I should have been on the phone continuing to make calls to prospective clients. I should have been working on the two book projects I have in front of me. I should have been swimming or running. But instead I was writing a piece about a $499 camera that will be obsolete in a few months and lost to nearly everyone’s memory in a year.
For a little while I was exhausted. Tumblr, Facebook, Flickr and so on. … I felt like I was drowning in images. As a consequence, even work outside of that digital stream – the work I was seeing in books and exhibitions – started looking all of the same. More important, my own pictures started feeling the same. I was burned out. So I started experimenting. I made little videos and used disposable cameras. I played. I stopped making big, formal, large-format pictures.
If you’ve read any of my travelogue/art criticism articles on APE, you’re aware of my willingness to speak frankly and critically about photography on the wall. This feature, though, is a little different. Our goal is to highlight some cool and interesting books that have been recently released out into the wild. So consider anything you see below to be recommended for purchase.
Ed Panar’s “Same Difference” was recently released by Gottlund Verlag, in an edition of 100. It’s an orange and brown colored hardcover monograph, and the color scheme evokes a fall day in the Pocono mountains. (I believe the publisher and artist both have ties to PA.) I probably have a soft spot for this work, given that I shot many a similar image when I lived in San Francisco, back in the day. (Cracked sidewalks, geometric patterns on a Mission St Victorian.) It’s a long collection of seemingly random moments, shot in the seemingly random travels of the 21st Century hipster artist. Individually, they give the sense that anyone could have grabbed a shot here or there after a long night of boozing, or a long day of wandering around the neighborhood. (When you don’t have a real job.) Collectively, they draw one’s attention to the infinite varieties of abstraction and emotion embedded in the every day, and resonate that endorphin-rich feeling we all get, occasionally, when we feel like we’re living in a Wim Wenders movie. Each double-paged spread becomes a diptych, and the juxtapositions are thoughtful. “Same Difference” is a great example of why the book can become the work of art, as opposed to the individual image.
Bottom line: Well-seen
Rinko Kawauchi’s “Illuminance” is a hardcover monograph, by Aperture, that manages to glow in a manner suggested by the title. The spine is separated from the book, which is a little quirky, but the inside of the cover is more easily seen this way, and it introduces the trippy, day-glow, space-age palette that one finds within the plates. Nice touch. Not unlike Mr. Panar’s aforementioned book, “Illuminance” is a collection of seemingly disconnected images. But it differs distinctly, as these images are anything but random and dry. Page after page, the photographs scream “art,” with light, and color, dynamic compositions, and the impact of surprise. The kaleidoscopic pinks and purples, black cats and costume jewelry, desert wanderers and dead bugs, and of course the requisite light cascading through cherry blossoms. Ultimately, she builds a cohesive vision through the narrative. Symbols begin to repeat, and colors emphasize their meaning. The folks at photo-eye told me that Ms. Kawauchi has a huge following and her books always sell well. I can understand why.
Bottom line: Gorgeous.
Like the fall bible of a fashion magazine, “Der Rote Bulli”, published by NRW-Forum Düsseldorf, takes its time getting to the good stuff. Plates begin on page 93, and many of you will probably not bother reading the voluminous text that precedes it. I believe the gist is that the wave of German photography that took over the photo world found it’s inspiration in the work of Stephen Shore and his fellow “New Topo” colleagues. I’m guessing we already knew that. But what the sturdy hardcover offering lacks in innovation, it more than makes up with a terrific collection of high-level reproductions of so much important work. All the usual suspects are well-represented (Shore, the Bechers, Ruff, Struth, Gursky, Höfer, Esser), but there are some nice discoveries as well. Andi Brenner’s portraits of package-hugging, speedo-wearing swimmers set against the tackiest 70’s wallpaper you’ve ever seen…awesome. I’d say this is a must-have for anyone who loves the German aesthetic, (replete with ironic representations of the American West.)
Bottom line: Classic photographs, well-constructed
Full Disclosure: Books and scans were provided by Photo-Eye in exchange for links back for purchase. Please support Photo-Eye if you find this new feature useful.
