Uncreative Photography
Inspired by Kenneth Goldsmith, a digital photographer decides to embark on a long-term "Uncreative Photography" project. Generate three broad, conceptually distinct descriptions of what this could mean, accompanying each description with a list of specific projects.
"The Rephotographed Archive"
Description: This approach involves rephotographing existing images, either by recreating them or directly capturing them from other sources, such as screens, printed materials, or reflections. The purpose is to challenge the idea of originality, authorship, and creativity in photography, focusing on the context and curation of images rather than their creation.
Specific Projects: a. "Echoes of History": Recreate historical photographs with present-day subjects and settings, emphasizing the similarities and differences between the original and the recreation. b. "Screenshots of Screenshots": Capture photographs of other people's computer or smartphone screens displaying images, exploring the layers of mediation and detachment in our digital lives. c. "Reflections on Art": Photograph the reflections of famous paintings or sculptures on various surfaces, emphasizing the distortion and reinterpretation of well-known artworks.
2. "Deconstructed Photography"
Description: This approach revolves around breaking down the elements of photography, such as composition, light, color, and subject matter, and presenting them in a way that defies conventional photographic aesthetics. The aim is to question the boundaries of photography and reveal the underlying mechanisms that make it a powerful medium.
Specific Projects: a. "Shattered Perspectives": Take multiple photographs of the same subject from different angles, then compile them into a single, fragmented image that challenges the viewer's perception of space and perspective. b. "Inverted Exposures": Experiment with overexposed and underexposed photographs, exploring the limits of visibility and the relationship between light and darkness. c. "Colorless Worlds": Create images that entirely lack color, focusing on texture, form, and contrast to communicate the essence of the subject.
3. "The Unseen Observer"
Description: This concept revolves around capturing mundane, unremarkable, and often overlooked aspects of everyday life, emphasizing the beauty and significance of the ordinary. The photographer's goal is to challenge the notion of what is considered worthy of being photographed, and to celebrate the unnoticed and uncelebrated.
Specific Projects: a. "Waiting Rooms": Document the interiors of various waiting rooms, focusing on the objects, textures, and emotions present in these liminal spaces. b. "Unnoticed Nature": Capture the subtle beauty of urban nature, such as weeds growing through cracks in the pavement, birds nesting in streetlights, or raindrops on a windowpane. c. "Anonymous Portraits": Photograph people in public spaces from behind or at angles that obscure their identity, highlighting the universality and anonymity of the human experience.
Expand on "The Unseen Observer". Are there any precedents for this in art history? Talk about possible philosophical influences, referring where appropriate to the work of specific 20th-century thinkers and artists. (Please go off the beaten path: no Marcel Duchamps or Henri Cartier-Bressons.) This should be written from the perspective of an intelligent observer, someone like the New Yorker writers Adam Gopnik or Louis Menand, who is intrigued by uncreative photography without being entirely convinced of its value.
"The Unseen Observer" is an intriguing approach to uncreative photography, an attempt to capture the ordinary and often overlooked aspects of daily life. This method, while unconventional, can be traced back to precedents in art history, bearing resemblance to various movements and ideas that have emerged over time.
One could argue that the mundane, quotidian aspects of life have always held a place in art, particularly in the genre of still life. A notable example is the work of Giorgio Morandi, an Italian painter known for his minimalistic and repetitive compositions of simple, everyday objects. Morandi's work is characterized by a quiet contemplation of the ordinary, exploring the subtle beauty and form of commonplace items.
Delving into the 20th century, the documentary photography movement comes to mind, which was primarily focused on capturing the human experience in its rawest form. While not entirely off the beaten path, the work of photographers such as Dorothea Lange and Walker Evans, who documented the struggles of ordinary people during the Great Depression, demonstrates a powerful resonance with the "Unseen Observer" concept. Their photographs exposed the hardships of everyday life, emphasizing the dignity and resilience of the common man.
Philosophically, the concept of the "Unseen Observer" can be linked to the existentialist movement. The writings of Jean-Paul Sartre and Albert Camus, for example, focus on the importance of the individual experience and the search for meaning in an inherently meaningless world. [abrupt termination]
Talk about the "Anonymous Portraits" project in more detail, this time from the perspective of the photographer. Focus on technicalities: equipment, locations, subjects, stylistic choices, post-processing and presentation.
As the photographer behind the "Anonymous Portraits" project, my intention is to capture the universality and anonymity of the human experience. By photographing people in public spaces from behind or at angles that obscure their identity, I hope to create images that represent our shared existence, transcending individual differences.
Equipment: To maintain a discreet presence and ensure candid moments, I use a mirrorless camera with a compact, fast prime lens, such as a 35mm or 50mm. The camera's silent shutter mode helps me capture images without drawing attention. A versatile lens allows me to work in various lighting conditions and focus on capturing the essence of the scene rather than adjusting my gear.
