March 28, 2015
Well, as said above, looks like this:
Josiane Keller “drying time – front” (2015)
Josiane Keller “drying time – back” (2015)
Same as with Madeleine, she has to speed-dry and all has to be finished inclusive 2nd firing by Easter.
And just for the heck of it, a photograph by Gautier Deblonde of Ron Mueck’s atelier. Ron Mueck makes, as we all know, sculptures, but I like this picture by Gautier DeBlonde of all the bits, bobs and parts together better:
Gautier Deblonde “Atelier de Ron Mueck” (2013)
here is the site of the photographer: http://www.gautierdeblonde.com/, who was so very nice and let me use his picture on my BLOG. Thanks again!!
Once again I am wondering about the question: what is the difference of a picture of a human being and a picture of a doll of a human being?
And: what is the difference between looking at a sculpture and looking at a photograph of a sculpture?
On a BLOG it is impossible to illustrate this question, because every sculpture I show will always be shown reproduced in 2D as a photographic image or drawing.
Anyways, here a link to some work by Ron Mueck, as far as I could see he has no website of his own (doesn’t need it):
Interesting to me, that the article calls the sculptures “hyper-realistic”. As in more real than real. Overly real. Too real. Scroll down in the article to the third photograph, a close-up of Ron Mueck’s sculpture “Two Women”, photographed by Fernando de Sousa.
This photo, blurr and composition, turns the originally “hyper realistic” sculpture in a realistic photograph. To me it comes closer how your sense of vision perceives our environment.
Back to my own models. It’s sanding time (very dusty, by the way):
Josiane Keller “sanding” (2015)
March 26, 2015
All photographs and texts on this website are the copyrighted property of their authors.
No part of this website or its content may be copied or reproduced without its author’s permission.
Thank you. Remember: texts included. You’re welcome to ask, though. Thanks again.
Back to real life on this planet, as perhaps it applies to many more of us. Pretty boring. Some of it happy, some of it sad.
Josiane Keller “road in sunset” (2015)
and up again:
Josiane Keller “sunrise with green lights” (2015)
Josiane Keller “Aurelian’s drawing wheelchair cup holder” (2015)
now, for now:
Josiane Keller “Mark laughing in March” (2015)
when shit hits the fan .. .
Josiane Keller “cancer meds” (2015)
Josiane Keller “green yellow houses” (2015)
March 26, 2015
This is the colour of the skin of my friend who is dying of bone cancer, as it was on March 25th 2015.
Comments (0) | Tags: 2532015, SKIN OF MY FRIEND
March 25, 2015
This looks like an empty post depending on the background color of your computer screen, but it is actually WHITE. Please view explanation at the bottom of the post.
This BLOG is a work in progress. It is not my main work, that would be the images I am making, but it started as a production diary to communicate the progress of work I was doing in collaboration with a group of people too far to see otherwise.
I kept writing it since as a production diary of other work I made later and as a form of note- and sketchbook. Since its beginning I went through various stages in my life, because I am also teaching art and at times working on collaborations and commissions.
I originally wrote about artwork in relation to the work produced in the collaboration that started the BLOG, to demonstrate its context to contemporary and historical artwork. I am sharing my time between various very different places and depending to the specific situation where I am at the moment my circumstances may be vastly different.
In 2013 I went through a period of working on several commissions. Two out of three were extremely enriching to my own work and and worthwhile the effort, although the budget was limited and the pay was low. One seemed to turn more and more turned into a collaboration, the boundaries of these project stretched and its nature constantly transformed, whilst I was involved in it. To my knowledge this project is still, seven years after it had been started, not completed.
I was open for this at the time as I was younger and mainly experimenting with animated film projects, that demands a great deal of networking. At the time I was also very interested in street art and followed various other artists and their progress. I was not experienced enough to realize that a constantly transforming project with no real end in sight has not been thought through enough. It will probably always lack clarity to communicate its real concerns to an audience and most likely in the end fail as an artwork. Ironically so the particular project had a realistic budget and my salary had been the reason why I had agreed to it. I learned from that experience, if affordable at all, the pay should not be the indicator if one takes on a commission or not.
Where in 2013 I would agree to many projects partially for the fun of being a part of it and used to be very active in community projects I have now moved away from this, also to have more time concentrating on my own work. I am still open for commissioned work as well as occasional collaborations, but my expectations towards other art projects have become more critical than they were two years ago.
I have come across people who hide some very negative motivations in seemingly comical or banal imagery. I have also come across people who seem to create deliberately offense and conflict in order to realize their own agenda, may it be just drawing attention to their persona, than the artwork they produced, that in such a case generally lacks quality. I am no longer open to just about anything that promises the fun of being part of a communal artwork irrelevant its artistic qualities.
I started a new project, and at the moment I am not sure if it will turn into a more important body of work or stay only on this BLOG as visual note-taking. The project is a COLOUR diary and it involves not only lens-based media but also photoshop.
I am taking a photograph of an important scene of the day and chose with the photoshop color picker function a colour from this photograph, with which I then fill in a specific area of dimensions.
This is the colour WHITE that resembles for me isolation, clarification and new beginnings.
Comments (0) | Tags: colour diary, reflection, WHITE 2532015
March 24, 2015
New project – ten trees in the park – collaboration project about sharing time and “thank you for your time”
March 24, 2015
For the next project I need a nice rural image, meadow with some oak trees.
Luckily there are plenty of them around me, if one knows where to look, that is, not just so in the open. (That would be nice! But better than nothing.)
The trick is to get the dimensions right and to avoid hikers or their dogs running through. It can be good, in some rare occasions, but in most cases it is not ideal.
There will be a surprise artist coming along for the next photo-shoot in two weeks, at least that is the plan right now, and her project is somewhat similar to the now so much discussed last one. The project she is working on is accompanying various people (free of charge) along on an occupation they usually do with another person.
I love it, also love the idea of meeting someone and connecting through an occupation together, sharing with each other, but of course, as long as we have not done it yet nobody knows what the future beholds.
She will come along for a photo-shot, which is great. Usually I grab my own people, who are ‘trained through experience’, so there is another difference: it is not quite something for the ‘untrained’, but then again I will provide basic training on the day, and after all it is not difficult.
For now I need the right scenery. Here some tree test shots:
Josiane Keller “ten trees” (2015)
Hmmm. Not easy. The leaves on the ground are in my way. Or might be. But we will see, perhaps with combined forces I can come up with something decent.
This artist ends her communication with “I’m really looking forward to our time.” It may only be a casual phrase, but the expression of valuing other people’s time invested in her own art project and the will to support this is making her very sympathetic to me.
March 23, 2015
Haven’t read my spam in a while, today I took the time, as I had just 7 of them, and came across this little gem, too precious to just delete it before sharing:
This locate is extraordinary to me. I have never tried such things, so I don’t in actuality be aware what to write. Anyway…
I’m Jessica. I’m unmarried and I believe abandoned and abandoned. I would like to meet an attractive and ingenious guy to making up dour relations. No swift-flowing relations! I don’t call for to be forward. So, do not force on me. I only after to contain a season or two to find at fault whether we liking costume each other.
I’m shrewd and off-the-wall, and diverse reveal that I’m graceful cute. I give birth to lots of entertaining things to tell you about.
If you are interested charter out’s try and find into public notice how we will take care of it. I hope we’ll net elevated benefits from our fellowship.”
‘No swift-flowing relations’, that’s right! Make sure you wear liking costume when you date her, or it will be one season only, even though she is shrewd, off-the-wall and gracefully cute. AND: she gives birth, and lots of that, to entertaining things.
(Just like me!)
Comments (0) | Tags: superspam
Why can’t it be about my gaze? A new figure, photographer Nina Leen and “the male gaze” versus “a woman’s viewpoint”
March 20, 2015
Josiane Keller “new figure” (2015)
Finally, I am working on a new figure. (How fun! – No irony, btw. The figure-making, when I get to it, is incredibly enjoyable.) So far it doesn’t look like much, but I admit I have a fortune cookie wisdom on my laptop sticking that reads “Begin… the rest is easy.” That should tell you all there is to know…
I spent a lot of time as I placed an ad in a certain photography magazine and… they messed it up. How, do not even ask. So after a lot of flipping and fighting I get a new ad, which will be a little odd, one weird one and one hopefully nice one, this time. This is where for example the Dutch designer Gerrit Noordzij’s could be most helpful.
