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
The Dutch Collodionista Group - 8"x10" Black Glass Ambrotype - Veghel, The Netherlands 
"Francie" - a demonstration portrait. 
Quinn talks about "salted Collodion" - the introduction to chemistry. 
Quinn lectures on the fundamentals of the Wet Plate Collodion process. 
Let's talk about lenses - Petzvals, Rapid Rectilinear, and everything in between. 
The students getting started - let the Collodion flow! 
Geert-Jan pulls Jereon from the cyanide! 
Cor's self-portrait.
Quinn looking for help from above!
Francie's portrait of Quinn - the Thinker (and very approachable)
Coming through the veil - 
Heating and varnishing plates. 
One of the most interesting plates of the workshop - Geert-Jan waited a bit too long before droping this plate in the silver bath. 
The Thinker gets a coat of varnish. 
All setup to open "the Show" Friday night. 
Having a coffee in the breakroom. 
Draining varnish from "The Thinker" - 
Some photographs from Rudd, a workshop student.
"Let's talk about this plate". 
Using God's light making portraits.
This was the view from our room. The hotel we stayed in was amazing! It was in a little village called, Boerdonk, The Netherlands. The owners were very friendly and had a wonderful little dog called Lennon, as in John Lennon. 