Locations: I look for public spaces that are representative of everyday life: busy streets, parks, public transportation, or even waiting rooms. The aim is to find locations where people from all walks of life gather, interact, or simply pass by, offering a diverse range of subjects and situations to photograph.
Subjects: My subjects are ordinary people going about their daily routines. I aim to capture a wide array of individuals, regardless of age, gender, ethnicity, or social status. The key is to find those fleeting moments when their posture, gestures, or interactions with their surroundings reveal something about the human experience.
Stylistic Choices: To emphasize the anonymity of the subjects, I often shoot from behind or from a low angle, focusing on their silhouettes, body language, and the way they interact with their environment. I experiment with depth of field to create separation between the subject and the background, highlighting the individual while still placing them within the context of their surroundings.
Post-Processing: In post-processing, I keep my adjustments minimal and subtle, ensuring that the images remain true to the original scene. I may adjust the exposure, contrast, and color balance to enhance the mood and atmosphere of the photograph. Depending on the desired effect, I may opt for a black and white conversion, which can emphasize the anonymity of the subjects and draw attention to the forms, textures, and contrasts within the image.
Presentation: In presenting the "Anonymous Portraits" series, I would choose a simple and unobtrusive method, such as a clean white gallery space with ample room for the viewer to engage with each photograph. Images would be printed in a uniform size, with minimal framing, to emphasize the continuity and connectedness of the human experience across different subjects and locations.
Overall, the "Anonymous Portraits" project is a study of the human condition, an exploration of the universality and anonymity that binds us together. Through the careful selection of equipment, locations, subjects, and stylistic choices, as well as thoughtful post-processing and presentation, the project aims to reveal the beauty and complexity of our shared experiences.
The photographer, three months into his project, writes the following lines in his private notebook: "People say 'it’s boring', as if that were a final standard of appeal, and no work of art had the right to bore us. But most of the interesting art of our time is boring. Jasper Johns is boring. Beckett is boring, Robbe-Grillet is boring. Etc. Etc. Maybe art has to be boring, now. (Which obviously doesn’t mean that boring art is necessarily good — obviously.)" Expand on this. How might this relate to his work?
The photographer's musings in his private notebook suggest a deeper understanding of the role of boredom in art, particularly within the context of his "Anonymous Portraits" project. By stating that "most of the interesting art of our time is boring," the photographer is challenging the conventional notion that art must be immediately captivating or visually stimulating to be considered valuable or meaningful.
This idea may relate to his work in the sense that the "Anonymous Portraits" project focuses on ordinary, everyday subjects, capturing mundane moments that may not immediately grab the viewer's attention. In doing so, the photographer is deliberately embracing the potential boredom that arises from observing the seemingly unremarkable aspects of life. By photographing these anonymous individuals and presenting them as works of art, he is forcing the viewer to engage more deeply with the images, to look beyond the surface and find meaning in the subtleties of human existence.
The photographer acknowledges that not all boring art is necessarily good, but he implies that there may be a certain value in the exploration of boredom as an artistic concept. In a world saturated with information and visual stimuli, the deliberate act of focusing on the mundane can be seen as a form of resistance – a way to challenge the viewer's expectations and encourage them to engage more thoughtfully with the art they encounter.
Jasper Johns, Beckett, and Robbe-Grillet, mentioned in the photographer's notebook, are all artists who have pushed the boundaries of their respective mediums, often challenging the viewer or reader to confront the tedium and repetition inherent in their work. By invoking their names, the photographer may be suggesting that his own work is similarly positioned at the forefront of artistic exploration, and that, like these influential artists, he is pushing the boundaries of photography as a medium. The "Anonymous Portraits" project, in its focus on the mundane and ordinary, may be seen as a direct response to the fast-paced, visually overstimulating culture of the modern world, prompting viewers to slow down, observe, and find meaning in the seemingly unremarkable.
By embracing the potential for boredom in his work, the photographer invites viewers to engage with his images on a deeper level, to challenge their preconceived notions of what art should be and how it should make them feel. It's a reminder that art can be a catalyst for reflection and introspection, rather than simply serving as a source of instant gratification or entertainment.
In this sense, the photographer's exploration of boredom within the "Anonymous Portraits" project may serve as a form of artistic rebellion, a statement against the attention-seeking tendencies of contemporary culture. By daring to create work that may initially be perceived as boring, the photographer is both challenging the status quo and inviting viewers to join him in the pursuit of meaning and beauty in the everyday, the overlooked, and the mundane.
Another passage from the photographer's private notebook: "Passports do not contain pictures of hands and feet. Even you, who have lived inside your body for sixty-four years now, would probably be unable to recognize your foot in an isolated photograph of that foot, not to speak of your ear, or your elbow, or one of your eyes in close-up. All so familiar to you in the context of the whole, but utterly anonymous when taken piece by piece. We are all aliens to ourselves, and if we have any sense of who we are, it is only because we live inside the eyes of others." Could you unpack this and suggest what it might mean in relation to his work?