For the past year Art Producer Jenny Barnes has been cataloging her favorite photographers on her posterous site (blog) http://jenren.com. A reader sent it to me recently and I immediately wanted to post it, because I knew other AB’s, PE’s, AD’s etc. would not only find it useful, but possibly they would be inspired to start their own. I’m surprised more of these don’t exist, blogs make it easy to categorize and find things. I decided to ask Jenny a couple questions about it.
APE: Tell me a little bit about yourself?
Jennifer: I hold a BFA in media arts from the Minneapolis College of Art and Design and have also studied graphic design. I worked for many years in the commercial photography industry and later moved agency side. I currently work full-time at an advertising agency as an art producer. I live outside Minneapolis with my husband, three kids and two dogs.
Tell me why you started the project?
Research is my favorite part of working as an art producer. There are so many talented artists and when the right job comes up, I want to be able to find them. Over the years I focused on bookmarks, printed promos, picture archives and then a database that held pictures. The database was too big and kept crashing, so I had to delete the images. This is the best system I can pull together at this time to keep track of the artists. The categories and the quick view into the artist portfolio work pretty well. Now, I just need to keep adding artist’s work to the site.
Talk to me about categorizing photographers, how important is it that
you can find a category for someone so you can recall them later?
Categories are extremely important. They are a quick way to organize a large body of work and a large number of artists. It’s subjective and not an exact science. Having the artist defined in a category helps to find them when a looking to hire an artist for assignment. Without categories, I’d never be able to sort through the thousands of artists in my database.
I’m also curious about the format. A lot of effort goes into logos,
color palette and design for photographers websites, but you’ve
completely stripped them down to just pictures. Is there a reason for
That’s a fantastic question. I’ve never thought about it from that perspective. You’re right, the choices made regarding a company logo; the look and function of the artist’s site are major considerations. The decisions made ultimately reflect upon the work which can have a positive, neutral or a negative impact on the imagery.
When looking for talent, a buyer can review hundreds of websites. All the differences can be exhausting. Not only are you processing the images, you are also trying to extract them from the context in order to evaluate the work. In the end the images need to be the focus.
What I have learned while working on the site is how nice it is to see the subtleties when the images stand alone. Having a similar format for each post is comfortable. I hope visitors to the site feel the same.
What’s the ultimate goal with the site?
To create a space dedicated to inspiring work. Over time, I hope to build a useful research tool where buyers and artists can find inspiration.
Art buyers are very interested in seeing personal work and learning as much about who the photographer is. This is directly related to how much more we share more of who we are on blogs and social media, and particular to photographers—where they can discuss their inspirations, their process and stories behind their shoots. Art buyers recognize that this helps them know more about what a photographer would bring to a job and what they would be like to work with. Some art buyers have even said they are very open to being ‘friended’ by photographers they have a relationship with.
Seems that the Gagosian Gallery of Cariou v. Prince fame can’t stay away from artists using photography to make their art. This time it’s Bob Dylan who takes photographs, repaints them and then claims they are “firsthand depictions of people, street scenes, architecture and landscape.” How about secondhand Bob:
You can’t always have the camera at your side, or up to your face – part of photography is missing things. That’s a very difficult lesson to learn as a photographer, our pursuit is dedicated to controlling and stopping time. I remember hearing a well known photographer that I respected say that “you miss photos all the time, and that’s part of photography” – it came as a real relief. We’re human, the pursuit should be rooted in pleasure and sometimes it’s good to just acknowledge that you saw the moment, framed it and captured it and stored it on your personal harddrive of neural networking.
via Tim Soter… blog..
( click images to make bigger )
Harvard Business Review
Creative Director: James de Vries
Art Director: Karen Player
Photographer:Andrew KistNote: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.
Heidi: It looks like he is on a ledge, was he reluctant to hop up on top of it?
Andrew: He was not even remotely reluctant. He’s pretty athletic and I think he had been photographed so many times that he enjoyed the prospect of doing something a little different.
How much time did you have with him?
He was very accommodating and gave us 3 or 4 hours but I didn’t need all of that time. I think he realizes that if you give yourself to the process instead of fighting it, things just come out better for everyone involved, and it takes less time.
Did he have a variety of expressions? He looks rather serious
HBR chose this particular frame, but he was really lively and friendly. IT was actually difficult to get a frame where he didn’t look friendly and affable.
