Kendall: Response to "The Huge, New York City 1980"

I really enjoyed reading about Nan Goldin. I find her work to be powerful and extremely inspiring. Her personal relationships with her friends and lovers is incredible. I think the fact that she feels as close as she does with her subjects is very important. I feel as though one of the only ways a photographer can produce a strong image, such as portrait, you need to bond with your subject and have a sense of closeness. Because Nan has this comfort level with her friends down, she is able to capture all the little emotions and moments in time that people would usually never notice. I think the author portrayed Nan to be inspirational to others. Even though her work is controversial, the author seems to support her ideas and trying to let other people feel as though it's okay to look at her work.  I think this was one of the more interesting things we've read so far, and I hope to continue to learn more about Nan Goldin, I love her work. 

The Hug

Nan Goldin's body of work The Ballad is a body of work that i find extremely poignant and heartfelt. Her ability to convey the complexities of human relationships and the dependencies men and women place upon each other is amazing. She captures these little moments between people that often go unnoticed and eventually become forgotten. Her work emphasizes the importance of realizing how fleeting life truly is. The Hug shows a couple's moment of complete interlocking, it symbolizes the pull in the relationship. Although we do not know this couple, we feel as though we can almost feel what they were experiencing when the picture was taken. The couple looks "shut off" from the world, as the article says, and the shadow over their heads helps to isolate them as an entity. I enjoyed reading about Nan Goldin's work

10.28.09 Response

Hannah Johnson

This reading was probably the most interesting one of all. The author really got into detail about the image "The Hug" by Nan Goldin and many of the analyzations made sense. I also enjoy the subject matter of Goldin's. Her ideas and concepts are very intruiging and much more daring than many other artists I have encountered. She has so much confidence and the way the author makes it out to be, it really shows through in her work. She is fearless and has no shame, photographing things that might as well be taboo. Something which I find incredibly inspiring. The author really sells Goldin's work; the author convinced me that I do want to further my knowledge of Goldin's work. I want to look her up and see for myself the honest with which she photographs.

response to the hug, new york city 1980.

I really like Nan Golden's work and her subject matter, relationships of the people around her. Because I love taking pictures of my friends. They're the people you feel most comfortable around and can open up to, so you can really start capturing more then just silly posed moments of them. A quote in the reading that I liked that talked about The Ballad was "This process of constant editing made the ballad a deeply textured piece that responded directly to the circumstances of her daily existence- the comings and goings, break-ups and affairs. As life changed, the work changed." You really do have to keep moving with your work. And constantly edit it, as your work grows you might realize some of the stuff you started out with isn't your best work. No matter what's going on in your day, when you have to shoot, just shoot. It doesn't matter if there is something big like a break up, it's a part of life, so just document it. The work could turn out really interesting.

Juliet Bull: Response to "The Hug, New York City 1980"

Out of all of the photographers we have been exposed to this year, my favorite and most memorable is Nan Golden. Her work is interesting and I think a lot of people can relate to it in some way or another. She takes pictures of people, but people that are hurting in some way and it intrigues people. It always makes me want to know more about the people she photographs. This reading overall keep my attention, although I thought the beginning when the author was explaining the meaning of “The Hug” that is was over analyzed and bit to dramatic, but besides that I really enjoyed the reading. After viewing Nan Golden’s work or reading more about her strategies and her approaches to her work, it leaves me with wanting to know more about her, she is an artist that has her own voice and is not afraid to show it. It amazes me how she gets so intimate with her subjects, although they are her friends and people she is close with, it is still amazing how natural and comfortable they look in the images.

Amanda Murley- response

I loved Nan Goldin's work, and would hope to further be influenced by her photography. After I finished the reading, the title of "The hug- New York City" developed more meaning then just a hug. At first glance, it already is a very interesting photo. However, when I found out about the greater project that involved the photo, I got a better sense of what it was really about. The photo was less about a simple action, but more about the actions of what happens before and after the intimate moment shown. The photo portrays the closeness in a relationship.

