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I can think of no photographer today who better characterizes new social documentary than Antoine D’Agata. D’Agata was actually taking courses at ICP in 199o while Larry Clark and Nan Goldin were there. All three share a raw insider viewpoint, but I believe only D’Agata is able to transcend and break out of documenting a “niche culture.” We watch as Clark gets older and his punk skate teens stay the same; or observe Goldin and her NYC gay club scene change as AIDS begins to ravage the community. Both these new social documentarians rely on their completely open access to these “niche” communities. D’Agata is able to achieve the same unfettered access trans-globally. From France to Mexico and all places in between, D’Agata has documented our secret selves. Often in the night, D’Agata records a carnal world of sex and flesh. Sparce backgrounds and blurred images lend a timeless and placeless quality to the images far
D’Agata’s newest series, “Below are Until the World No Longer Exists,” is some of his most sexual work. Contrast this with his most recent book Psychogéographie, published in France in 2005, a series of staged portraits. Fully clothed teens pose, small figures in their pre-gentrified Marseille neighborhood.
I try to distance myself from a certain type of documentary photography that often avails itself of symbols that are too easy to read and assimilate in order to present a complex reality in a balance that is endlessly discussed over and over between photography as an instrument of documentation and photography as being completely subjective. It isn’t the eye that photography poses on the world that interests me but its most intimate rapport with that world.
FotoFreo 2006 Exhibition: Antoine d’Agata
This is yet another older project (2003) that I wanted to repost on my new main page. Dance Club is an experiment in New Media documentary. The project is the result of a collaboration with Shawn Rider, who created the multimedia interface. The project is based on my research and writing, and also utilizes video and photographs I collected on-site.
The Dance Club piece is geared towards exploring the working conditions in gentlemen’s clubs from a labor point of view. This study focuses on the structures involved in the working relationship, and the visual material reflects this by focusing on the architecture and structure surrounding dancers in a specific club.
Multiple forms of media, quotes from a diverse array of voices, and links to the rest of the networked exotic dancing world combine to make this a uniquely web-based documentary object.
Jorge Colombo is just an all around cool artist - both a stylish illustrator and a neat photographer too boot. I think he has a great sense of color and layout/composition. It’s clear that his comic work has influenced his photographic work. Originally from Portugal, he currently lives in New York City where he’s been doing the “Daillies” as a personal ongoing illustration project (the text messager below if from the “Daillies.”) While his drawings have a softer comic style his photos are sharp saturated and often utilities the grid. He shot the photos for the opening for the wonderful PBS show, POV. The opening uses the grid to great effect, and really shows off Colombo’s vibrant street style photography.
Urban Legends: An Electronic Art Exhibit - Sarah Wichlacz
I was just reminded of this series by a student of mine (Michael Burch) so I figured I’d make sure I linked to it through my new homepage. As a part of my 1999 BFA show, I collaborated with Shawn Rider to build an online version of my mixed-media installations. These pieces are retellings of contemporary urban legends. The images below are, from left to right: a gallery installation montage, 2 stills from the Bad Neighbor movie, and an image from the Letter Home.
This is not so much of a lesson in digital printing, it’s more a testimonial really. But Meyerowitz has me sold on the HP Premium Plus Satin inkjet printing paper. He says it has six layers and has some sort of nanotechnology that causes the hot ink to move through onto the lower layers. Yikes.
I swore off HP printers after working at the UI PEI (a digital Print shop) back in 1999. We ran a large HP Designjet 2500cp Inkjet. Of course I made a ton of prints for myself on it; but the black ink turned green after a short amount of time in UV. I eventually made the move onto Epson printers, but frankly I’m not entirely impressed with the 2200 or 10000 (or any of the cheaper models I’ve worked on.) After reading this article I’m ready to give HP another try.
I’m trying to re-post a lot of my older work, this was my obsession in 2004. The Name Game is a very large project, encompassing multiple elements in a variety of media, static and dynamic. First exhibited at the Carnegie Art Center, North Tonawanda, NY in April 2004, the Name Game is also my MFA thesis project. You can visit the site at http://www.name-game.org.
The Name Game is an exploration of network semiotics. It is a work of collection and display, reaction and analysis. The practice of naming and labelling is endlessly fascinating.
I’ve just posted a gallery of images from Love Canal -Preliminary Love Canal Shots at Sarah Wichlacz Some of the images were shot with the Lensbaby 2.0.
I was taken by how much illegal dumping takes place there today. I was also surprised by the number of people using the area for recreation. I encountered a wide spectrum of users including mothers and children to paintball players.
Miroslav Tichý is unique outsider photographer. Apparently he started out as a strange painting student in Czechoslovakia. Arrested after the communist takeover in the 1940’s he spent a number of years in jails and prison camps. When Tichý got out he began photographing women with his handmade cameras. I’m not sure this is pure genius or super low budget perversion; maybe a little of both. As with all “outsider artists,” you have to wonder how aware he is of what he is doing.
… Tichý wandered his small town in rags, pursuing his obsession as an artist with the female form by photographing in the streets, shops and parks with cameras he made from tin cans, childrens spectacle lenses and other junk he found on the street. He would return home each day to make prints on equally primitive equipment…
One of the first alternative processes I learned, and one of the easiest so far, the Polaroid Transfer is an all-time photo-demo favorite. This semester, I noticed there aren’t too many good tutorials for making Polaroid Transfers, and it’s definitely the kind of process which gets easier with a few basic tips. So I collaborated with one of my students, Rachel Abbot, to document this year’s demonstration.
Polaroid transfers have a unique visual style that is a little ghostly, a little impressionistic, and often very moody. Needless to say, it’s a fun way to spice up found slides and staged photos. With a few readily-available supplies, we can make a whole bunch of transfer prints.
I’m trying out this new, more blog style homepage - I hope it gets me to be more active on the web.
You are currently browsing the Sarah Wichlacz weblog archives.
- Washington DC Summer 2006 at Sarah Wichlacz
- Miroslav Tichý (Painter and Photographer) Revisited
- Buffalo Zoo Gate Sculptures at Sarah Wichlacz
- Preliminary Scanner Camera at Sarah Wichlacz
- Issues of Narration: Voice-Over in Film
- Margaret Bourke-White and Mary Ellen Mark: Documentary Heritage
- Andrea Modica at Catherine Edelman Gallery
- Raised By Wolves as a Non-Fictional Multi-Media Narrative