans like Elke. Vielen dank für alles Elke.
Elke Wössner Putzfrau - Viernheim, Deutschland 23.08.08
Change Is Good, We Need It
I enjoy change. I don’t fear it or loathe it like some people do. When you get too comfortable, bad things start to happen. Sometimes, the undesirable things are happening and you don’t even know it!
My belief is that you have two ways to move in life; you either “evolve” or “devolve” - there’s no sitting on the fence. If you’re “evolving” or progressing, you will be acutely present to your accomplishments. If you’re “devolving” you may not be aware of it at all. Distractions or superficial things seem to get in the way. They prevent you from doing what you really want or need to be doing.
That’s my deep philosophical introduction to my move to a new server and new web site. It’s definitely progress for me. I hope you like it.
Some Things That I Can’t Stop Thinking About… Plus A New Portrait
Call It Whatever You Want, Just Make Sure You Lead By Example
There are a couple of things that have really been bothering me lately. Those things that roll around in your head and come back to bug you two or three times a day... you know? Things that make you angry, things that make you want to yell, "What the hell is wrong with you? Don't you get it!?!" really loud.
The first is in reference to understanding art. I will agree (completely) that there is no definitive definition of art. I believe there are all kinds of "art" commercial art, fine art, outsider art, arts and crafts art, etc. And I also believe there's a lot of bad art, loads of mediocre art and very little good art. With that said, there has to be some kind of guideline, something that allows one to distinguish between good, bad and mediocre art (in my mind it's all art if a human being created it). This is where I have a strong opinion about how to do that.
"Art for art's sake" is dead to me. I've made enough pretty pictures for no reason other than to have people say those are pretty, that's cool, can I buy one? Making pretty pictures or emulating someone like Ansel Adams, is a waste of time. It's a waste of the photographer's time and the viewer's time. Why? It's artistic masturbation. It may feel good, but it means nothing. What disturbs me the most, is that this stuff sells. When something sells, it's immediately seen as "successful". You cannot get farther from the truth, but we all believe it.
This type of art is usually confused with fine art. It's not, it's called commercial art.
COMMERCIAL ARTIST:
- If you make pictures to sell them (you know, make money/profit), you are a commercial artist.
- If your pictures have no context (other than sales/ego), you're a commercial artist .
- If your pictures have no intention (other than sales/ego), you're a commercial artist.
- If your pictures have no intellectual value (you've done no intellectual work - historical, social, political, etc.), you're a commercial artist.
- If you, "do nudes", you're most likely a commercial artist - porn, erotica, etc. (or something like it).
- If you can't talk about your work, dare I say "defend" your work, you're a commercial artist.
- If you're using a large format camera or using an "alt" process without context or intention, you're probably a comerical aritst (and craftsman if the images are technically sound).
This is not an argument for the title of "artist", this is an argument about distinguishing what kind of art you are looking at (or making) and if it's good, bad or mediocre. I'm ranting about this because it makes it difficult for me to break down the walls of what my work is "supposed" to look like or be. And if it doesn't fit into that "knowable, familar commercial box", I get no time with the viewer. It saddens me that most of the masses can't, or won't, invest the time and energy to "get" my work and the "art world" thinks it's shallow and pedantic (or at least that's the vibe I get).
The other day I received an email from LensWork publishing. They send out podcasts of Brooks Jensen ranting about all things photography. Some of them are okay. Most are painfully shallow and pedantic (snap!), but I still listen. The one that was sent out the other day was called, "Idea and Artifact'. He spoke like this was a new concept to him in photography. In other words, he was saying, "Does your work just look good or does it have meaning beyond the superficial - do you ever think about what you're photographing in profound ways?" Concept and craft, syntax and vocabulary, etc. etc. This spun me up big time. Another paraphrase, "Hey, we might want to think about what we photograph in a meaningful way". He mentions Kendrick's Tintypes and how gorgeous they are to see in real life (this is an example of 'Artifact') - he has no clue about why artist's, such as myself, choose the craft and it goes way beyond the "beauty" of the image. It's not a balance of idea and artifact Brook, it's a transparent blending of the two. If you lack artifact, you're a theorist, if you lack theory, concept, or as you call it, idea, you're a commercial artist. Do your projects have intellectual meaning? Do you have statements, or can you give context (beyond the technical, modernist babble) about your projects? Because what I see out there today makes me want to yell at the top of my lungs, "What the hell is wrong with you? Don't you get it!?!"