Typically business men are hard to shoot, what was the most interesting aspect about the subject? Did the conversation flow?
I’ve been shooting portraits for magazines since 1998, a good number of them, portraits of business men and I can safely say I’ve never had a more conversational and really fascinating subject. I had to keep putting the camera down to talk because the conversation was more interesting than the pictures. He has written a number of books and is kind of like the Malcom Gladwell of business and efficiency, not typically very interesting subjects, but he is interested in everything and was fascinating to talk to.
Jonathan: For good or for bad, I think it’s helpful to start at the beginning. I haven’t yet gotten into the Tarantino-style, Reservoir Dogs-type narrative. So how did you get started? How did your photography practice begin?
Jesse: I got started as a skateboard photographer in Tucson, Arizona. I grew up in Connecticut, and then I moved out to Tucson to get away from the East Coast in my early 20’s. I took a photo class at a community college because it sounded fun and I needed to fill credits. Then I piggy-backed that onto my skateboard lifestyle, which was something that I’d been doing for ten years or so at least. It was a natural progression to start documenting the lifestyle, the social things that were happening with my friends, and the action shots, us hanging out, all that stuff.
So how did you end up in Tucson, of all the places you could go?
With the skateboard community, it’s so tight, everyone sticks together. So one guy followed the first guy, I followed the next guy, then a couple of guys followed me, and a couple of guys followed them. Before we knew it, there were a lot of Connecticut transplants in Tucson. I took a class, and quickly found it was something that I was interested in. I’d always been into art, but nothing so formal as a college course. That was it. I was hooked immediately, transferred to U of A, where I found a photo community and a whole different world. I got really serious about it. I was a bit older already, when I started to attend University of Arizona. I was probably 26 or 27, so I was older than the average undergrad BFA student.
Did they call you Grandpa Jesse?
No. My youthful demeanor kept that a secret, I guess.
Really? Did everybody make you buy them beer? That’s the obvious question.
No laws were broken.
I got a late start on a lot of things. I had the 15 year plan for college. It took a long time for me to get my act together. Once I found photography, I had a really good support system with my teachers at the U of A.
Do you want to give any shout outs right here?
Sure. Joe Labate and Ken Shorr.
These were your professors?
Yeah, they were really encouraging. And they could tell I was really serious about it. I had found something in my life, finally. Everybody’s looking for something that’s going to make them happy, something to pursue, whether it’s biology or medicine or law. Mine just so happened to be photography, and I found it in this sort of flukey way. They could tell that I was very serious, and I decided in my senior year that I was ready to go to graduate school. I had just started getting serious a couple of years earlier, and since I was a transfer student, I knew that it wasn’t the time to take a break and think about grad school, but to really seize it. And I just went for it, and they were totally supportive and helped me out. That led me back East to RISD.
And that’s where you got an MFA?
I bet you spend a lot of time on blogs and the Flak Photo Network, and I know I do. I feel like, on a regular basis, you see photographers asking questions like, “Should I get an MFA? What’s the point? What am I going to get out of it? Is it worth the money?” Things like that. I went to Pratt and you went to RISD. We both did get the degree. We both started late. I mean, listening to your background, it’s pretty similar to mine. Especially the East Coast moving West. You went from Connecticut to Arizona, I went Jersey to New Mexico. Not that different. So if someone asked you point blank, “Should I get an MFA? Is it worth the money? What will I get out of it?” what would your answer be?
People go to graduate school for various reasons, but two of them stand out to me. One is because they want to be an artist. And the other is because they want to be a teacher. In my case, I always wanted to be a visual artist. Teaching wasn’t even something that I’d considered, or was aware of, really, when I was applying to grad schools. For me, it was all about visual communication, and pushing that further. If you have an inclination to take a chunk of your life and a chunk of your money…I think of graduate school as a business decision. It was the first major business decision that I made. It’s so incredibly expensive in terms of finances and emotion and time commitment. If you’re ready to make that decision, then graduate school can be incredibly beneficial. It gives you a time to focus on just your artwork, where you don’t have to worry, (hopefully) about the other things in life, like having a job to pay the bills. It just depends on how you set up your system when you get to graduate school.
