Paul Graham, Man Walking in White Shirt, Atlanta
For those who chose to see Tina Barney speak at Aperture over the Paul Graham presentation at Swann Galleries, I would say you probably made a mistake as you missed an enlightening experience, not to mention an inspiring one. Um avodart online, I was actually quite surprised by the small turnout considering it was Paul Graham, for free, Texas TX Tex. , Avodart without prescription, with refreshments (quite the spread for an artist's talk), and that it was hot as hell outside (okay, Arizona AZ Ariz. , Osta alennus avodart, not hot but definitely not cold).
Graham gave a brief presentation with a focus on his projects that became books, order avodart. Oklahoma OK Okla. , You could say that all the projects started out as books since Graham explained that his photographic education came from looking at photography books and that his preferred way of working was to make books.
Besides basically taking credit for the introduction of color photography to most of the British photographers working around him (Martin Parr being one of them), Idaho ID , Købe avodart online, Graham made some very insightful and intelligent comments that went straight to the point concerning documentary vs. staged photography, order avodart online without prescription.
Graham theorized that the recent shift in emphasis from documentary work to staged photography is due to the fact that one (the viewer, buy avodart online legally, Vermont VT Vt. , collector, gallerist, comprare avodart, Avodart cheap, dealer, museum) can more easily comprehend what the artist has actually done, North Dakota ND . αγοράσετε avodart, The creative act seems to be more overtly understood in a set-up photograph by Jeff Wall or Gregory Crewdson. We know that those artists chose the location, buy avodart without prescription, Order avodart no prescription, hired the actors, styled the clothing and directed the action being captured in the photographs, order avodart without prescription. Køb billige avodart, Where as in a Winogrand photograph, what did he actually do, buy cheap avodart online, Kentucky KY Ky. , didn't he just get lucky. Order avodart online without prescription, Graham was obviously being facetious about Winogrand and made a point to explain that he wasn't completely against staged photographic work. He went on to say (and this is where it got interesting) that those set-up photographers were basically "documenting" a tableau vivant, Illinois IL Ill. . Order avodart no rx, In a sense, he seemed to be saying that documentary photography is the underlying practice of all photographers, buy avodart no rx, Wyoming WY Wyo. , even the one's who set-up their images.
Graham offered other insightful comments regarding some of his most well known bodies of work and I left feeling very inspired. A question at the end of the presentation concerned Graham's equipment and whether he still worked with film. Answering unequivocally, he declared that he only shoots digitally these days, order avodart online without prescription. For him it was far from an important issue as the main photographic concerns continued no matter what technology one was using: framing, light, and choice of subject matter.
For those of you who missed out on purchasing a copy of Graham's recent book(s), A Shimmer of Possibility, it was revealed that a second edition will be printed by Steidl. This time around all the work will be contained in a single volume.
Graham will also have an exhibition of the series at The Museum of Modern Art starting in February. .
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I wish I would have know about the event I would have gone for sure. sort of ticked off I didn’t know. how did you find out? what a bummer…
Do you know if there is or will be available any recording of this lecture? Thanks.
Thank you for your post. I wish I could have been there too. Paul Graham is such an eloquent speaker. I listened to a recording of a panel discussion at the NYC Public Library that Blind Spot sponsored and was amazed at his concise and insightful comments, (especially compared to Danny Lyon!). That’s very cool that Steidl is doing a second edition of A Shimmer of Possibility in one volume. Can’t wait until it comes out. Did he mention any new projects that he is working on?
Take care,
Chuck
I saw his prints in a show in Madrid and they were lucious. What type of person could possibly have thought he was shooting film?
Thanks for the recap!
Sure wish I could have been there. If “documentary photography is the underlying practice of all photographers, even the one’s who set-up their images,” then we all might as well draw pictures instead of making photographs. No?
And I find this statement: “he declared that he only shoots digitally these days. For him it was far from an important issue as the main photographic concerns continued no matter what technology one was using: framing, light, and choice of subject matter” to be far too simplistic. I’ve been working with exclusively with digital since 2001. For my latest vacation trip to Prague from where I am writing this, I brought only my film gear. I thought why not, no pressure, let’s take a trip down the memory lane. What I found out in the last three weeks however, is that the film camera made me and still makes me work in a completely different brain zone. I consider subjects differently, I make different choices, I visualize differently. All extremely refreshing for me, and quite eye opening. In other words, I absolutely disagree. For the working photographer, one who makes images every day, the true, deep down drivers are far more complex than framing, light, and choice of subject matter.
En A Shimmer of Possibility Paul Graham ha utilizado una pequeña cámara fotográfica digital y se beneficia de sus ventajas. Graham explica que “lo digital aporta nuevas posibilidades: las cámaras son más pequeñas y flexibles ” y también ofrece “la libertad de disparar de manera ilimitada (…) En lugar de tratar de resumir lo que ocurre en el mundo en un momento dado, me ha permitido captar el glorioso flujo del día a día. No tiene nada que ver con el chip CCD de la cámara, sino con la libertad psicológica que te aporta grabar de forma intuitiva lo que ocurre en el mundo, cuando, de haber usado película, te hubieses tenido que detener ”.
Quotation taken from Pág. 58, Paul Graham habla con Charlotte Cotton. La Fábrica, Fundación Telefónica, Madrid: 2007.
Graham says “digital technology gives new possibilities: camaras are smaller and more flexible” and it also offers ” the freedom to shoot unlimitedly (…) Instead of trying to resume what happens in the world in a certain moment, I have been able to get the glorious day after day flow. It doesn´t have anything to do with camara´s CCD, but with the psicologic freedom that recording intuitively what happens in the world provides, when, in case of using film, you had had to stop”
personal translation
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