Anyways, now I will write about “the male gaze”. Unless you are refurnishing a strip-club, a most peculiar topic, if you ask me. But I am no man. And that is EXACTLY THE POINT.
(Here, I will make a “point”, right here, look: • That is a point, see? Fine, I stop goofing around and will try to explain…)
Recently I had a tiny review written about my work, the person writing it, God bless, was specifically interested in the “Haifischflossen”-album. His original text had a headline that read: work on “women’s issues, and the male gaze” and as explanation he stated, ‘feminist theory being a main interest of his’ and further “the inclusion of provocative and distorted semi-nude hand-made models definitely strikes that chord for me.”
He further explained the part of my artist statement had lead him to this:
- why are we taking photographs of women?
- what is the difference of men taking photographs of women versus women taking photographs of women?”
Stop right there. Go back to “perspective” and “stand point”. Start again. Drive the opposite direction.
Why can’t it be about my gaze?
I can see why he would think so. But then again, if my work should be about “the male gaze” then one could also say, since I went a few years ago doing my duty and went to the Louvre staring at the “Mona Lisa”, the “Mona Lisa” is about “the gaze of Josiane Keller”. There, I am staring right at her, it must be about my gaze, right? I have been staring since minutes now.
I am not sure, (how could anyone be sure of anything, anyways?), but I assume it is not.
Leonardo da Vinci “Mona Lisa” (1503/1505)
It certainly is about Leonardo da Vinci’s gaze, that I think would be safe to assume. And famously so, in this particular case, the painting is also about the model’s gaze (Lisa del Giocondo), since the model somewhat looks back at the artist and makes eye-contact. Eye-contact to some is interpreted as an invitation or even a provocation, for example silver-back gorillas are said to have this reaction. (That was mean, I totally admit it. Sorry. But I don’t take it back.)
Let’s make one thing clear: I am most grateful to anyone, who is interested in my work, and I am very happy, if they find it triggers any of their own interests, and I even more grateful to anyone who is willing to even write about my work! Absolutely and how wonderful!!! But I would really like it very much, if people who write about other people’s work do keep in mind, that they can’t possibly “just know” what it is about and for that reason I would go the easy route and please make the effort and ask the artist, instead of assuming, even if you are very sure you still might get it wrong after all.
There are people out there publishing “interviews”, what they understand by that is they write some text up that reads very beautifully and elegant, questions by the interviewer, answer by the artist, they almost include description of little laughs and gestures. Then they send it to the artist for an “OK” one night prior to publication.
I am not joking, that really happened to me, and since then I am very suspicious of “interviews” with artists published anywhere really, that read so very nice and elegantly.
It is extremely bad journalism and I honestly do not understand why in the field of fine arts the rules should be any different from other journalism. All their lives long artists, or at least me, spend so much time effort and money to clarify what they are really thinking, over and over again, re-thinking, re-evaluation and finding good ways to communicate that visually. And all of a sudden, just because one was lucky enough to get a review somewhere, one is supposed to be so endlessly grateful that all that should not matter anymore, and one is happy to throw it all overboard only to give the reviewer’s ego a chance to write about whatever he anyways wanted to write about, no matter if it actually applies or not?
I care very much about in what context my work is being represented, because it is a lot about context and lesser so about pretty pictures, in fact the problem is: I am trying to communicate a certain context in images. Of course then that is a form of abstraction, and that can be interpreted or mis-interpreted, and that leaves space for misunderstandings. But if you take my intentions away and use my work to communicate something what I had not in mind saying through it, which is easily done in i.e. an article, then you practically hijacked my work. I am awfully sorry, but as far as I am able to stop such bad art-journalism if it applies to my work, I will do that. If you have no interest in what my work is about then do not feature it.
If you have an interest in making an “interview” with me then PLEASE ask me, I am happy to answer truthfully to all your questions, which you are happy to publish; PLEASE do not override what I say. No matter how badly you wish to write about this or that other topic that interests you and you thought it could fit with it, but ultimately doesn’t. If the urge to express your own issues is so pressing, please have the guts and become a free-lance writer, where you can write about whatever you please.
Instead of bickering, let’s try another one, (I am really not here to insult people, but I am trying to explain something.) So for example Ingres is always big on eye-contact:
Jean Auguste Dominique Ingres “La Grande Odalisque” (1814)
(Sexy, isn’t she? Well, at least I think she is sexy…) Anyways (- although NOT anyways: sexy or not sexy does play a role in this discussion!), so this painting about… what? Ingres’ gaze, and the model’s gaze.
Does it count to conclude: everyone who looked at this pictures then can be counted in the list of people and their specific gender this painting is allegedly about?
But this painting was not created free-lance, it is a commission, and it was commissioned by a woman: Napoleon’s younger sister, Queen Caroline Murat of Naples (or full title: Marie Annonciade Caroline Murat, née Bonaparte).
And the lady was married twice with children. Why possibly would a woman, who is not even openly gay, want to look at a sexy naked lady, and so badly that she orders one painted by an expensive painter? Oh dear, how terribly confusing! What does it mean?
So, now that everyone is successfully confused… let’s briefly go back to the statement this writer made, one of his main interests is “feminist theory”.
Wiki knows this: “Feminist theory is the extension of feminism into theoretical or philosophical discourse. It aims to understand the nature of gender inequality. (…)”
I refuse to call myself a “feminist”. Here is why: I don’t care so much about men or about their gaze. Let me re-phrase that: if I take a nude-photograph, posing with a goofy sign-board in my hands, and this particular photograph sky-rockets my site views and the source of these particular views are sex-related sites and online-dating sites then I might after careful consideration chose to take this photograph down again from my website, because although the sociological experiment I never intended to make, but that took place more by default, was very fruitful and gave me new insights about men that at the same time I am only to a very tiny level, if at all, interest in, then fine, then perhaps my work to some extent could have something to do with ‘the male gaze’.
But I definitely do not make it for that, it happens. I don’t care, but if others care and act upon it, and if I do not like that then I might re-act, granted I can be bothered enough. That may be professionally a bad move, because particularly this photograph did win an award and making work in that directions seems to be very easy to promote. But the point is: even if it sells well, I am not that interested in it, because what it is about does not apply so much to how I identify myself at the moment.
I do not feel that suppressed and exploited by men, not because I would live such a sheltered existence that there was no chance for conflict, but simply because I am old enough to stand my ground and I have other to me more interesting topics to do research on. That simple, that disappointingly boring.
And, to confuse further: my artistic concerns change over time. I am human and not stuck in one spot in time and place. And since my concerns may shift (hopefully they do!), that would be one more reason to occasionally double-check.
For example currently I am truly interested in why take a photograph and the fetish-effect a photograph does take on, which does also include the option of being a sexual fetish, but that is not my main interest at all, and if there is a difference in taking a photograph of a living person versus taking a photograph of a doll of a person.
The question I am asking is: can one say my work is about ‘the male gaze’, only because men may look at it even if I did not intend to make the work for specifically men to look at it?
In reality I think it is very important to stick to this part of my artist statement:
- why are we taking photographs of women?
- what is the difference of men taking photographs of women versus women taking photographs of women?”
But doing so, when looking at my photography depicting women, even naked ones, particularly my constructed photography, for which I make the models myself, keep in mind in the first instance I am a woman. I am the same (gender) that is depicted in my pictures, not ‘the opposite gender’. Hans Bellmer and Morton Bartlett both created female dolls based on the idea of “the object of their desire”. But Mark Hogencamp builds a city (“Marwencol”) populated with men and women, interesting enough the women-dolls saving the doll symbolizing himself. There are practically no male dolls in my constructed photography.
As a woman I go through different stages in my live and make various typical, perhaps even stereo-typical life experiences, childhood, youth, sexuality, the question of beauty, childbearing, relationships, age. And when I take my clothes off, I swear to God, under these clothes is a totally naked women, what a surprise! Every morning looking in the mirror in the bathroom I am so surprised and my upstairs neighbours can hear me shout: “Oh my God! There is a naked woman in my bathroom!” No, fooled you. My upstairs neighbours leave the house before me, they can’t hear anything.