I knew that I needed time to work on a project. Similar to what you probably experienced, relocating from the East Coast to the West Coast is quite the culture shock. So I didn’t even know what I was getting myself into, relocating back home, to undertake a new life, with a goal of becoming a photographer. Everything I knew about photography was based in the desert of Tucson, so when I came home it was a little bit risky. Getting back to your question, “What do you get out of it?”, I think one can spend a serious chunk of time dedicated to a project, where there are no distractions. Part of what you’ll get is working in a very tight, serious community of professors and peers. You learn from other photographers, who hopefully have the same level of seriousness that you have. That’s one of the very few places where you can ever do something like that. It doesn’t happen so much in undergrad, because people are distracted, there’s a lot more going on. I think graduate school is serious business.
Do you need a graduate degree to become a good photographer? No. To be successful, or famous? Not necessarily. I certainly think it can help in many ways. It makes you a better photographer, a smarter individual, more worldly, more experienced. So all of those things will help you in your life, and your photo career.
So is it safe to say, you don’t think you’d be the artist you are or have the career you’re having if you hadn’t taken the time to get the degree?
In my case, absolutely not. Going to graduate school was one of the best decisions I ever made.
I would say the same thing. And am I right that you teach at RISD?
I want to get back to that in a second. When I go back and look, so many of the people that went to school with me are now not practicing artists, that I’m aware of. It seems like it’s an interesting conundrum. It costs so much money to get these degrees, and they can be a pathway. But some times, I wonder what happens to people who invest all that time and energy, and then go on to do something else. What’s your take on that?
Most of my friends, at this point, are either high school friends, skateboarder buddies from the past, or people I met in grad school. The majority of them didn’t continue down this path. There are so many elements involved. Some people can’t hang with how tough it is. It’s incredibly hard to keep that self-promotion wheel spinning non-stop. Not to mention coming up with interesting and meaningful work. Getting into grad school is one part of it. Getting out of grad school is the second part. Maintaining that would be a third part. Not everybody’s cut out for it. A lot of people still work in the photo industry or arts industry in some fashion. I’m not sure exactly what happens, but life takes over. Once you get out of the proverbial nest of graduate school, it’s a lot tougher to make your way through it when you’re in reality. Let’s be honest. When you’re in this cushy situation in graduate school, where you don’t have to think about real life, I didn’t have kids at the time. I had a wife, and she’s very supportive, but we didn’t have a mortgage, I didn’t have two car payments. This industry does not allow an easy segue from grad school into success, whatever success means. Shooting jobs? Having shows? Coming up with ideas? Something as simple as having a critique of your work just immediately disappears. Having that structured support system disappears too.
I want to come back to this idea of real life, and reality, because it’s an interesting through line in your artwork. But while we’re on the subject of RISD, what classes do you teach?
I only teach one class at RISD. My schedule is kind of hectic, so I’ve never really been a serious multi-course adjunct professor. I teach “Introduction to Photography for Non-Majors,” which is a really amazing course, because I’m teaching photography to people who are not going to be photographers. Architects, painters, lots of students from Brown University.
So you’ve got to be focusing on visual communication as much as anything?
Exactly. Why photography matters. What can you say with a photograph. Why is photography important?
Dude, you just opened it up. There it is. There’s my next question. Why is photography important?
We have this final project, it’s called “What’s important to you?” What I try to get across to them, when they leave my class, (beyond black and white analog skills for developing and printing film and a little bit of digital input) is understanding that the world is a dynamic and amazing place. Everybody’s story is important and that people care about each other’s stories. So what I try to stress is that what’s important to you is also important to me. I try to focus on having them figure out a way to share their personal interest, and things that are important to them, in a dynamic way to the world. Hopefully they’ll leave the class being a better architect, or a better language studies student because they can see how visual culture and photography help make the world go around. It helps them get their message across, whatever their message is, in a smarter, better, more visual way.
Cool. As far as I understand it, you shoot commercially, editorially, you shoot as a fine artist, and you teach. That, to me, sounds like the 21st Century Hustle. That’s it. It’s a little bit of everything, shake it up, and hopefully a few things are going to pop at any given time. How do you get it all done? How do you keep the balance?