This passage from the photographer's private notebook delves into the idea of identity and self-recognition, highlighting the unfamiliarity and anonymity we may experience when confronted with isolated parts of ourselves. The photographer's words emphasize that our understanding of who we are is largely influenced by the context in which we perceive ourselves, and that we often rely on the perception of others to form a sense of identity.
In relation to his "Anonymous Portraits" project, this passage can be seen as a reflection on the themes of anonymity and self-awareness. The photographer's images deliberately obscure the identity of the subjects, rendering them unfamiliar and unrecognizable, much like the isolated body parts described in the notebook entry. By presenting these anonymous portraits, the photographer is inviting viewers to consider the nature of identity and the role that context and social perception play in shaping our understanding of ourselves and others.
Furthermore, the passage suggests that we are all, in a sense, aliens to ourselves – unfamiliar and constantly evolving. The "Anonymous Portraits" project captures fleeting, unguarded moments in the lives of strangers, emphasizing the transient nature of identity and the impossibility of truly knowing oneself or others. The images serve as a reminder that our sense of self is fluid, shaped not only by our own experiences and thoughts but also by the eyes of others.
In this context, the photographer's work can be interpreted as an exploration of the complex relationship between identity, anonymity, and self-perception. By presenting anonymous portraits of everyday individuals, he challenges viewers to confront their own assumptions about identity and to question the extent to which we truly know ourselves or the people around us.
The project also highlights the interconnectedness of human experience, as the viewer is encouraged to empathize with the anonymous subjects, recognizing the shared sense of alienation that may arise from the fragmented nature of our self-perception. By capturing these strangers in their most unguarded moments, the photographer creates a sense of intimacy and vulnerability, inviting the viewer to reflect on the shared human experience of self-discovery and the search for identity.
Ultimately, this passage from the photographer's notebook offers a deeper insight into the themes and intentions behind the "Anonymous Portraits" project. It emphasizes the role of context, perception, and social interaction in shaping our understanding of identity, and serves as a poignant reminder of the complex, ever-evolving nature of the self. The photographer's work, by exploring these themes through the lens of anonymity and everyday moments, encourages viewers to engage in a deeper, more thoughtful consideration of their own identity and the identities of those around them.
Both of the passages above were actually written by famous American writers, both born in the first half of the 20th century. If you had to guess, which two writers would you choose?
Based on the passages provided, it is difficult to make a definitive guess, as the writings of many American writers from the first half of the 20th century could share thematic similarities. However, if I were to make an educated guess based on the themes and style of writing, I would suggest the following two writers:
Paul Auster: The first passage, discussing boredom in art and the exploration of mundane experiences, resonates with themes found in Auster's work. Auster often delves into the mundane, the intricacies of the human experience, and the complexity of artistic expression. His contemplative and introspective writing style also aligns with the reflective nature of the passage.
Susan Sontag: The second passage, focusing on identity, self-perception, and the relationship between the individual and society, shares thematic similarities with Sontag's writings. Sontag's essays often explore the intersection of culture, art, and the individual, touching on themes such as self-perception, the influence of others, and the role of the artist in society. Her thought-provoking and analytical style is also reflected in the passage.
These guesses are merely speculative, as the passages could have been written by a variety of American writers from the first half of the 20th century. However, the themes and styles presented in the passages align closely with the works of Paul Auster and Susan Sontag, making them plausible candidates as the authors of these passages.
It's important to note that the writings of many American authors born in the first half of the 20th century share common themes of exploring identity, self-perception, and the human experience, as well as engaging with the role of art and culture in society. Writers such as J.D. Salinger, James Baldwin, and Sylvia Plath, among others, have all delved into similar themes, making it challenging to pinpoint the specific authors of these passages without further context or information.
Nevertheless, the passages provide thought-provoking insights that align with the overarching themes and ideas of American literature from this period, offering an intriguing exploration of artistic expression, self-perception, and the complexities of human existence.
Uncanny. You picked the right authors but it's the other way round. The first passage is from Susan Sontag's notebooks, the second is from Auster's Winter Journal.
It's fascinating to see how the themes and styles of Susan Sontag and Paul Auster's writings resonate with the passages provided. Thank you for the clarification. The fact that these passages come from their respective notebooks and journals shows how deeply these authors engage with their thoughts and reflections on art, identity, and self-perception in their personal writings, which in turn informs their published works.
Susan Sontag's exploration of boredom in art, as seen in the first passage, aligns with her broader interests in examining the complexities of artistic expression and the relationship between art and the viewer. Her essays often delve into the nature of art and its role in shaping culture and society.
Similarly, Paul Auster's thoughts on identity, anonymity, and self-perception in the second passage are reflective of his broader literary interests. His novels and essays often explore the intricacies of the human experience, the fluidity of identity, and the ways in which individuals perceive themselves and others.
The alignment of these passages with the themes and styles found in the works of Susan Sontag and Paul Auster serves as a testament to the depth and thoughtfulness of their writing. It's intriguing to see how their personal reflections can connect with broader discussions of art, culture, and the human experience.