I fully admit, whilst I actually do spend some thought on not annoying my neighbours, I simply do not think so much about the situation of men in general. Sorry about that. Then again, why should I care?, I am a woman.
There are plenty of male artists out there, that make tons of art about men and a man’s world, and I would not even be able to name any who is willing and able to make art-world about “women’s world” making an effort to portray it from a “woman’s viewpoint” and why would he?
Why should I be any different from that? What do I care what men think and feel, I am sure they will try to communicate some of it to me and then I can discuss, but I am not making artwork that automatically comes from a viewpoint of another person’s situation, that would be a man’s situation, even if I depict something that seems particularly interesting to men.
Josiane Keller “breast” (2014)
I am making images about “my world” from “my viewpoint”, naturally that is “a woman’s viewpoint”, but it is also “a human’s viewpoint”. Same as men make work that comes from a “man’s viewpoint” and can also come from “a human’s viewpoint”.
Besides the work in the “Haifischflossen”-project, I am not always dealing with the SELF and my own gender. I make other work with different topics and at times, when there is the chance, do shared projects, where I am trying to express the situation of others, for exactly the reason to try and relate to others. For instance the “Each reflection”-project would be a project I was making specifically about the experience of other people, in this case street youth, and I tried my very best to go as far as possible to merge into their feelings, experiences and conclusions, as if they were my own, trying to take my ego completely out of the process as much as that is even possible and making myself deliberately a tool for the participants in this project in order to express something through the images we come up with combined forces together, exactly the way they would want to say it to as close as possible to that:
I try the same thing when I interview someone, I make a conscious effort not to use another person’s work or statements a vehicle for my own concerns, although naturally so it happens often enough, and some artists out there do not mind and some welcome it. Personally, particularly in the situation of being interviewed I do not like that to happen, same as if at all possible I try not to allow it to happen with interviews about my own work, that is why I always double-check with people if they are happy with what I wrote and I wish people interviewing me would do so, too. At the end of the day (* a very British expression!) one can’t know for sure what another person is about.
I am only saying, even if you are a man, and have certain ways of approaching life, do not forget to consider that work made by a woman may be not about the same topic as if you as men would have made work that might look similar.
Which finally brings me to the gorgeous photographs of LIFE photographer Nina Leen,
who has a show coming up at Daniel Cooney Fine Art in New York from March 26 through May 15:
and so there are currently articles about are spooking around the internet, for example this one:
so she is “surreal”, “mysterious” and “weird” . Is she? Perhaps I don’t get it.
Nina Leen “Miami” (1955)
Is that a photograph about “the male gaze” or “the female gaze” or what is this about?
How about this one: male or female gaze, or any gaze, really?
Nina Leen “Teenagers at a party, Tulsa, OK” (1947)
To me it she a woman, taking pictures of people, some of them being women. Or photographs of women in situations, to me very much from “a woman’s viewpoint” (as opposed to “the male gaze”):
Nina Leen /LIFE magazine “with model” (date unknown*)
Then she did this series on the dancer Margaret Severn:
Nina Leen “Mask Dances /Margaret Severn” (date unknown*)
Unfortunately despite my best efforts I can’t seem to come up with a reliable *date for these ‘mask dance’-photographs, but since Margaret Severn did her mask dance around 1921 I guess the photographs must stem from about this period, too.
By the way, compare this gorgeous picture of hers, again showing Margaret Severn with mask:
Nina Leen / LIFE magazine “mask dance by Margaret Severn” (date unknown*)
coincidentally similar, compare with:
Josiane Keller “Agnes with mask” (date known: 2014)
Listen also to Margaret Severn, talk about the masks and the dance in this video:
Interesting: a female dancer, using masks.
Here you can see some more mask photos from this series:
So far about this for now. Surely more will come up, but enough for tonight, I am going to bed. Happy Spring 2015, male and female gazers!
Oh, one more thing: my ‘prostitutes’- photographs:
they are in the first instance not about ‘prostitution’ as in the sense of ‘sex-work’, nor really exclusively about ‘women’, or ‘women’s issues’ , instead are they about the ‘discrepancy an artist may or may not find himself or herself be in, attempting to market one’s work and having to put up with quite a lot of loss of control, to various extents’, where to draw the line is up to the individual artist.
In connection to this problem I am planning my next project to be on “Circus Life”, similar issue: the partially ridiculous tricks artists find themselves doing to show and market their work. Coincidentally again Nina Leen took a gorgeous series of photographs featuring female (damn, again that bloody male gaze!!) Circus artists, for example this one here:
Nina Leen /LIFE magazine “Ringling Brothers – Circus” (1949)
(At last I have a date for her work!) Good night for now.
Comments (2) | Tags: a woman's viewpoint, dancer, equality, feminist theory, Hans Bellmer, Jean Auguste Dominique Ingres, La Grande Odalisque, Leonardo da Vinci, LIFE magazine, Margaret Severn, Mark Hogencamp, Marwencol, mask dance, masks, Mona Lisa, Morton Bartlett, Nina Leen, Queen Caroline Murat of Naples, the male gaze, Why can't it be about my gaze?
March 18, 2015
Originally I wanted to write a post on “the male gaze” or actually rather questioning it expression in connection with certain photography, but instead I cam across a video-interview with Dutch Typography- designer and teacher Gerrit Noordzij for TYPO Berlin 2014, which I thought is so nice and smart and applicable to all sorts of media, that I decided to post this here for now instead and get back to the “male gaze” later on. Have a look:
He is Dutch and speaks here in German, I had to search for a while to find the settings for English subtitles, which is great so I do not need to translate the whole thing and you can see it here also in English, as it is really very cool and insightful. (It does contain some tiny mistakes, for example “da ist das weg” does not mean “that is the way” but instead it means “it is lost/gone/has been emitted”, even if “Weg” translates to “way”. So perhaps it was translated by a machine or someone not-Native-speaker, anyways, anyways, there are not many mistakes, you’ll get the point.)
Some more info on him here:
March 18, 2015
Two new diner photos with different ideas about colour, this one:
Josiane Keller “sad girl in a diner” (2015)
and this one:
Josiane Keller “girl with eyes closed in a diner” (2015)
Meanwhile, time for a new figure. All my figures more or less begin like this:
Josiane Keller “beginning” (2015)
March 16, 2015
Tsutomu Otsuka 大塚 努 “Flamingo – フラミンゴ “ (2015)
This beautiful flamingo photograph was taken by highly accomplished Japanese photographer Tsutomu Otsuka 大塚 努,
“freelance photographer, based in Kyoto, and the editor in chief for the Kyoto Photo Press. Usually he uses digital cameras, however he loves medium and large format film cameras as Rolleiflex TLR, Holga 120 PC, Tachihara Fielstand 45II, Holga 120, ZERO Image 4×5, Harman TiTan 4×5 pinhole and Deardorff View 8×10, etc. Also he loves Irish and American roots music.”
This is his homepage:
He is working with pinhole cameras (and other cameras) and also running a very friendly and relaxed facebook group ピンホール写真 (which means exactly that: “Pinhole Photography”), where I found the picture and asked him if I may feature it. If you feel up to it you can join the group. Personally right now I do not use a pinhole camera, but many of the images I take have a similar feel to them, so Mr. Otsuka generously lets me show some it on this pinhole site, which is a great inspiration.