I have to say, that has always been my end goal. I think that’s not true for a lot of people in the art world. They don’t want to shoot commercially. Obviously, a lot of commercial photographers aren’t interested in the gallery world. I’ve always felt that there’s been such an overlap, in terms of my photographic world, my married family life, what I like to do in my free time, what I’m interested in. All of those things overlap. My interest in academics. RISD in particular. All those things, for me, were always related. So I approached my career, even early on, from the standpoint that this is what I wanted to make happen. I wanted to have a gallery. I wanted to have a commercial agent and shoot cool jobs that related to my artwork. And then I wanted to teach a little bit to stay tapped into that academic world. I agree with you 100% that it seems to be the 21st Century Hustle, as you put it. I like that. Ultimately, it’s a really difficult balancing act. Inevitably, one takes precedence over the others.
Is that how it works for you? Does your commercial work make up the bulk of your income? Is it broken down into thirds? You mentioned two kids, two car payments. Let’s be honest. You’re living on the East Coast. That adds up. So how does it work?
Sure. Well, I will say I have a very awesome, supportive wife who has a regular 9-5 job. Without her, I don’t know if this would be possible, this freelance existence. In terms of breakdown for finances, I would say that commercial jobs make up most of my income. I sell some work through my galleries, and then RISD pays my teaching salary for one course. Which isn’t much across the board across the country. Just to be clear, I teach because I love it, not because of finances. I would do it for free if I had to, because it’s just that enriching to me. And I schedule enough time out for teaching because it adds a lot for me, and I’m giving back to the community. I think the biggest struggle, inevitably, in doing something like this, is balancing the schedule. The schedule gets really tricky. You need to have availability for commercial assignments, which means you could fly out the next morning. And then you have to be accountable to teach your class, every Monday, when you’re supposed to be there at 1pm. It can get a little crazy, but I think where there’s a will there’s a way. So for me, it’s a combination of financial reasons, but also passion that makes me keep this crazy freelance thing going.
Did your experience as a fine artist help enable to you make the jump into the commercial world?
Yes. As you go through your career and your life, as a photographer, I keep going back to this, but it’s a business thing. I think a lot of people don’t approach it from the perspective of “This is serious business.” Even your art career. Sure, you’re out in the middle of the woods, photographing dogs running around, or whatever it is you’re doing, but when you get back to the studio, it’s a business. I think you have to be smart about certain things. And approach them from certain angles where you can benefit the best. I knew that I wanted to be serious about commercial photography, and I felt that my work had enough of an overlap into the commercial market, and modern pop culture, that I thought I could do pretty well in terms of editorial and advertising photography. So I was really aggressive finding an agent. When I finally reached the goal of getting acquired by a New York gallery and having a solo show, I used that as a launching pad to find a commercial agent. This is just something that I thought was common sense. You’re having your first exhibition. This is your first foray into the real art world in New York City. Why not try to use that to catapult yourself in this other part of your career? It worked out, luckily for me. When I called and emailed people, they actually responded. Would that have happened if I hadn’t started the conversation by saying that I was having an exhibition in Chelsea? Maybe not. I think that’s just the reality of it.
That’s in the summer of 2010. You had a solo show for your project “Intertidal” at ClampArt. Coincidentally, I happened to be in New York that night and had the chance to come check it out. The place was thumping. So you were very strategic in the way you tried to leverage the exhibition as an opportunity to market yourself in the commercial world. I think that’s pretty interesting.
Yeah, I knew that this was a moment that I needed to capitalize on. I just knew, for me, that it was the first time that I thought it made sense to approach so and so and to try to make the most of my commercial potential, because of the gallery. And I found that I got a much better response than I actually anticipated. Due in part, absolutely, to having this exhibition. All of a sudden I had options.
Did you, in the end, benefit more through commercial connections through the show, or through selling prints in the show. Let’s talk about that. People want shows. That’s a given. But I think in 2011, people are starting to ask questions about production costs, and framing, and can I make my investment back? So it sounds like this is a great thing to know.
Yeah, sure. Both, maybe a bit more on the commercial end. But it’s a complicated question.