I really enjoyed this reading. Instead of over analyzing the photographers possible intentions, it told the truth. The author didn't make more of the photo then what Goldin had created. I liked how the author made note of the project as a whole. When I learned more about the entirety of the project, I got a better sense of Goldin as an artist.

Nan Goldin Response

arg, I can't put my response into words yet. I'll be back later.

Laz, love the first question in the interview.

bye for now.

ohh yeah, from callie

Nan Goldin "The Hug"

I think that Nan Goldin's work is a very intriguing body of work. The intimacy that she is able to achieve with her subjects shows through her work strongly. The article said that her series The Ballad of Sexual Dependency consists of 700 slides. I think it's very inspiring to see someone who is so heavily involved and so committed to one specific theme/body of work.

On the second page, Alexander talks about showing Goldin's image The Hug as a stand-alone image or as part of a slide/book. I feel like he was more intrigued by the image alone, but I think it says more as a part of a series or slides as Goldin originally showed the work. Alexander talked about how in the image, it is a moment of time showing a hug and viewers aren't completely sure of the content. Alexander spoke of a slide show being almost ephemeral in its quality, which I think adds a lot more symbolism and depth to the images. Relationships, both those shown in the images and the ones that Goldin has with the subjects, are often just as fleeting as a slide show. I also believe that a body of work shown together gives a lot more meaning to each separate piece by giving the meaning of the whole piece.

When reading Alexander's analysis of The Hug, I felt like it was a bit of an over analysis. I think there were aspects of her images that Goldin considered, but most of them seem to be so “in the moment” that aspects like the way the hair of the girl in front is covering the couple, and the stack of papers on the shelf are things that I'm not sure Goldin noticed in the instant of the capture. To me it seems like she was much more in the moment and concerned with capturing the magic of the moment and the intimacy and not the little tiny details.

Excerpts from a Nan Goldin interview

Your approach towards photography is very personal. Is not it a kind of therapy?

Yes, photography saved my life. Every time I go through something scary, traumatic, I survive by taking pictures.

You also help other people to survive. Memory about them does not disappear, because they are on your pictures.

Yes. It is about keeping a record of the lives I lost, so they cannot be completely obliterated from memory. My work is mostly about memory. It is very important to me that everybody that I have been close to in my life I make photographs of them. The people are gone, like Cookie, who is very important to me, but there is still a series of pictures showing how complex she was. Because these pictures are not about statistics, about showing people die, but it is all about individual lives. In the case of New York, most creative and freest souls in the city died. New York is not New York anymore. I've lost it and I miss it. They were dying because of AIDS.

Could you please tell us something about the people, the artists who have influenced your art?

My biggest influences are my friends. Bruce was one of first persons that introduced me to slide shows in the 1970s. I started doing slide shows because I left school. During school I went to live in Provincetown, a gay resort three hours away from Boston. It is the farthest point in America's east coast. It is beautiful. It is a little community of artists. Norman Mailer lives there. A lot of painters and writers live there. In the 1970s it was really wild with Waters, Cookie, Sharon, and Sharon's son. It was incredibly wild. Later everything has completely changed. In Provincetown we used to live in small groups. I took lots of pictures of my friends, like "Bruce in the snow". I've known Bruce since 1972. We lived together with Bruce, Sharon, and Cookie. I was at the School at the Museum of Fine Arts. Those days the school was that teachers sat in the parking lot and drank. Literally. This was before the 1980s. We were told that we will never make any money on art. Now, the students that I teach, at Yale particularly, all they want to know is what gallery they could have a show in or could I help them to get a show. They go right from the graduate school to the big galleries. It is all a career move. When I went to art school, I never heard of Artforum. Never. I took classes in Russian literature, in Faulkner, whom I love. I took writing classes, I took the history of film, I took drawing to be able to see better, because many photographers cannot see anything.

