It’s this relationship we have with the physical objects of ‘the photograph’ that I both love and hate. I love how it can be liberating and empowering to have a piece of paper in your hand that can stir up feelings and personal experiences, but I don’t like how the object itself can become the main focus hijacking the intention or the reflecting moment. Something I found interesting from Clark was:
It’s a demonstration of contemporary art of sorts, do you think the art world Is too exclusive.
I think the art world is much too exclusive because of the prices and what happens in extremes, which is the norm now. Collectors like Peter Brandt whom I know and Peter is good guy. Peter and other collators who are billionaires if they want a painting and it comes up for auction they’ll out bid everybody by 5 mil dollar. Like the painting would go for 5 mil Peter would pay 10.
'Photography is about Light shadow and feeling, that’s all it is.' Larry Clark -https://www.youtube.com/watch?v=KIlqvoldS6Iq
Culturally we are in a new phase where prints are around less every day. I wonder if this could mean prints are easily labelled art photography for the simple fact there are less about. An interesting article I read mentions.
“Now that images are on a screen, they’re sort of ‘forever young’, and it becomes difficult to realise that there are many things that connect us to the past in terms of basic human emotions. These become more difficult to tease out when everything looks contemporary.” - Lisa Hostetler.
Aside from the cultural considerations from photography, I must examine the cultural and historical implications of punk rock itself. I’m dealing with people who are involved in the DIY scene of making music and bringing people together often for great benefits for those in need. I don’t want to be associated with or add to the rise in the commercialism of the ‘punk rock’ aesthetic in which people are romanticising motifs from a sub culture to be edgy and different from high society as this seems a little wrong to me. Here’s an example of someone turning the punk rock aesthetic into a high fashion cat walk collection.
It’s completely inaccurate and potentially unfair to the actual community today.
Much Like Nan Goldin and Larry Clark two of the most influential artists to me and my practice both have very strong personal opinions on this.
Goldin struggled to get her work out to begin with so made slideshows and travelled her show around as a unique slideshows accompanied with music, which was a big part of the subcultures in her work.
Clarke has also brushed upon parts of the punk rock community with his ‘Kids’ film that involved skateboarders, the two are closely linked so it’s interesting to see his work as I can identify with it. I would like to reach my audience in the same way that Clarke manages to reach his. I was a wild teenager very similar to some of the subject of his Tulsa series and his Kids film. It’s that authenticity and honesty that I would like to show through my own work, but paying careful consideration to not over sensationalise the general mood or feeling of the project by giving special importance to images that are connote extreme . I aim to portray the community in a way that’s not going to over exploit images depicting highly energetic, emotional scenes. The dilemma is that it is a part of the community and what we all love about what punk rock music can do.
These have been my main considerations with curating and installing the work as well as shooting the work in the first place.
I’m really aware that because I’m so closely involved with community in which I’m trying to portray, I feel an extra responsibility with editorial decisions. I like to check in with myself and reference what I’m trying to do against what others have done before me and re assess as I go along. Right now I feel confident with my intentions and in my production. I’m building upon what photographers like (((((((( have done in documenting the punk rock community before me. But setting myself a frame work that involves questioning some ethical and personal methodology from thoughts of photographers I look up to, like Goldin and Clarke, constantly re assessing my own feelings on it as I progress. It’s certainly not easy.