KENNETH CAPPELLO

ACID DROP

Curated by Tim Barber

A Milk Gallery Project

Opening reception: 7 – 10 PM, June 2nd

Exhibition dates: June 2nd – 13th

450 WEST 15TH STREET

http://www.aperture.org/tinyvices/

©Mark McKnight

©Julia Burlingham

INFO
tinyvices.com
tinyvices on LPV – Previous Editions

Ian Aleksander Adams wrote a thoughtful follow up that was much more nuanced and articulate than what I said, and Matthew Crowther made an insightul comment about the shortcomings of the way I defined ‘fine art’ world.

I hope that ambition and the photographic lifestyle are not mutually exclusive, I do have fine art ambitions but I am not willing to compromise on my work. I think the key might be to realize that “The Art World” is not a monolithic thing, and there are ways to find a space in the world of fine art that fits what you want to do. It just might be more difficult if you aren’t into doing whatever is in fashion at a particular time. I have been meeting more and more young artists that are sick of the emphasis on ideas over feelings, theory over production, academics over experience that so pervades the art school and critical cultures, and that gives me hope. (italics, bold mine) – Matthew Crowther

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“But at the same time, you do get the feeling the whole reviewing thing is a bit of a Ponzi scheme, a low-key pyramid industry which is part of the self-replicating mass Mayes refers to. And you do wonder about the reviewers and how this reflects back on them, whether at some point the charging for access to opinion will start seeming more of a money grubbing scam for something that once was, and perhaps still should be, provided for free. Perhaps it is less about providing a leg-up for people that can afford it than about closing off access to people who can’t afford.”

Wonderfully stated.  With the rise of social communities on the web focussed on photography, why is it necessary to pay for opinions?  The majority of the professional’s who make up the photography industry don’t actively participate in online photography communties, and if they do, it’s only for marketing purposes.  What they don’t seem to realize is that the very people who they’re trying to reach in the real world, are right here on the web.  This is where the audience is at. Just think if the Magnum web community were as active and engaging as some of the Flick communtiesr?  Think of the debates?  The wealth of knowledge that could be shared amongst the inexperienced and those that have become successful.  It’s a new world and there are certainly people like David Alan Harvey who have jumped in head first and blazed a new path.  I just wish more photogapher’s would follow his lead and treat their audience and fans less like consumers and more like a community of peers and friends.

All Photography looks alike: Stephen Mayes and Self-replicating Pictures [Colin Pantall's Blog]

“The photography-integrated-into-life method is decidedly unfashionable. The huge majority of photographers I saw at Photolucida were more project oriented. The prevailing model is to develop a concept of something that has photographic potential —often of personal interest but not always— and then methodically take photographs of that project until a body of work is created, with the ultimate goal of showing the work at Photolucida or similar venue.

……

I think photographs should come first.  Arrange them in projects later if you must or else leave them as is in a big loose stack. Either way, photography that is integral to life seems to me to be the strongest because it comes from purest motivation: the very simple need to translate the world into photographs. Of course I am biased because this how I approach my own work, but it’s what I like to see in others too.” -  Blake Andrews

This is one of the more salient observations I’ve come across in awhile (thanks Blake!), but perhaps that’s because it articulates a feeling that’s been with me for sometime.  And really, if there were ever to be an LPV type statement of principles, this idea would have to be in there somewhere.  What I sense brewing, and has been brewing for a few years now (maybe more?) is some tension between the fine art photography establishment and the new wave vernacular movement that has grown in communities on Flickr and other parts of the web.

Put simply, I don’t think the fine art photography establishment has much respect for this photographic philosophy or method (look at the general derision toward street photography and family photography for example).  I know plenty of studious, intelligent photographers out there who treat photography as a way of life  and don’t have any sort of fine art ambition.

Maybe that’s what it comes down to: ambition.  I have this feeling, one I certainly can’t prove scientifically, but somehow I think having an ambition to make it in the fine art world interferes with your photographic intuition to some degree.  There’s a danger that the conceptual part of your brain and eye will smother the intuitive part.  Is there a way to find a balance?  Of course.  Do I have any idea how? Nope, but I do think mixing the vernacular, “integrated-into-life method” with the project method can lead to some very exciting photography.  But will the fine art world pay attention?

Shoot first, aske questions later [B:]

© stasha.stasha

Edited by Julien Boast & Michael Dennington of High and Low

Contributors: Jay Romano , stasha.stasha , Keith Young, Luke Byrne , Harry Mitchell, Traci Matlock & Ashley MacLean , Jeff Hammond , Todd Fisher , Paul Brunner , Samuel Bedford , Michael Ronquillo , Tim Steer , Einars Odinecs

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