Anything that I see and I love is an influence, but I never try to replicate somebody else, like I never tried to make a Rothko. I love Caravaggio, but I never studied Caravaggio. I never made any Caravaggios. Some of my pictures of boys having sex, they have the same sense of light as Caravaggio. Caravaggio also knew all the people that he painted. They were his lovers or hustlers. Pasolini used boys from the street that he loved that he desired. Fassbinder only used people he knew. Cassavetes used the same people over and over, so I am not the first one to do that, but I think that people have forgotten how radical my work was in the 1980s, when I started, because nobody was doing work like that. Now, so many people have done work like that like Wolfgang Tillmans, Juergen Teller, Corinne DayÉ Now people think I am just one of many who've done that. They do not understand that The Ballad of Sexual Dependency was so radical when it came out.

Some of your pictures are blurred. You did it on purpose?

Actually, I take blurred pictures, because I take pictures no matter what the light is. If I want to take a picture, I do not care if there is light or no light. If I want to take a picture, I take it no matter what. Sometimes I use very low shutter speed and they come out blurred, but it was never an intention like David Armstrong started to do what we call, he and I, "Fuzzy-wuzzy landscapes." He looked at the back of my pictures and studied them. He started to take pictures like them without people in them. They are just out of focus landscapes. He actually did it, intentionally threw the camera out of focus. I have never done it in my life. I take pictures like in here when there is no sun or light that I think all my pictures are going to be out of focus. Even Valerie and Bruno and whatever I take, because there is not enough light, and so I use a very low shutter speed. It used to be because I was drunk, but now I am not. The drugs influenced all my life. Both good and bad. I heard about an artist in Poland, Witkacy, who wrote down on his paintings all the drugs he was on. Depending how many drugs he took, that is how much he charged for the portrait. I saw his portrait at the National Museum, a kind of German expressionism, and I loved it.

Interview by Adam Mazur and Paulina Skirgajllo-Krajewska 13 Fabruary 2003 Warsaw.

The Hug, Nan Goldin

I like the way Darsie Alexander wrote this essay. She really explains the photo in great detail. Although it may look like a simple hug (with a bit of intensity)  she explains every detail. The lighting, which causes that very noticeable shadow, the little white bandage on the mans wrist and various other things.

I found it interesting how she got into the shadow so much. She talked about how it swallowed the lovers. The shadow created a dark void over their heads. Its hard to really tell who these people are as individuals.

I think The Hug has all the essence of Nan Goldin wrapped up in one seeming snapshot: crazy love, sex, brutality, candor, tenderness, masculinity and femininity. 

Haeden- Response to "The Hug, New York City"

I liked this weeks reading, but I'm not really sure I have a ton to say about it. I'm kind of interested in the fact that it almost read like a portrait session. In the beginning it was really formal and polite but partway through the reading it sort of lost that and it seems the author just started writing about the piece and exhibit as a whole the way she saw it instead of the way someone just there for analysis would. This kind of reminded me of when I'm taking pictures of someone and at first its really awkward but then eventually I'm more comfortable photographing them and they're more comfortable being photographed so the pictures start coming out better.

Darsie's overanalyzing was definitely more bearable than the reading about reading photographs. Although Nan Goldin took snapshot images and probably wasn't thinking about everything at once, the author seems to have at least taken some time to look at the image and consider her possible intentions instead of just going into every piece of the image in excruciating detail without paying attention to context.

I liked that the author talked about the entire “Ballad of Sexual Dependency” project instead of just the one image, because it gave a helpful view into where the image fit. I also thought it was just interesting to hear about the book/slideshow as a whole since it gives the image a purpose instead of it just being two people hugging.

todays class

hey guys,

sorry i wasn't in class today to scribe your crits. i hope you all had lovely images. keep shooting/thinking/making! if anyone wants to show me your work and get feedback about it (or talk about anything!) outside of class dont be shy! you all know where to find me/know my email.

-betsy

PRC response

the image i chose was by TRIIIBE
The image that I chose to reflect upon/critique from the selection at the Photographic Resource Center is the image of the three women sitting on the couch. The image displays three women who have the same face, same dress, shoes, etc. The print of the dresses matches the carpet, the couch, the wallpaper and the print of the shoes. The presumable sisters share the same color hair, even the expression on their face is similar. It seems the photographer composed this identical image to emphasize the importance of unseen differences in the sisters. It also suggests that there is a need for diversity, the space of this photograph feels overwhelming and drowning in this floral classical style print. The women’s faces all look eerily man-like, and as people they just become lost in the repetition of the pattern and the same face. The posing of the subject in this picture is very stiff and clean, it reads like an old portrait taken of someone. The subject’s awareness of the photo being taken is quite evident, which also lends to the formal portrait-feel of the photograph. This formality works with the repetitive classic floral print to give the photograph an overall eerie feeling. I really enjoyed this piece of work.

