Here's another Peanuts comic that grapples with the subjectivity and definition of art.
Jiang Pengyi is an artist that Jeff Brown recently referred me to for photomontage and juxtoposition of images. Here's what Pengyi says about his work above:
"My photographs of city, still objects and massive skyscrapers reduced to miniature sizes communicate my recurrent themes of excessive urbanization, redevelopment and demolition in the Beijing city."
I came across this in Christopher James' Introduction to his The Book of Alternative Photographic Processes:
"Reality is not as dire as this allegory. True, all the cherished family albums recently burned onto CDs are doomed. All it will take is a decent solar storm, like the one that occurred in 1859, and 17 hours and 40 minutes later it's likely that every hard drive on the receiving end of that solar flare will have instantly become a good doorstop." - Christopher James
While researching with Liz Wells book, Photography: A Critical Introduction, I came across an extraordinary photograph. The above photograph is the "Earliest known daguerrotype of a photographer at work. Jabez Hogg photographs Mr Johnson, c. 1843." The composition, exposure, contrast, focal plane, subject, subject matter, and moment are stunning to me.
Here's a short sketch of a video from a project that I'm currently working on for my Detached Illusion body of work.
After a recent meeting with my current mentor, Ted Kincaid, he was making connections between some current projects I'm working on. He suggested that I use some of same qualities of my A Ply series and subject matter from my Detached Illusion series into a new experiment. Above are some recent images that I produced and am playing with.
Philosophy of Fine Art
Here is some old school knowledge and perspectives coming from Hegel to explain Fine Art from his Division of the Subject:
“It has already been said that the content of art is the Idea, while its form is the configuration of sensuous material. Now art has to harmonize these two sides and bring them into a free reconciled totality. The first point here is the demand that the content which is to come into artistic representation should be in itself qualified for such representation. …The second demand, derived from the first, requires of the content of art that it be not anything abstract in itself, but concrete, though not concrete in the sense in which the sensuous is concrete when it is contrasted with everything spiritual and intellectual and these are taken to be simple and abstract. …Now, thirdly, if a sensuous form and shape is to correspond with a genuine and therefore concrete content, it must likewise be something individual, in itself completely concrete and single. …But since art has the task of presenting the Idea to immediate perception in a sensuous shape and not in the form of thinking and pure spirituality as such, and since this presenting has its value and dignity in the correspondence and unity of both sides, i.e. the Idea and its outward shape, it follows that the loftiness and excellence of art in attaining a reality adequate to its Concept will depend on the degree of inwardness and unit in which Idea and shape appear fused into one” – G.W.F. Hegel (Preziosi 80-81).
"The third sub-division of the fourth stage of pre-art [Symbolic Art] is that in which there is the clearest break between spirit and the realm of the natural or sensuous. At this stage, the spiritual aspect—that which is inner and, as it were, invisible—takes the form of something quite separate and distinct. It is also something finite and limited: an idea or meaning entertained by human beings. The sensuous element is in turn something separate and distinct from the meaning. It has no intrinsic connection to the meaning, but is, as Hegel puts it, “external” to that meaning. The sensuous element—the pictorial or poetic image—is thus connected with the meaning by nothing but the subjective “wit” or imagination of the poet (PKÄ, 95). This occurs, Hegel maintains, in fables, parables, allegories, metaphors and similes."
I came across this artist in a recent newsletter from Photo-Eye. The current exhibit, Solar, is of great interest to me for the form and content. The work of Sharon Harper, especially reminded me of the abstraction in my A Ply series. It's interesting how two different subject matters in two different contexts can be photographed and produce somewhat similar results.
"Sharon Harper uses photography and video to explore perceptions that we cannot experience without the camera. Solar will include a selection of her images of the sun from her project Sun/Moon. Harper's photographs draw on scientific and artistic uses of photography to illuminate existential concerns, embracing photographyʼs contradictory ability to verify empirical evidence and evoke fantastical possibilities.
Sharon Harper received her MFA from The School of Visual Arts, New York. Her work has been exhibited widely and is included in the public and private collections for The Museum of Modern Art, New York, Whitney Museum of American Art, New York, Nelson-Atkins Museum, Kansas City, among others. A new monograph of Harper's work, From Above and Below published by Radius books, will be released September of 2012."
"Intimate, spontaneous street shots, and avant-garde imaginary is the result of this amazing contest. This competition has demostrated a high creativity from artists representing 42 countries, and the jurors of WPGA have selected 37 photographers as Honorable Mentions."
Read more here: