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  1. #11

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    Quote Originally Posted by bjorke View Post
    More to the point, do you disagree that the political biases/background of any artist are inescapable? Even if they are the banal politics of conformity?
    .

    Well some guy named Ansel used his photos to push a political agenda. Would he have taken the exact same photos without that agenda?

  2. #12
    SuzanneR's Avatar
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    Thanks for the link... I found more of his work here.

    His work is very strong, quite beautiful, and as others have said full of irony. Particularly, the Afghanistan work and the Iraq work, and some of the Bosnian work. I'm not sure it needs as much explaining as he offers on his website.

    We really are a creative and destructive lot, it seems, and his photographs hit the nail on the head.

  3. #13

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    Quote Originally Posted by Ray Heath View Post
    ...if the works need many words to explain them then they are not entirely successful
    Dear Ray,

    Not that many words. And with the words in place, the images are vastly more powerful than without. What is the problem with that?

    Cheers,

    R.

  4. #14

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    Quote Originally Posted by Nick Zentena View Post
    Well some guy named Ansel used his photos to push a political agenda. Would he have taken the exact same photos without that agenda?
    Dear Nick,

    Sierra Club? Political? Surely not!

    (Some people hate to admit that anything is political unless it says VOTE DEMOCRAT or VOTE REPUBLICAN on it).

    Cheers,

    R.

  5. #15

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    Or to put it another way - are the photos interesting enough that I'm interested in hearing the thoughts behind them. In this case, yes.

    As to whether all art should be political, well I hate the idea of anyone being told what they should be doing. However it does remind me of the work that Christian Boltanski entered in the 1993 Venice biennale. He reproduced all the images from the catalogue of the 1938 biennale. Most of the works were paintings that were decorative, or pure art. Nothing at all referred to the events that were happening in Europe at that time. If the only document we had of that time was the catalogue, then you would probably think that Europe was a peaceful & happy place, not on the brink of war. I suppose the question that leads to is - why wasn't thyere work commenting on the political situation? I don't know, probably a lot to do with the curators of the event as well as what the artists thought they were permitted to do. Still an interesting thing to think about.

  6. #16

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    Quote Originally Posted by goldie View Post
    Or to put it another way - are the photos interesting enough that I'm interested in hearing the thoughts behind them. In this case, yes.
    I'd be half inclined to reverse your question: are the thoughts interesting enough that I'm interested in seeing the photos behind them: again yes. This is multimedia.

    Cheers,

    R.

  7. #17

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    I like the photo series by Jonathan Olley titled Modern Castles, where he documents the impact of English military bases on the Northern Ireland streetscape. I don't think these photos need any words. Although that might be because I've already heard so much about those troubles.

    http://www.jonathanolley.com/pages/i...ay.php?igId=18

  8. #18
    David H. Bebbington's Avatar
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    I too discovered the same website as Suzanne, in particular this:
    http://www.simonnorfolk.com/pop.html
    Would anyone care to comment on the Normandy series, which to me seem for all the world like average seascapes with not the faintest connotation (ironic, semiotic, oblique, whatever) of the D-day landings and the liberation of Europe? Cannot help but think this is a guy who talks a good picture!

  9. #19

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    Quote Originally Posted by Roger Hicks View Post
    Dear Nick,

    Sierra Club? Political? Surely not!
    .

    Plus the camp photos.

  10. #20

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    Interesting to say the least. I wonder if we do not find the commentary because we have so many images thrown at us every day - an overload from the world wide web? A part of the US generation that grew up with images from the FSA photographers, and the the Life photogs - landmark work IMHO - Gene Smith, Capa, Lange, Evans, etc. From the depression, WWII up to the Vietnam war we were given images each week that (I know I could not wait for the next issue) are now considered some of the best. But with the delay of a week (and not every issue carried a Great!! photograph) we had time to consider the photograph as well as the story.

    Then there are the other 2 Adams, Robert Adams and Shelby Lee Adams both of whom, IMO, have produce work with either direct or indirect political thoughts. Our own Sam Portera has given us some of the more recent work to consider with the Katrina aftermath. Yet I feel that these fine works get less consideration, because it is just another flash on the screen vs something we actually pick up in our own hands. Let's face it, how many sites have a 'photo of the week' which is actually a collection of good work that speeds their way around the world for a couple of days and then becomes lost in cyberspace.
    Mike C

    Rambles

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