I know that. Look, to me it seemed like a positive way to ask what might have been a negative question. I can ask you “Did you make your money back from your show,” and you’re going to answer honestly or not. But before we even get there, you’re talking about the fact that you had a show and that got you work. So you’re telling us that having the experience of the big solo show in Chelsea automatically had a huge impact on your career. So it becomes less about feeling the pressure to sell the work off the wall. Is that a fair assumption?
The real question is, was it a worthwhile investment? Absolutely. I wouldn’t say that it had an immediate massive impact; it’s a building process. The thing that shocked me most about my career, that continues to shock me, is that you set these milestones for yourself. I’ve got to get a gallery in Chelsea. I have to get a book deal. I have to get an agent. I think those are difficult, serious, but “it makes perfect sense” type of goals. So I think the idea that I’m going to have an exhibition in Chelsea and that’s it, or I’m going to be in the Whitney Biennial and that’s it? Forget it. That’s not how it works. And I think a lot of people, myself included early on, didn’t understand exactly how much of an investment in terms of time and money all this stuff really takes. The end goals are still there.
Also, I have to say that I was really particular in my pursuit of the gallery. That’s a whole separate story, but back in the day, before I was exhibiting with ClampArt, I knew it was the right gallery for me for a lot of reasons. I just had to convince Brian, and introduce myself to him. That’s obviously the difficult part. But in terms of the show and a financial investment, it’s a serious chunk of change to have 30 pieces framed and exhibited anywhere. I think of that stuff as a personal business loan to myself, because that exhibition has an infinite ripple effect into my career many years later. The exhibition at ClampArt open opened up many opportunities for me in the commercial world as well. I’m working with i2i, in part, as a result of my exhibition. Lizzie, my agent, even said that to me. It certainly helped. I think that’s just the nature of the beast. And I accept that, and have no issues with it whatsoever.
It just so happens, other things from that exhibition also came to fruition. Things that are much more important to me than art sales, such as the inclusion in the “Truth is Not in the Mirror” exhibition at the Haggerty Museum (and Fraction Magazine). That’s directly because of my ClampArt exhibition. That’s the kind of thing that I don’t think I can put a financial price tag on, being included in a show that traveled, and had that much clout and respect when it was happening at the time. And showing beside some of my photo heroes, that’s not something that I could put into monetary consideration.
So it sounds like you’re really taking the long view instead of the short view.
You know, I think that’s really the only view, as far as I’m concerned. Because if you have the short-term mentality, you’ll quickly find out that it most likely won’t pan out for you.
So maybe that’s a lesson we could share with, I don’t know, the entirely of Corporate America?
So we just decided that the entire structure of the US Equity Market is wrong.
Basically. Can we do something about that? What do you think? Should we just fix it?
I don’t think so, man. Money talks.
You don’t think we could fix it? Just like that? Make a call?
Not two photo guys.
No. Probably not. Well, we’ll set that one aside for now. So listen. All this talk about business, it has a purpose, but we haven’t really talked about art. So why don’t we shift gears a little bit. In the beginning, you brought us back to skateboarder culture, and we can all imagine you cracking your head on some concrete in Tucson. Because Lord knows they have a lot of concrete in Arizona. But now, let’s talk about the project that you showed in New York. Let’s talk about “Intertidal.” How would you talk about what your work is?
“Intertidal,” for me, was something that came out of nowhere, actually. When I agreed to take up my MFA at RISD, I knew that I was moving home, so to speak, to New England. I grew up in Connecticut, RISD is in Rhode Island, which neighbors Connecticut, so in a sense, I was going back home to my family and friends. But I’d been gone for 10 years, and in that time gap, I became a visual artist. It was culture shock for me to get back to the East Coast, in a photographic way. I sort of stumbled into this project by accident. I had always been photographing my skateboarder buddies, and an exploration of who we were as skaters. But I left that behind in Tucson, and became a serious, full-time student. Neither grad school nor my body allowed me much time for skateboarding, so I just started photographing. And the only thing that I knew how to do was photograph what I consider part of who I was, my world. I just applied that formula that I had started in Tucson to my family within New England. I started to really scrutinize, through the guidance I had in grad school, what I was doing. And what exactly was I doing? And what exactly were these pictures of?
Drinking…drinking is part of it.
More specifically, drinking beer.