Amanda Murley

Larry Fink

Hungarian Ball, 1977/2009

Archival Inkjet Print, 15 x 12 1/2 in.

The image I choose was " Hungarian Ball" by Larry Fink. What initially attracted me to the image was the perspective of the people throughout the image. The placement of the people creates a zig zag form of line that leads you to the very back of the image with the last person. This makes the viewer scan the entire image, and makes almost every detail of equal importance. The lighting is very attractive, in the way that it is dimly lit and takes you into a moment. The details lay on the closest people's faces. Yet, the viewer can still clearly see the expressions of each person, and their reactions to one another. The person closest to the camera, is a woman that looks almost made out of wax. In contrast, the other people in the frame seem to show some form of expression.

The photo is matted then framed in a simple thin black frame. I think it would be more interesting to have the image to pop off the wall with no frame. I think when framed like this it would make the line created by the people stand out better.

Benefit Auction Response

Hannah Johnson

The photo I chose was View East from Pi Alley, Boston by Nicholas Nixon. Initially, I was drawn to the tones of the photo, it's simply a beautiful print. The way the buildings seem to curve and how the photo is cropped as though it seems the buildings have no top or bottom also caught my attention. When I looked closer, I saw all the little details such as every unique brick and the reflections in the windows. Also upon closer inspection, I realized there were almost no people in the photograph. There are only a couple of window washers, or so I assume, on the side of the building. The building has nice architecture and this picture captures its true beauty. In person, the print is extraordinary and it really brings out all the great details and makes the image even more spectacular.

Hippoptamus

Picture by: Henry Horenstein

Title: Hippopotamus, Hippopotamus

amphibious 2001

I choose this image out of all of the images we saw because, this picture drew my attention right away. My eyes were drawn to the texture in the image, as well as the sepia colors. I thought photographing an animal in the way that this artist did was amazing. The angle at which the artist got the hippopotamus entering the water was such a way that I could not see much of the animals features, but yet I knew right away that it was a hippo. The artist gives the viewer just enough detail and just enough information. I was also drawn to the reflection in the water and the ripples of the water next to the ripples in the skin of the hippopotamus. The artist managed to get a lot of textures, yet did not make it too overwhelming.

I was intrigued by how the artist drew my eye in by the spine of the Hippo. By centering the spine in the image my eye followed it all the way up the animal and up the image, by doing this it allowed me to have a focal point and then I was able to look at the rest of the details in the image.

Overall, I really liked this image because it was a picture of animal, taken in a way I have never seen before, it was something new and visually stimulating to me.

Shannon Kelly

I chose the photograph, The Seattle Tubing Society by Burt Glinn. From the moment I saw it, I thought that would just be a cool way to spend a hot summer afternoon, and how can I join. It's a photograph of a group of what seem to be middle class men and women sitting in tubes on a river. They are dressed in a way almost mocking the rich, big hats and gloves for the ladies and one man wearing a top hat, another man is holding a cane and one in the front is holding up a ripped umbrella. With drinks in hand, no one seems to be not having a good time, showing you don't need a lot of money to have some fun. They are living life having a good time, better then at a stuffy event where you would normally wear that kind of attire. This image captured a simple moment in time of people hanging out, not caring about what anyone else has to say about their society.