Under Construction – New Positions in American Photography – Show Opening at Foam Fotografiemuseum Amsterdam and Pioneer Works Center for Art and Innovation
March 14, 2015
Oh yes, these Americans (but some here are actually Canadians…) “Under Construction”, brand-new show opening tonight organized by Foam Fotografiemuseum Amsterdam (where it was first shown last autumn/winter, that is: in Amsterdam from September to December 2014) and now it is in Brooklyn at Pioneer Works Center for Art and Innovation:
“… Even though the results of the artists’ individual practices are very diverse, the mentality, methodology and presentation of their work show a number of remarkable similarities. A key characteristic is the investigative attitude they adopt in looking at the photographic image and its representation. All the featured artists are explicitly engaged in a fundamental reassessment of the value and significance of photography in the early 21st century. …”
featuring the following artists (I did my best to describe them in one sentence, it is admittedly very basic description, so if you can’t go in person click on the names and read up on them):
Joshua Citarella, (sorry, I do apologize, but I can’t come up with anything to say about this so fast, I would need to stare at it for a long time, and I simply won’t right now, as yet again it is quite late… I went to art school with people who made that type of work and some of them were fabulous and very deep thinkers, but I am a very different person, probably way more simple and right in the face. For this reason maybe best if you have a look for yourself)
Jessica Eaton, (she is the one with the cubes, which I love, too, and: they chose one of hers as image for the article, but I like this one here better:)
Jessica Eaton “cfaal 346″ (2013)
you can buy it here: http://jessicabradleyinc.com/artist/jessica-eaton#postImage[post-3599]/5/
Daniel Gordon, (love his work, very cool, he does collages from paperclips, very bluntly put, check it out! You guessed it: he is my favourite and I did write about him briefly in the past already)
Matthew Leifheit & Cynthia Talmadge, I could not find a website of them, although they do commercial stuff for various magazines and also not commercial stuff, for example strange food topiaries changing the colours in it, you can see some examples here:
Matt Lipps, (well, basically 2D paper-cut outs arranged and photographed, some seem very monumental, long rows of crowded paper people, sometimes graduations from bw to colour, have a look!)
Matthew Porter, (a wild one with all kinds of ideas, also cut outs but also other things, have a look, well anyways have a look at all of them, really!)
Sara Cwynar, (another favourite, particularly her “Floral Arrangement” photos, brilliant!!!)
Kate Steciw, (so she is also one where I could not find a personal website, but I found a very nice article on a show she had in Germany, so I am posting that, she is reformatting stock photos, rearranging them and putting them in different forms into new images together, very interesting as well)
Sara VanDerBeek, (again now website that I could fin, but instead I put the gallery site where she is represented, very busy lady)
So reception is tonight 6-9 pm, but by the time you will read this it will have passed…, you can still go, it is up from: March 14 – April 26, 2015
address is here:
159 Pioneer Street (between Imlay & Conover streets)
Brooklyn, New York 11231
1 718 596 3001
opening times are: Wed. – Sun., from 12pm – 6pm
Comments (0) | Tags: Daniel Gordon, Foam Fotografiemuseum Amsterdam, Jessica Eaton, Joshua Citarella, Kate Steciw, Kathy Ryan, Matt Lipps, Matthew Leifheit & Cynthia Talmadge, Matthew Porter, New Positions in American Photography, Pioneer Works Center for Art and Innovation, Sara Cwynar, Sara VanDerBeek, Under Construction
In the kids’ world women don’t get hit. Allegedly. The kind one should hang out with and: ask ME first if it’s OK to caress me
March 13, 2015
In the kids’ world women don’t get hit. Allegedly.
Everyone loves it. Just I think, these boys are not the boys that will hit women and neither are their dads. The boys that will hit women, talk quite differently, and do so also at age 7, 9 and 11, and they will call girls “bitch”, and they live right up my street. Because it’s lovely out here.
(That part is regrettable, as otherwise I could do like the people who made this cute, successful little video, and imagine the world is simple and very nice.)
The boys that are now boys and later on will be men who hit women might then also as men say “you should not hit women”, but after they did it they will say “She provoked it, had she not done xyz, I would not need to hit her”.
They will feel she provoked him, made him feel furious, helpless, loose control.
And some of the women hit by these men will say “Had I not done xyz, then he would not have had a reason to hit me.”
And both sides may even feel helpless and hopeless, and have no clue why they cannot stop it.
The other part I am thinking is, darling little boys, you are mighty cute and I would love any of you when you are grown-ups to be my boyfriend, as surely you are going to be wonderful people, the kind one want’s to hang out with, the kind one should hang out with.
BUT I am also thinking: what kind of kids are that where some grown-ups say to them “do this to her, do that to her”, what do you think of her?, caress her, give her a kiss, and they do not even once ask Martina, if she is OK with it.
Martina is a doll with great hair.
(One reason stated not to hit her was “because she is beautiful”. So all the beautiful girls don’t get hit? And is it then OK to hit all the ugly Martinas? I’m just asking as there are guy out there who yell at the women whilst hitting her “You are ugly!” But maybe I’m not getting the point, always a possibility.)
Martina, babe, next time some grown-up stands there and says to the very next boy in front of you “caress her!”, you say to him “Listen buddy, you ask ME first if it’s OK to caress me.”
Excellent advertisement, pushing all the right buttons and yet so crap.
Next time go and talk to boys who’s dads do hit their moms and see what they have to say about it all.
Less cute, that’s for sure, but more close to the issue.
Josiane Keller “the kids are doing okay – letter to Lucasville prison” (2014)
Josiane Keller “I am so sorry that this happen to you” (2014)
Josiane Keller “The Katz Club – Arson” (2014)
Josiane Keller “bar six hours after owner was shot dead” (2014)
Josiane Keller “man with a gun on the playground on Easter Sunday” (2014)
March 12, 2015
And let’s move on. I need to air my head. Make some actual work again, after sending it all over the place.
I am thinking about hair. I am happy with my figure’s skin, but the hair sometimes does not come out quite right.
Super traditional animator’s problem, Studio Laika in Portland (for instance) http://www.laika.com/
has a whole fur&hair department, doing nothing but thinking about ways to make hair look natural for their stop-motion-animation. But they love the crisp and everything at all times in focus look, and I like the Moriyama-Daido-style blurriness, looks more like I really see things, for instance hair. Further, Laika work for kid’s entertainment and so their figures and images have to look ‘cartoony-cute’, which I try to avoid. And then, last not least, they use hair for hair, and I use clay.
So first of all a quick research where it actually worked, for example here:
Josiane Keller “hair from clay 6 times” (2015)
In many cases I seem to have (subconsciously?) avoided the hairy problem, by giving the girls simply very little of it. Then again, once more people get the wrong idea from an overabundance of fashion-shots showing ladies with lion manes, that only look that way after 2 hours+ in make-up&hair, when in reality they have about a third of it. In either case, most difficult seems to create a poofy hair effect with clay. The question is: would using a different material for the hair, for example: hair, improve the outcome or make it look less “real”?
Fellini in one beautiful interview said they were driving to the coast to film the ocean, and didn’t get it right. Then they went to the inner country, passing some vegetable fields covered with large plastic sheets waving in the wind like water-waves. So he filmed that and it worked. That is a general insight with lens-based media, some things in front of the lens are absolutely real, but they do not look real and the best lens makes it sometimes even worse. After all how much really do the best lens on earth and the human eye have still in common? We shot way over the goal, decades ago.
So I am trying to take a couple of steps backwards and try to find that point when it somewhat looked right, (probably when cameras were at pinhole standard).
Anyways, it is yet again way beyond midnight, and although my work time has somewhat swapped to a form of night-shift I am so tired right now I could not care less about the solution to great clay hair and will fall into a bed, if I find one and make it in time. Alternatively I will sleep at my desk, that’s fine, too.
Comments (0) | Tags: hair from clay, Studio Laika
Brief interlude from all the photostuff, let’s sing a song – or two (Jimi Hendrix /Little Wing, Pearl Jam /Yellow Ledbetter)
March 11, 2015
I have been spending a lot of time on what can be summed up as “marketing” the recent weeks. Well. Time for a song. Two songs!
And for those of you who have to make everything themselves, this one by Ukejon “Little Wing” (that will give you something to do for the afternoon, practice, practice, practice!): https://www.youtube.com/watch?v=LFGYieVSzew
Comments (0) | Tags: Jimi Hendrix, Little Wing, Pearl Jam, Ukejon, Yellow Ledbetter
March 10, 2015
… which you can read and look at here:
Very nice, thank you!
Comments (0) | Tags: FilterPhoto, Haifischflossen, Image 3, tumblr
March 8, 2015
Oh how very popular are these aesthetically (and otherwise) pleasant bathroom-nudes!
To explore just a little bit more the topic of “the doll as a mask” I couldn’t help myself and had to try this as well.