Germany 1933 - 1945: What About the Ordinary Germans?
The other thing that has really been gnawing on me (which is nothing new) is the silence and indifference of history as it relates to the reality of where I live.
I occasionally pickup Daniel Johan Goldhagen's book, "Hitler's Willing Executioners Ordinary Germans and the Holocaust" and read parts of it. I read the book about 18 months ago, but it's loaded with information and it's easy to forget the details. The details are what Goldhagen talks about, the overlooked or rarely addressed details. The point of view that says, "Hey, what about the ordinary Germans, what were they doing during all of this?" - a great question. And, after moving to Germany over two years ago, there is rarely a day that goes by where I don't ask that question myself.
I've devoted my artistic life to making work about this topic. The project is loosely based on "Kristallnacht" only because that was the "green light" for the Germans to carry out the Holocaust. I'm amazed at the level of hate and anger that the Germans felt toward their own people (other than they were Jewish). It's like chopping off your own hands or even your head! I can't understand it in any context and that's what people that I talk to here want me to do. They want me to understand that the ordinary German people were "brainwashed" and that their own lives were on the line if they didn't hate and shun the Jews. Really? What about the towns and villages boasting that they were "judenrein" (free of Jews). Or the thousands, or tens of thousands, of ordinary Germans that particiapted in "Kristallnacht"? Or the story about the Jewish woman in Stuttgart trying to get a ride on the bus? (read the book - page 103). I'm dubious that 60-70 million Germans were all brainwashed into doing these kinds of things. I agree with the premise of Goldhagen's book; a lot of ordinary Germans wanted to do those things. Why can't we have that discussion?
The silence is what bothers me. The indifference is palpable and painful here. I can't "turn it off", I'm aware, or present to it every time I see a smoke stack or watch a German insolently ignore another human being. The words of Dr. Martin Luther King Jr. were never so true. He said, "We will remember not the words of our enemies, but the silence of our friends."
Here's a portrait that I made Friday evening - August 1, 2008. Her name is Beatrice. She is from (near) Dresden, Germany. Her great-grandfather was a hardcore Nazi party member (officer). It was an interesting experience to talk with her and make her portrait.
Beatrice Wank - August 1, 2008 Viernheim, Germany
Time Goes So Fast… Make It Count!
Well, here we are beginning our third (read: 3rd) year in Germany. I can't believe it. Where does the time go? It must have something to do with the knowledge that our time is finite here. Wouldn't that apply to all human beings in relation to life? I digress.
Summer and I have been working hard on my video series called, "The Wet Plate Collodion Workshop DVD Series". I'm excited by all of this. I'll close this chapter of my life out with two new books, two DVDs, and a new web site. I'm going to try to launch, publish, produce all of those by the end of the year. All of the proceeds from the sales of these books and DVDs will go into an account for Summer. She will be in college in a couple of years and we thought this would be a great way to get her some additional cash/tuition/car/etc. money. She is doing all of the editing on the DVDs and proof-reading/editing the books for me. She's working hard and earning her money.
I have two workshops planned for September and October. One in Vienna, Austria and another in The Netherlands. Those are confirmed. I also have one tentative for Berlin in September and one hanging in October for Mallorca, Spain (an island west of Barcelona). A lot of stuff and a lot of fun! That's how I like to roll ;-) here's a frame exported from the video:
A screenshot from one of the videos in the series.
Next year, 2009, will be devoted completely to my personal work (other than a possible workshop in Finland). I'll be finished with all of the writing, teaching, and video making and will devote myself completely to my project. I still spend a fair amount of time working on my "Kristallnacht" project. It's difficult here and things move very, very slow. I do have four images of the project showing in San Francisco right now. They are in a show called, "Into the Ether: Contemporary Collodion Work" at RayKo Gallery. I hear the crowd was large and impressed by the work. That makes me happy. However, the German people are the ones that need to see this work. And, moreover, think about it. I'm working on it.
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.
Summer Sings National Anthems
Summer was asked to sing at the Mannheim High School graduation ceremony Saturday (June 7, 2008).
She did a wonderful job! She sang both the German National Anthem (without the "Deutschland Uber Alles" part) and the American National Anthem.
Here's a video (not such a great video, it was shot from my still camera - but you get the point) - a big crowd and Summer was on the GIANT screen - great job Sweetie! We love you!!!
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.