PRC Response- Kendra Kantor

The image I choose was Cecropia Moth by David Prifti. I think I was initially drawn to the image at the exhibit because I have a fascination with Alt Pro and images that use Alt Pro techniques just seem to draw me in. I really like the texture in the piece, from the wood grain to the butterfly and even the hand are full of different textural details. I really like that there seems to be a story going on in the piece, even though it's such a simple photo. The hand seems hesitant and soft and wanting to touch the butterfly, that looks like it could be dead and hanging because of the nails.
One of the other reasons I was drawn to the image was because butterflies and moths both have very strong personal significance to me and seeing one in a photographic tends to pull me in and make me interested. Prifti's work also reminds me of another Alt Pro artists, Janet Matthews, and that interested me.
I think this piece looks a lot better in person. The above image was taken from the PRC's flickr website and in person and on prifti.net, the image has a more sepia and warm tone to it. The image is not a pure black and white and I think that is very significant to viewing and interpreting the piece. I also am intrigued by the fact that on Prifti's website, the image is titled "Polyphemos" but at the gallery and on the flickr page it is titled "Cecropia Moth".

Callie Cingari

I chose to Philips Trager's piece "Mark Dendy". I enjoyed this piece because of its almost scary look. The male is laying down in a large white fur coat with his long blond curls hanging down. The contact between the viewer and the man in the image is very strong and it's almost as if you can understand what he is feeling. The veins that appear in his forehead because of his positioning show almost an anger or rage type attitude. I like the fact that it is all about what he has to show, and not what is going on behind him due to the shallow depth of field, you can really connect with the person this way. The use of his hands was also appealing, one is barely showing because of this coat like thing he has on, and one is placed on his head as if he is confused. The way the photographer has not shown the mouth on this person and covered it in the fur, gives more interest as well. For all we know he could be laughing hysterically, meanwhile he gives us almost an angry look.

Response to Benifit Auction

#26 Sailors, Key West

Marie Cosindas

The reason I chose to respond to this photograph is because I thought that it was interesting that it could be read in multiple ways depending on the distance you are from it and how you're seeing it. When I first saw it from further away, the image looked more crisp and formal and seemed to have a more sexual mood. It also kind of made me think of the Village People because of the uniforms and poses. When I approached “Sailors” I noticed that it was somewhat out of focus and much less formal than I thought it had been. The men looked 'tough' and like they're showing off. I realized that the photograph was probably more to record the sailors in the way they wanted to come across in the photo than her setting up a shoot where they just happened to be in sailors uniforms. The rug and painting placement show some attempt to organize the image, but the window seems to throw it all off since its cut off and all you can see is a staircase or a piece of wood. When I got the photograph online it took on different qualities again, and the blurriness makes the photo take on some of the qualities of a painting instead of a photo. My laptop also made the shadows more prominent than they were in person. This definitely wasn't the most interesting photograph in the gallery, but I wanted to respond to it because I think its probably a good idea to keep in mind how people are seeing your images and how it looks from different distances.

this blog was made for all of you to use as an outlet for discussion, sharing and communication.
post images, websites, videos, or anything at all that inspire you or you think will be helpful for your classmates, or even for me or laz!
please use it! i will be personally offended if you dont!

Portrait Assignments

so excited about all your work this class! its amazing to see how far you all come with every crit and the more shooting/thinking you all do. i feel like a proud mother hen.

as you all find commons threads throughout your photographs, one great thing to do is find photographers that excite you visually and even conceptually. i would like all of you to find one new photographer every week that you like. this photographer does not have to, but can relate to the given assignment every week. the AIB library is a great source for this. freshmen year i spent hours there looking through photo books for ideas and inspiration. for the next assignment titled Narrative here are some of my personal favorite books that might help you all idea wise:

Robert Parke Harisson - The Architects Brother
Laura Letinsky - Now Again
Gregory Crewdson - Twilight & Beneath the Roses
David Hilliard - David Hilliard
Erwin Olaf - Erwin Olaf
Julie Blackmon - Domestic Vacations
Francesca Woodman - Francesca Woodman
Niki S Lee - Parts



some other photographers using narratives within their images: Cindy Sherman, Tina Barney, Jeff Wall

there are also so many students at AIB doing work with constructed images and narratives, take a look around, ask upperclassmen to look at their work, they are all great outlets and sources of knowledge for you all.

keep making amazing images and bring in as many images as you can, as well as contacts!