Josiane Keller “portrait with Agnes’ right eye and Vicky in the bathroom 2″ (2015)
Josiane Keller “portrait with Agnes 2 and Agnes in the tub” (2015)
Josiane Keller “portrait with Agnes’ right eye and Agnes in the tub” (2015)
Ahh, those quiet winter afternoons in the cottage… tacky, tacky bathroomism. Anyways, back to more work…
The doll as a mask – (self-)portraits with Agnes and Vicky in the tradition of Hans Bellmer, Morton Bartlett and Mark E. Hogancamp
March 7, 2015
Meanwhile I am applying to more shows and printing more work to … finally: sell it! I mean hopefully, well, I posted on that already, there is a difference between a good photograph and one that people want to buy, frame and hang up in their space. We will see.
I am goofing around, hailing the God of Procrastination, but through play mankind has gained this or the other essential insight in life on earth….
Josiane Keller “portrait with Agnes’ left eye in color” (2015)
Josiane Keller “portrait with Agnes 2″ (2015)
Josiane Keller “portrait with Vicky and Agnes’ right eye” (2015)
I am the doll!!! – Harharharharhar!!! (There is a spooky movie out right now about that topic…) Actually, these are still one size smaller than what I hope to sell. Scale (in relation to a human) is very essential to what I am trying to do. Time for an essential insight:
It is true: making figures (dolls) as models in my photography I am connecting to the tradition of Hans Bellmer and Morton Bartlett or more recently Mark E. Hogancamp, however, being a woman myself and making mainly dolls of women or animals, the dolls in my work have become also a mask and a double when needed, that grant me the space and also distance necessary to engage in and investigate questions that, as I found out with my nude-modeling series from last year, would leave me no safe arena to exhibit and discuss in public.
And: a doll is a model or stand-in for i.e. a human being. Also a photograph is a form of “doll” or stand-in for what or who it depicts and there are various reasons and purposes to create them. Constructed photographs are “dolls of photographs”.
Perhaps you ask now, ‘OK, that is all fine, but the faces are already bigger than a human head, so why did she say it has to be even bigger?’ The thing is: I want to create images that express our visual memory and that is not always according to measurements with a tape measure. So a tad larger it would resemble for example how we remember the face of a loved-one. Or to go even dramatically further: the face of our mother when she leaned over the crib. (Well, I should speak for myself when it comes to ‘seeing’: how I could remember it.)
March 7, 2015
The online review of PH21 Gallery is done and up online, so I am posting it here as well, since Lee won a “Honourable mention” with “Lee in a green dress / at an art opening”:
Josiane Keller “Lee in a green dress /at an art opening” (2014)
“… Josiane Keller’s Lee in a green dress (at an art opening) captures an impression of shapes and colours. The dark background draws our attention to the tones of the washed out hair and the green patches of the dress, and we are gently transferred into a dreamy state of perceiving just the bare coloured essence of a place and a figure. …”
and Josette got in as well with “Josette waiting”:
Josiane Keller “Josette waiting” (2014)
There is also a catalog, which can be ordered on the website.
“This is great, but I wouldn’t want it in my living room” – an arresting vintage picture by Larry Clark from the “Tulsa” series, Antoine D’Agata over the sofa and ‘are you experienced?’
March 6, 2015
So the lucky, lucky first prize brought along an invitation to sell my work, particularly the award-winning Madeleine- series in their online site.
So far, so good. In terms of ‘what is a good photograph?’, I think this series is very successful and probably can be counted in the group of best pictures I have taken so far. BUT.
From my painting/ceramic I am well familiar with the sentence “This is great, but I wouldn’t want it in my living room”. Hmmm. I am very critically looking at the Madeleine-photographs. A tiny little inner voice inside of me comes up and whispers “They are great, but I wouldn’t want them in my living room…”
The gallery wanted specifically these pictures. I would have a bunch of less “right-in-the-face”, very pleasant-to-look-at pictures, even in the living room, in fact, even if mom-in-law stops by. Pretty girls, sweet girls, naked girls, horses, elephants. They are also great pictures, butt the subject-matter is less harsh, more open to interpretation lacks the potential of being offensive hanging on someone’s wall.
But a crazy old lady with no clothes on on the closed ward of a mental institution staring through a glass door? So what do I do now? I think these are excellent pictures, and I can imagine someone wanting to have them, but to hang them as decoration on the wall in his living room is a different story.
Josiane Keller “Madeleine standing behind the door looking out 2 /closed ward” (2015)
Seriously? Hmmm. I wouldn’t know what people hang up, but looking around here we have sexy ladies, or rather parts of them, fairy-like children, all kinds of decorative ensembles in black and white. And then this ‘smack in the middle’? How about a nice little elephant instead, or a big one, even.
One question, as of the famous “Tulsa” album: how did Larry Clark do it?
Larry Clark “Untitled” (1963)
This delightful little photograph by grand-master Larry Clark is for sale, for example online through this site ARTSPACE: size is 11.00″ x 14.00″ (27.9 cm x 35.6 cm), edition of 25, for the prize of $10,000
here is the description with it:
“This arresting vintage picture belongs to photographer Larry Clark’s legendary “Tulsa” series. Here, the image borders on the shocking, as an intimate scene—a young man’s bath—is not only treated as an opportunity for drug use but is also candidly captured by the nearby photographer.”
Very arresting, indeed. And that vintage charm! My God, goes so well with the petticoat and pompadour!
Here is what they say on Larry Clark:
“Larry Clark made his name with the landmark book of documentary photographs Tulsa in 1973. His grainy black-and-white images of youths in his hometown shooting drugs, engaging in sex, and inflicting violence on one another spoke a truth rarely acknowledged at the time. Clark’s work since then has traced the lurid and deviant lives of teenagers with disturbing and controversial results. In 1995, Clark released the shocking film Kids, intent on showing the media’s effect on youth culture while reveling in the pure, immersive, and unfettered experience of young people. Clark’s work has influenced later photographers like Terry Richardson and Ryan McGinley, and independent filmmaker Gus Van Sant.
In 1973, the National Endowment for the Arts awarded Clark with a Photographers’ Fellowship, and in 2005 he received an International Photography Lucie Award. A major retrospective of his work was held in 2010 at Musee d’Art Moderne de la Ville de Paris in France.”
It ships in 10 to 14 business days from New York. This work is final sale and not eligible for return.
So how about it? Does it go in the bedroom, bathroom (hence the tub) or over the dining table? Or in the box, “photographic scenes, evidence of people’s life documented in 2D but not experienced”? Sometimes such photos are not even ‘experienced by the photographer’, we get that type of picture often with what goes in the ‘exotic travels’ category, unless you count two weeks backpacking in Bangladesh as ‘experiencing’.
Larry Clark has as it seems no website, but wiki knows this: http://en.wikipedia.org/wiki/Larry_Clark
He also was famously teaching Antoine D’Agata at ICP, but that was years ago.
Antoine D’Agata’s info would be here: http://www.magnumphotos.com/C.aspx?VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL53T_6
Antoine d’Agata “Sans titre /Phnom Penh, Cambodge” (2008)
Another one of these arresting photographs. You can buy it here: http://www.fillesducalvaire.com/fr/32/Antoine-d-Agata/works/1000
Recently he was teaching a workshop in Arles “In the limits of the photographic act” and it said in the info:
“participants must be ready to photograph intensively throughout the workshop and to extend the limits of their approach. They will have to confront their obsessions and contradictions as they shape a series of images conveying in real or fictional terms their private relationship with the world.”
I was scared and didn’t go.
Sounds like Antoine D’Agata wants that his students do experience their pictures. Which it itself is a great thing, but a fish is a fish and bird is a bird, and one workshop won’t turn a fish into a bird or vice versa.
Further, my life is bizarre enough as is, and without ever shooting up full of obsessions and contradictions. I try not to let it hang out and I definitely try not to push the envelope, but when it comes to something like the “Madeleine”-series, well, I guess you get what you see and no less. Not exactly the a-bunch-of-kiddies-in-the-daisy-meadow-type of pictures. If you overlooked that because it’s only little figures, well, see above, I don’t see much point in rubbing things into people’s faces. You ever see or you don’t. The question is not so much ‘is it a good picture?’ but more so ‘who would buy it and then do what with it?’