Coincidentally, I wasn’t. But drinking beer was really interesting to me, because I came from a family of heavy drinkers. Drinking was something that I knew a lot about, in a way, but didn’t as well, because I wasn’t really part of that. It’s part of why “Intertidal” came to be. Initially, I was exploring the differences between what I perceived as my identity as a man, and how I perceived my family, my father, my grandfathers, my friends, and the rest of the typical New England male archetypes. The fisherman. The logger. The blue-collar worker. These were things I didn’t really know much about, because I took off when I was in my early 20’s. And grew up into adulthood away from my family, away from this New England identity. So when I came home, I was initially exploring the differences between them and me. So inevitably, I became more familiar with my history, with their history. And then I started to explore the notions of masculinity. And that’s where “Intertidal” ended up at, it was an exploration of the typical ideas of masculinity versus the reality of being male. So this is where the drinking beer thing kind of gets funny, because beer and a lot of things, such as the forest, hunting, shooting guns, strength, these are all just vehicles for me to talk about what I’m interested in. Not necessarily participate in. You know what I mean?
It makes a lot of sense. It’s actually where I wanted to get to. We talk a lot about reality, which we were mentioning before. When we look at this work, and I like it a lot, you’re in the work. You’re in the work drinking. You’re friends are in the work, drinking. You’ve also got images of your daughter in a separate project. You’re willing to put yourself and your family in front of the camera. So that makes me ask questions like, “Is this even trying to be real?” I some times feel, when I’m looking at these portraits of you, that I’m seeing a character. And that they’re not even meant to be the “real Jesse Burke.” It’s a fictionalized narrative. Is that a read that you’re comfortable with?
Yeah, absolutely. I think that’s part of the truth behind the photographs. I think it’s important to realize that all of this work is a production. This isn’t candid photography. Not the landscapes, per se, but a lot of the portraits. It’s all staged. It’s all very conceptual in my head. This isn’t me following my dad around, documenting what he does. This is me having an idea about how I perceive my father, and then having him fill that role, whether or not it’s true.
That’s what I thought. One of the things that I’m wondering: we talk about masculinity, and I read a quote of yours that I have right here, where you see a world where “blood and sweat mix with sunsets and snowdrifts.” We’re past the metrosexual phase. People don’t even use that word anymore. So I’m curious. A lot of the portraits you take are of shirtless men. So my question is, when you show a fine art portrait of a semi-naked man to a logger or a fisherman, to some of your friends who don’t come from the art world, what reaction do you get?
It’s an interesting question. I don’t think I get any reaction. Ultimately, my family members don’t give me an involved, dedicated response to the work. Going back to the beginnings of this project, which is “Who am I? Why am I this artsy guy in a family of not-so-artsy guys?” I didn’t expect a big response from them, or the public, or “normal” guys. I just started making these pictures that I thought were fun, and talked about these ideas that I was interested in. Inevitably, what happens is they don’t really question it. They just sort of go, “OK. It makes sense.” I think the fact that the art and photo worlds have been gracious in giving me some attention, and some exhibitions, and a book, I think that gives it validity to people that don’t necessarily follow conceptual photography, or fine art photography. I mean, let’s be honest, who are we making this work for, besides ourselves. Who’s the market? Who’s going to buy it? Who’s going to display it? Who wants to buy my book? It’s certainly not the average Joe Schmo who works in Boston. I understood that I was getting into an elitist culture, and that wasn’t an issue for me, but I knew the art world is like that. And I could have some backlash from these people. Luckily I haven’t. But I have a really hard time answering the question of “How do they respond to the work?” because quite honestly, I don’t know. We’ve talked about it, but I don’t have a thorough understanding of how my uncles read my work.
Actually, I would disagree. I think it’s a good, honest answer. Look. We could spin off and talk all day about the marginalization and elitism of art within mainstream culture. We could. But I don’t know we would ultimately tell anyone anything they don’t already know. So let’s move along. One of the things that’s crucial to me as an artist is seeking great input. When I write these articles about going to look at art, I would be going to look at art anyway. I believe the better the input, the better the things that we see, the better our work becomes. What do you look at? Where do you get your inspirational input? How does that process work for you?
