Week_12_Contextual_Research

Re-watched the documentary on Aaron Siskind. I bought it some time ago. It is one of those films that I can watch over again many times as a source of inspiration. I like the way he talks about his practice of image making with such sense of knowledge, experience and passion. I really listen to what othe artists say, and it is very important for me that I believe what they are saying. From an epistemological standpoint, I understand that reality is the result of my being and experience, that any other artists works and utterances is only a visual and audial concept of their reality.  I am aware of this and understand that difference between mine and theirs, always look for common threads, that I feel validate my own concepts.

I watch and listen very intently in order to pick out bits of information that can aid me in my own practice. I feel that he is real and believable because there is an affinity and similarity between his work and mine, it’s as if we are on the same path and talk the same language.

One of the few practitioners who can dance between the real world and the abstract world with relative ease. Also a great admirer of Franz Kline the painter who inspired a lot of his abstracts.

©Checkerboard Films
©Siskind. Jalapa#7

 

http://www.checkerboardfilms.org/films/show/n/aaron-siskind

Image: https://www.artprice.com/marketplace/1576434/aaron-siskind/photography/jalapa-237-28hommage-to-fk-29

 

Week_10_Contextual_Research

Continuing to read The Painter and The Photograph. It is interesting to see how many prominent artists of the day used the mechanical image to paint from. This action was far more prevalent than I ever imagined. So as I delve deeper into the course, I become more and more at ease with appropriation. Looking at it from the point of being a catalyst that sparks the creative process, I have become more at ease with it.  Over this module, I have appropriated and the more I did it, I came to realise that it is a very small part of the creative process, and by the end of the work, it is so far removed from my work it’s barely worth mentioning.

The Painter and the Photograph©Amazon

I do love painting, but one of those plastic arts that takes a lot of time, and has to be a vocation of sorts, as is photography and film-making for me. It is in my life daily in one form or another. However, I am interested in making my images painterly, maybe this is my attraction to painting, I am figuring a way to include or incorporate it into my images.

Watched a very interesting video by a photographer’s work I really like. Aaron Siskind. He did a lot of figurative abstract photography, “Find in nature what can be made into a picture.” That is, he used images from the real world and photographed them in such a way that they looked almost other worldly. For a brief time he was also enamoured by painters and incorporated that into his work. Particularly the work of Franz Kline. ‘Broad strokes and overpainting.’  After a while he gave it up and pursued his own work. He also made more aware of ‘looking’ around carefully, also, that the making of an image did not end with taking an image. One point that stood out about Klines work, was that he never experimented with figurative elements and he painted predominantly in black and white.

© Franz Kline Painting
© Aaron Siskind Peru

 

References:

The Painter and The Photograph. Van Deren, Coke. The University of New Mexico Press.

Franz Kline Painting: https://auction.catawiki.com/

https://www.theartstory.org/artist-kline-franz-artworks.htm#pnt_5

Arron Siskind Photo Peru:  https://www.skinnerinc.com/auctions/2818T/lots/1115

Video of Aaron Siskind: https://www.judithwechsler.com/films/aaron-siskind-making-pictures