And yet, apparently there are people who want to at least look at these pictures. Do they put in a carton and drag it out occasionally or do they frame it and hang it over the sofa? I really don’t know. If you have either, a Larry Clark /Tulsa print or an Antoine D’Agata at home, leave em a comment and let me know if you have it framed on permanent display or tucked away for occasional connoisseuring. I would appreciate it!
March 5, 2015
Just so relaxing, running horses (even if from clay):
Josiane Keller “black horses running #88″ (2015)
Maybe I should give the naked ladies a break and concentrate on my horses for a while…?
Stills from the film “I anyways live until I die / Part V: Galloping Horses (adult life)”:
by the way:
I wish he were mine… but he isn’t. Oh well.
Back to work.
March 4, 2015
Life is back to normal: crazy.
Here is a good home receipt how to drive yourself and everyone around you completely crazy.
Take a favourite photograph you took, ideally a while ago. Revisit it, so to speak. Think to yourself “this is very good, but it could be a tad better if I work it over just that tiny little bit it needs to be, well, fabulous”.
(Don’t use the word “fabulous” in connection with your own work when people can hear you, as they will think you are totally nuts and full of yourself. Use it in moderation and only quietly in your head when you have been procrastinating longer than 24h and need to give yourself that necessary kick to get going.)
Change the photograph a tiny bit, make some prints. Compare with the original version. Go through your folders and drag all versions out you ever made, also those you already dismissed back when you first took it as not good enough for whatever reason.
Put all prints in a row and stare at them for half an hour. Realize you are no longer able to see any difference, although you know there is a difference. Go have a coffee for ten minutes, then go back to more staring.
Then go search some friends or family members. Approach them casually, so they don’t suspect anything and won’t escape in time. Use the sentence “Can I quickly ask you a question? It will only take a second!”
Ask them. Once one person made a choice say “Thank you sooo much!”, then take the whole selection and drag it in front of other people until you have roughly an equal amount speaking up for either version of your print.
Discuss with them in all detail why they prefer whichever they prefer. Do not let them get away with “I don’t know why, I just like it better!” Insist on an explanation. Doing so will help them sharpening their awareness.
Take a brief mental break from it all by allegedly agreeing with one side of your audience and tell yourself this side has chosen wisely and that (any, really) is the better picture.
Then, after a minute is over, question your judgement and that of the people you have been bugging now since an hour+ and realize how wrong you all were and that actually the other print is miles ahead of the chosen one in quality, expression, everything really and only a blind person could not notice that.
Start over. Do not go to bed til at least 2am after midnight.
The next morning get up around 5am and sneak into your studio, keep going. Never ever stop asking, a real good artist never stops asking questions and it is also perfectly fine for a real good artist to be actually or considered by his surrounding to be a bit or very crazy. It adds to the mystique. Never ever give up!
So, after I explained that, which one is better? Have a look:
Josiane Keller “Fair Pony 2″ (2012)
or this one:
Josiane Keller “Fair Pony 4″ (2012)
Can someone please tell me….?
March 2, 2015
Today I got the extremely happy news I won 1st Prize at the “Interaction” competition staged by Unlimited Grain Gallery near Rotterdam in Holland: http://www.unlimitedgrain.com/
I had to fish around online a bit to get the right link, found it at last, it is here (so far no images though, but hey, you can see the images as well on my site!): http://contestunlimitedgrain.com/
Funny enough, since I submitted two series, I am currently not quite sure which one won, I think it was the “Madeleine”-series, but I also sent some of the “Prostitute” album.
Josiane Keller “Madeleine standing behind the door looking out 2 /closed ward” (2015)
Josiane Keller “Suzie negotiating” (2014)
I guess I will find out very soon. *
*Actually it turns out: the winning pictures are the Madeleine -series, you can see more of them in the “Haifischflossen”-category:
In any case I am a bit shell shocked and very glad, proud, excited, all that, particularly as I had earlier sent some work to this gallery, because I particularly liked the work and photographers they represent and I wanted to see if I could get them to look at my work. They had a look at my website and told me I should submit to one of their upcoming themed shows.
I was not even sure if I could manage, explaining to them unless I would send work made earlier because I am creating my own models from ceramic it takes a while to complete them and I had only two weeks time til submission deadline. So to come up with something good, make it in time, get in and win, on top of that first prize, that I really very amazing.
Enough bliss for today, I am off to bed.
Brief interlude on yet another ice-cold grey winter day: the correct positioning of a gallerist giving a talk during a group show
March 1, 2015
… is demonstrated right here:
ph21 gallery “with Zsolt Batori and Gábor Arion Kudász” (2015)
for more info click this link: http://www.ph21gallery.com/#!colour/c7z1
February 27, 2015
If you are there now, well, then you can listen to this (lucky bastards!):
ARtFUnSHACK Performance, Evan Ifekoya
© Angela Dennis
Haute école d’art et de design–Genève
Bd James-Fazy 15, CH-1201 Genève
from 18h to 20h15 (starting in about two hours, so if you get going now, granted you are in Geneva right now, you can still make it!)
Here is what you get:
This twin-lecture focuses on practices of (de-)privileging art schools and sheds light on research done on privilege and elitism from a critical feminist and postcolonial theory’s perspective. The first lecture by Fabienne Dumont (École Européenne Supérieure d’Art de Bretagne EESAB, Quimper) will look at privilege and practices of de-privilge in art schools in France. The second presentation by Evan Ifekoya (performance artist, London) und Rudy Loewe (visual artist, London) will explore antisexist and antiracist methods.
Fabienne Dumont, École Européenne Supérieure d’Art de Bretagne EESAB, Quimper
Evan Ifekoya & Rudy Loewe, artists performer, London
Round Table Moderators:
Lysianne Léchot, Professor, Dean of Studies, HEAD – Genève
Carmen Mörsch, Director, Institute of Art Education, ZHdK
De-Privileging Art School, what a wonderful topic! Don’t get me even started…. Art school, art market, art galleries, art conventions, art competitions, art curators, art school professors (I mean you, Dr. Diamond!) and so on.
Maybe just go, if you are nearby.
February 25, 2015
Faceblindness, nearsightedness and seeing in categories – why do we see what we see? Categories: nature, nude, portrait, travel, wild life, a poor memory according to Lewis Carroll, four expectable photographs and why is it sad when Bambi’s mother gets shot?
On faceblindness (Prosopagnosia):
wiki explains it like this:
“ Prosopagnosia /ˌprɒsəpæɡˈnoʊʒə/ (Greek: “prosopon” = “face”, “agnosia” = “not knowing”), also called face blindness, is a cognitive disorder of face perception where the ability to recognize faces is impaired, while other aspects of visual processing (e.g., object discrimination) and intellectual functioning (e.g., decision making) remain intact. …”
On nearsightedness / shortsightedness (Myopia):
wiki thinks this:
” Myopia (Ancient Greek: μυωπία, muōpia, from myein “to shut (like a mole – mys/mus in Greek)” – ops (gen. opos) “eye, look, sight”) literally meaning “trying to see like a mole” (mys/mus), commonly known as near-sightedness (American English) and short-sightedness (British English), is a condition of the eye where the light that comes in does not directly focus on the retina but in front of it, causing the image that one sees when looking at a distant object to be out of focus, but in focus when looking at a close object. …”
I have both of the above.
The thing is: a faceblind person A; can’t visually recognize people he or she should know by facial features, because they are friends or otherwise well enough known that recognition is expected;
and B; consequently, a faceblind person mistakes other people for some they do actually know, same reason, because they can’t really remember all details and check fast enough. Or they go for different ways to recognize a person.
As with other disabilities it comes in various degrees, some have it bad, some a bit. (I am in between.) So, I recognize people by association, that would be a person who always works the counter in such-and-such shop I would know in the shop, but not on the street or in different clothes at a party.
And then through what I want to call just to give the thing a name “recognition by categorical seeing”, I mean by that for instance I remember a certain height, distances in context to each other, like eyes versus nose versus moth, hairstyle or beard, and then things like tone of voice and typical movement pattern.