I get a lot of my input from living everyday life. I watch TV. Believe it or not, MTV. Lots of sports. So I get a lot of inspiration from media, magazines, TV, cable shows. Things like that. I’ve become sensitive to what I see as the rift in masculine perception. So I’m always sort of looking for it, wherever it might lie, whether it’s in a football game, or Jersey Shore, or hanging out with the other dads at the park with my kids.
There you have it, ladies and gentlemen. Your guilty pleasures can be fodder for your creative practice. Jesse Burke has just given you permission to watch as much MTV as you want.
Jesse Burke is a Rhode Island based artist. You can see a site-specific installation of Jesse’s photographs at ClampArt’s booth at Pulse Miami (December 1 – 4, 2011). He is represented commercially by i2i Photography in NYC.
In the early 1950′s, LIFE Magazine decided that the pictures that were shot for them by many wonderful photographers were their property and therefore, they had the right to re-license them. The photographer’s thought otherwise, and insisted that the photographs were their property to resell at their discretion.
This went to court and after a long heated battle with TIME-LIFE the photographers won the battle. The courts decided that the copyright remained with the photographer and the magazine had just licensed reproduction rights. The original property, after the contract was concluded, returned to the photographer along with the negatives.
via The End Starts Here.
( click images to make bigger )
Creative Director: Hannah McCaughey
Photography Director: Hannah McCaughey
Photography Editor: Amy Feitelberg
Photographer: Andrew Hetherington
Note: Content for The Daily Edit is found on the newsstands. Submissions are not accepted.
We went from film to digital to CGI to video. We are always trying to learn about the next best thing and how we need to adapt to meet those changes.
I live an hour plus North of Santa Fe, so I visit often. As such, I spend quite a bit of time at photo-eye, which has one of the world’s best inventories of photo books and ‘zines. We’re kicking off a new feature where I’ll be doing quick reviews of new releases, to give you a sense of what’s new and interesting on the market.
“Presences” is an over-sized, perfect bound soft cover exhibition catalogue of Richard Learoyd’s work recently released by Fraenkel Gallery in San Francisco. Mr. Learoyd works with a room-sized camera obscura, and a very sharp lens, to create razor-sharp nude and clothed portraits of women, (primarily,) bathed in Dutch Master-style light. The ladies look like a cross between a Julia Margaret Cameron subject and the geek-chic type lovely twenty-something you might see in a record store circa 1979. (Or a café in the Mission District circa 2011.) They’re lovely, but not in a lascivious way. Just a fantastic collection of very well made photographs. Bottom Line: Seductive.
Visit Photo-Eye to purchase Presences
Peter Granser, an Austrian photographer, recently released a new perfect-bound soft-cover book, published by Super Labo in Japan. In a bit of amusing, literal titling, it’s called “Sun City/Austria/Coney Island/Deutsche Cowboys/Elvis Tribute Artists/Signs. 2000-2007.” If you surmised that the lengthy name gives you a pretty good sense of what the pictures are about, you’d be right. The dry “German” style is evident, true, but the images also have a wickedly ironic sense of humor, poking fun at some of the absurd and optimistic elements of the American character. (A suite of retired ladies dressed up in their old cheerleading costumes. An stooped-over-old, ridiculous Elvis impersonator dancing symmetrically in dueling portraits.) This little narrative captures the real sense of humorous adventure inherent in a good road trip: you never know what’s coming when you turn each page. Bottom Line: Witty.
Visit Photo-Eye to purchase Peter Granser…
OK, I promise I won’t write about this guy again for a while, but for those of you who couldn’t get to MOMA by September 5th, you can get your own copy of Boris Mikhailov’s genius insanity in “The Wedding.” From the looks of it, this time he hooked up with a couple of alcoholic street folks, and managed to photograph their makeshift wedding in a vacant lot. Highlights include the blushing (or at least red faced) bride holding a big dildo over her husband’s head; their smiles as wide as a Nebraska tornado storm. It’s a hardcover in white, edition of 1000 from Mörel Books in London, in case you’re wondering. Highly recommended, if you like that sort of thing. (Brilliant but disturbing. Nudity, but not the fun kind.) Bottom Line: Twisted.
Full Disclosure: Books and scans were provided by Photo-Eye in exchange for links back for purchase. Please support Photo-Eye if you find this new feature useful.