Read first portion of "Pin Hole Cameras, a do-it-yourself guide" by Chris Keeney, (Princeton Architectural Press, New York, 2011). So far it is a personal account of interest plus great technical advice. I like his note "we are human and imperfect" as a means to situate non-perfect art practices. Some important notes on paper iso on page 27-28. I used pinhole to create my video today. http://vimeo.com/34692634
Frankenstein Cultural History, chapter 8 has interesting notes on the Hammer films which I love but have not read about or studied in depth. I especially like the idea that the novel was ignored when writing the first movie, the only thing necessary was that it not resemble the Universal in the least.
Essay in "The Original Copy": "From Sculpture in Photography to Photography as Plastic Art" by Tobia Bezzola. Of interest: I'm interested in the writings of Heinrich Wolffin from 1896 on his very limited view of how to photograph sculpture based on there being one definitive angle corresponding to the artist's conception. His views are compared to Baudelaire and his hypothesis of the viewer finding infinite entry points into art (page 29). Page 30 cites Artschwarger "it is pointless to compete with God or NASA". Discusses 2 photo approaches to sculpture: to display or to create sculptuer that exists only in the photograph. Page 31 declares that the best surrealist sculptures are photographs. Page 32 says that objects surpass paintings and gain "semantic autonomy" due to photography's influence. The Surreal, Bahaus, and Straight photographers are compared. Tropes of modernism listed on page 33. Yesterday's video included a sculpture which I shot due to things in this book: http://vimeo.com/34643878
Frankenstein Cultural History, chapter 8 has interesting notes on the Hammer films which I love but have not read about or studied in depth. I especially like the idea that the novel was ignored when writing the first movie, the only thing necessary was that it not resemble the Universal in the least.
Essay in "The Original Copy": "From Sculpture in Photography to Photography as Plastic Art" by Tobia Bezzola. Of interest: I'm interested in the writings of Heinrich Wolffin from 1896 on his very limited view of how to photograph sculpture based on there being one definitive angle corresponding to the artist's conception. His views are compared to Baudelaire and his hypothesis of the viewer finding infinite entry points into art (page 29). Page 30 cites Artschwarger "it is pointless to compete with God or NASA". Discusses 2 photo approaches to sculpture: to display or to create sculptuer that exists only in the photograph. Page 31 declares that the best surrealist sculptures are photographs. Page 32 says that objects surpass paintings and gain "semantic autonomy" due to photography's influence. The Surreal, Bahaus, and Straight photographers are compared. Tropes of modernism listed on page 33. Yesterday's video included a sculpture which I shot due to things in this book: http://vimeo.com/34643878
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