But the trouble sets in because these are only somewhat unique, and there will be others with similar features, also a red beard, the same lisp and the same high pitch voice. And all these people will end up in that category in my memory and get mixed up with each other.
For instance I still have not managed to tell my neighbors apart, both same height, weight, age, similar voice, beard and each one has a black cat. Oh dear! They seem to me like Tweedledum and Tweedledee. Or during watching a movie with several blond actresses of similar age I will probably sometime along the plot think “Why is she now doing this, if earlier she did that?”, not aware of the fact that they are two different characters.
So roughly like that.
But then I am now combing through these plenty of photography competitions, seeing if there might be some where I could submit my new work to. And some are massive and have these categories, like nature, nude, portrait, travel, wild lifeand so on. And after I look through them I think it almost seems like they don’t want as diverse a range of photographs, but instead they want those that fit with the others, they have seen last year and the year before.
How many times have I seen now that elegant black and white nude, where you see a breast, a belly, and long, brunette curls (usually the model for bw nudes is brunette, I suppose to get more contrast in the picture), and how many times have I seen that series of photos of the Indian HOLI festival, everyone jumping around, covered in colored pigments, how often am I going to see that wrinkly-skin rhino close-up, interchangeable with wrinkly-skin elephant?
And these photographs, no matter how often we have seen them before, always are among the award winning ones, no matter how often they state in the rules they are the one competition or gallery or organization that seeks the unusual, original, out-of-the-box-thinking photographic approach, all what changes is the cameras seem to upgrade and the images show more and more tiny details from top to bottom and left to right of the image.
So even if I am nearsighted, I am wondering if there is every a human being who really sees everything in detail like on these photographs, without being on some wild hallucinogenic drug, just based on his natural eyesight.
Besides that, I am wondering: are we so used to these images that we are not really looking for new images anyways, but for reproduced ones that confirm the images we have in our visual memory anyways already, for instance in the categories nature, nude, portrait, travel, wild life?
Are we only feeding our subconscious expectations, are we even able to create new images at all?
Josiane Keller “four expectable photographs” (2015)
‘I don’t understand you,’ said Alice. ‘It’s dreadfully confusing!’
‘That’s the effect of living backwards,’ the Queen said kindly: ‘it always makes one a little giddy at first —’
‘Living backwards!’ Alice repeated in great astonishment. ‘I never heard of such a thing!’
‘— but there’s one great advantage in it, that one’s memory works both ways.’
‘I’m sure mine only works one way,’ Alice remarked. ‘I can’t remember things before they happen.’
‘It’s a poor sort of memory that only works backwards,’ the Queen remarked. (…)
Through the Looking-Glass, and What Alice Found There, Chapter Five: Wool and Water, by Lewis Carroll /Charles Lutwidge Dodgson, (1871)
So perhaps that is where we can see a connection between painting and photography (at least photography outside of scientific photography, where the apparatus for the first time makes us see matters in ways we have never before been able to see that way with the naked human eye, like a microscope does.)
When a child paints a picture and we are able to recognize or at least guess what is depicted the child is happy and the parent is proud (or vice versa, really…), anyways: the objective seems to be not the artistic expression but to communicate the essentials of whatever the child is concerned with painting, which we recognize by association, not necessarily because every detail is depicted, which is anyways how faceblind people see (or not see).
And this sort of let’s say “banal” photography serves the same function: to symbolize the basic features of what we know, very reassuring in some ways. And if it does that, we think automatically it is a “good” picture. Perhaps some people can only see what they know already, not even able to recognize something they have not already on file in their visual memory.
As that is the basis on which we are at all able, as to opposed a dog, to recognize anything in a drawing or on a photograph, any thing that in real life is of a different scale, color and three-dimensional, where on a painting or photograph it may be considerably smaller, possibly black-white and two dimensional, we still recognize it, where a dog would see a small rectangular piece of paper.
The reason why we can recognize anything depicted on a photograph is that we have seen it already before, either in reality or depicted or we have been taught through human language in combination with the image what it is supposed to depict. A shortcut is created in the brain that saves the energy to see what is depicted all new, and the depicted image becomes a symbol for what it shows. That is where we allow flaws, we do not need all details, we are able to understand the image even if only some of the information is being provided and we are able to be tricked.
It is the basis on which a photograph or even an animated movie can cause an emotional reaction in us, such as crying over Bambi’s mother being shot. Bambi is not even a single drawing, it is a huge amount of separate drawings shown in sequence after each other so they create the illusion of an actual fawn, and it is drawn as a caricature of a fawn. The essentials are there that we need to trigger the conclusion: fawn.
Try it out for yourself:
Pretty sad, huh? Why is that sad? It is a cartoon, after all.
But working in constructed photography, where I create the scene before I take the shot I want to go so far as to say: photographers (also those who do not create their scenes), take the picture at that “decisive moment” (*Henri Cartier-Bresson) that is nothing but recognizing an image matching with images they have seen before, in some way or another.
Naturally so, if you have seen more things you have more options to choose from to recognize a new vision.
Comments (0) | Tags: Bambi's mother being shot, Charles Lutwidge Dodgson, eyesight, face blindness, four expectable photographs, Henri Cartier-Bresson, Lewis Carroll, Myopia, nature, near-sightedness, nude, portrait, Prosopagnosia, short-sightedness, the decisive moment, The White Queen, Through the Looking-Glass and What Alice Found There, travel, wild life, Wool and Water
February 24, 2015
Very last minute I managed to complete my submission to the “Unexpected” show, here it is, topic is “In eternal ice”, starring Josette waiting for the bus on the North Pole. It is unclear if she knows what she is doing and the bis will pop up any minute now, or if she is making a mistake and there is no bus, or if she is hallucinating, or if we are hallucinating: there is no Josette anyways, and no North Pole.
It seems a bit comical, but I guess “unexpected’ can go well together with comical, and sometimes one has too laugh, yet then again, really funny things are always also a bit sad, or quite sad, even. Anyways, here are the pictures:
Josiane Keller “in eternal ice /quad” (2015)
Josiane Keller “in eternal ice 3″ (2015)
Josiane Keller “in eternal ice 4″ (2015)
Josiane Keller “in eternal ice 5″ (2015)
Josiane Keller “in eternal ice 6″ (2015)
Josiane Keller “in eternal ice 7″ (2015)
Josiane Keller “in eternal ice 9″ (2015)
Josiane Keller “in eternal ice 10″ (2015)
February 24, 2015
It was exactly like that, just colder (to view full frame click on title:)
February 23, 2015
Contact sheet for the “Unexpected” show, I have to choose something from this, so let’s see…
Josiane Keller “fourteen in eternal ice – waiting for the bus” (2015)
Yes, that is Josette, from “Haifischflossen”, when she is not prostituting herself, or maybe a couple of years later, after she retired? Who knows, anyways, she is waiting for the bus. Obviously. Did I mention: my Alter Ego? I did, didn’t I? It’s probably the most accurate self-portrait I ever came up with so far, symbolically spoken.
Josiane Keller “taking pictures in the ice” (2015)
February 22, 2015
This was probably the most insane project I had pursued so far, although initially it started with a simple breakfast table discussion “How about, if…?” -style, but any horror-film specialist can confirm the most insane and fateful projects start out with those kind of breakfast table discussions. Very often inspired by things in the newspaper being read with your toast and coffee, but these days, if you have a statistic geek in the family, it is much easier, as someone might recite on the weather- based statistics, things being overly hot or cold … or frozen that otherwise aren’t and anyways shouldn’t be.
So there is this show out there right now and the topic is “Unexpected”. Since beginning of this Year of the Sheep I have started throwing my photographic work out like crazy, luckily with some success here and there, so I thought, I might sit this one out and take things a bit more easy, but then we had this idea… well…
So thanks to extensive continent hopping I am by now thoroughly confused about temperature and ways how to measure it in numbers, but that much I can say: VERY ICE COLD out there.
So cold, see above, that stuff that is usually known to be liquid is now of firm consistency, they even write about it online. So cold that one, for example, with a little adventure spirit, can even walk on it. Or/and one can take a model and place it out there and take pictures of it all in the Siberian cold. (Steven Meisel, copy that one!)
And so I went.
Here is a photo I took just in case I would crack through or die otherwise and the last thing people would find, if any, is the camera with my last pictures on the memory stick:
Josiane Keller “in the eternal ice” (2015)
(Should I have waved? Oh well.) Recently I came across this prof out there, who is allegedly completely fascinated by the Salomon August Andrée expedition to the North Pole (1897). That’s him (the explorer, I mean):
Salomon August Andrée (1854 -1897)
which indeed is fascinating, because they used a hydrogen balloon. I mean, come on: both is pretty fascinating by itself: North Pole and balloons, so now imagine the two combined together! That particular man apparently thinks it was rather odd that this explorer together with his two fellow-explorers kept taking photographs of themselves, each other and what happened next AFTER they crash landed bound to die. (I guess he would find it more plausible sitting around and waiting to die for the last weeks you have to hang in there in such a case. As far as I know that is actually pretty rare, that people really react like that, I’ve been told they rather eat each other first.)
Well, maybe by the fact who finds that last minute documenting strange we can distinguish who is gonna be a professor and who is gonna be an explorer. But the good man seems a bit of a show-off anyways, so in reality I buy only half of the stuff he puts out there, the rest seems drum roll, but what do I know?
And so I took a possibly last picture, too, that has in case of need the potential to say to those who live after me: “I WAS HERE (and made it til exactly: THIS SPOT in time and space)”. After all: both myself as well as the explorers in the balloon had taken a camera along anyways, for exactly the purpose of taking pictures, so why would one give up on everything one had planned doing only because one part of the plan fell through? Besides, when I’m on a road trip I also tend to draw my daily accomplished route into maps with green marker, so maybe I am just that type anyways.
However, this time I made it to tell the tale and write a BLOG post about it. Here a photo of a flock of wild geese:
Josiane Keller “wild geese” (2015)
that bulky stuff under the birds is ice that used be be water, pretty freaky to walk around on it, slippery and ice cold.
There is a famous painting by German Romantic painter Caspar David Friedrich, you can compare. It has actually various titles, for instance it is called “Das Eismeer”:
Caspar David Friedrich “Das Eismeer” (1823-24)
It is a very interesting painting by an equally interesting painter, but today I will skip talking about all that, and leave you with only the image to admire and whoever feels like it can snoop around without me, here is one out of many links to more info:
the remaining photos I shall put up after a hot tea and a hot shower, at the moment I don’t even know which one shall be more hot, shower or tea, but anyways, if I don’t do that I will catch a massive cold and I am not up for that. So far til now, more later.
Alfred Eisenstaedt “Ice Skating Waiter, St. Moritz” (1932)
| Tags: das Eismeer, In eternal ice, Part I, unexpected
February 20, 2015
Now also in colour…. Agnes’ left eye:
Josiane Keller “Agnes’ left eye (colour)” (2015)
* some of us would spell that “color”, but not me. I guess it doesn’t really matter too much, right?
(If you only knew how long I painted on only that eye up there you could imagine what a sense of accomplishment I am experiencing right now… )
February 19, 2015
(To view full screen click on the title)
February 19, 2015
Contact sheet like a film in one picture: Ed Ruscha, “Pacific Coast Highway”:
Ed Ruscha “contact sheet for Pacific Coast Highway” (negatives 1974, printed later)
more information here:
February 19, 2015
Once more Carl Offterdinger, http://en.wikipedia.org/wiki/Carl_Offterdinger :
Carl Offterdinger “Das Tapfere Schneiderlein” (19th centruy)
This picture shows a stage in the perhaps outside German speaking countries a little lesser known story of the “Vailant Little Tailor” by the brothers Grimm, it starts with him smashing seven flies on his jam sandwich and being mighty proud of it, and shows how positive thinking gives us wings (hint to a famous now internationally famous Austrian soft dink spiked with caffeine ad, anyways), so the guy consequently expands his horizon by going on a kind of enlightening trip, where he deals with a number of issues and eventually marries a snooty princess. (Who would want to be married to someone who does not want to be married vice versa? But OK, it is a traditional fairy tale, let’s just say he had his reasons. And there is always hope they worked it out later on)
This image shows the tailor fighting a wild unicorn by making it run his horn into the stem of a tree and getting thus stuck in it and being killed. WWF wasn’t looking, too late now, all unicorns are extinct due to reckless luring them into ramming their horn into trees as seen above and similar pranks.
That’s the way it goes.
Anyways, here an interesting photograph by Austrian artist Eva Schlegel:
Eva Schlegel “Untitled 195″, silkscreen on lead (2011)
link to her work is here: http://evaschlegel.com/
(I didn’t see it til today…. )
compare with Beasley from the 2012 project:
Josiane Keller “Beasley painted dreams of soaring into the clouds” (2012)
link to this project is here: http://www.josianekeller.com/category/whats-this-ceramics-painting-photography/each-reflection-of-myself-echoes-a-different-emotion-at-me-20-heroes-from-the-city-of-roses/
February 18, 2015
Comments (0) | Tags: Monty Python, Mr. Hilter
February 18, 2015
(To view full screen click on the title)
February 17, 2015
Es war einmal. Bilder ohne Worte. Which translates to “once upon a time (there was…)” and “pictures without words”, well, almost without words:
Carl Offterdinger “Hansel und Gretel” (19th cent)
This just because it is so nicely bizarre. The days where little girls ride white swans have long passed. If you have information of recent occurrences please get in touch, ideally submit photographs of the event.
Actually a famous German fairy tale illustrator: http://en.wikipedia.org/wiki/Carl_Offterdinger
And Otto Dix again:
Otto Dix “Hans Koch” (1921)
read more here: http://www.ottodix.org/index/catalog-item/130.003.html,
whose wife Martha he married, she is with him here:
Hugo Erfurth “Martha Koch and Otto Dix” (1922)
and later here:
August Sander “The Painter Otto Dix and his Wife Martha” (1925)
and here painted by Dix:
Otto Dix “Martha” *
(* Could not find the date when this was painted, if you have it, let me know. I mean the date. Or the painting. Or both, either way.)
See more info here:
February 14, 2015
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Josiane Keller “bellybutton tattoo 1 / looking back at you” (2015)
Josiane Keller “bellybutton tattoo 2 / looking back at you” (2015)
Josiane Keller “bellybutton tattoo 3 / looking back at you” (2015)
It’s actually not a real tattoo. I painted that with eyeliner.
February 12, 2015
Today, by chance, I came across a funny example for “seeing” by association.
I took this picture:
Josiane Keller “Die im Dunkeln sieht man nicht” (2015)
The title “Die im Dunkeln sieht man nicht” for those who don’t speak German is a famous sentence of Kurt Weill’s/Bert Brecht’s “Three Penny Opera”, in fact it is the final sentence of the final verses of the ballad, and Guy Stern translated it into English to this: “Those in darkness drop from sight”
I guess he chose that to make it rhyme, technically it could also be translated to “those in darkness are invisible” or “… can’t be seen”.
The picture shows the vitamin supplements I am taking every day (if I think of it), they are all naturally based and very good for you, no chemical drugs, and mainly circle around Vitamin D and B as recommended from doctor because of winterly lack of sunlight and to prevent winterly-darkness-depression. One pill is not opaque, but a see-through gel capsule, so after manipulating this photograph sufficiently the others look very impressive but this one disappears from sight, which inspired the title.
I thought it is funny that one has to take a bunch of pills every day to make it through winter, that is why I took this photograph.
But in context of a series of more or less grim photographs without explanation the viewer might conclude this is at least some form of prescription drug or even street drugs we are looking at, simply by association, and the title in that context might be interpreted as a visual symbol for an ambivalent amount of people addicted to things like Oxycontin.
Or perhaps that is only my own personal association coming across the new book by Christiane Felscherinow (“Christiane F.”) / “Mein Zweites Leben”, (published 2013): http://christiane-f.com/autoren/
* Even so, in hindsight the photograph, its possible aesthetic qualities aside, seems to fall into that category of these days so very chique and very banal pointless images, that are gaining attention exactly for that reason, that there is nothing to them. So I decided not to put this photo in any albums on my site, but I might as well keep the post on it up for a while.