Jim O'Connell
Till glädje
It's one of my favorites, taken this year near Enoshima Japan.
Shot with a Nikomat & f1:1.4 50 mm lens, Fuji 1600 speed film.
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Volume12: It shows exactly the limits and caveats of the exercise. Some people will hate Moriyama work because too grainy, too much contrasts, others will hate Nan Goldin because too intimate, too raw, others will hate Ansel Adams because too perfect, too clean.
Art and artists often exist within a public climate that is either indifferent or hostile to their profession. Or otherwise they may concentrate within small colonies wherein they find a sort of self-protection and self-affirmation. The art colonies are severely limited in the variety of experience and opinion which they can contribute to art. They become almost monastic in the degree of withdrawal from common society; and thus their art product becomes increasingly ingrown, tapping less and less the vital streams of common experience, rejecting more and more the human imperatives which have propelled and inspired art in past times.
The Shape Of Content - Ben Shahn, courtesy of Karl Dubost
Till glädje
It's one of my favorites, taken this year near Enoshima Japan.
Shot with a Nikomat & f1:1.4 50 mm lens, Fuji 1600 speed film.
==========
Volume12: It shows exactly the limits and caveats of the exercise. Some people will hate Moriyama work because too grainy, too much contrasts, others will hate Nan Goldin because too intimate, too raw, others will hate Ansel Adams because too perfect, too clean.
Art and artists often exist within a public climate that is either indifferent or hostile to their profession. Or otherwise they may concentrate within small colonies wherein they find a sort of self-protection and self-affirmation. The art colonies are severely limited in the variety of experience and opinion which they can contribute to art. They become almost monastic in the degree of withdrawal from common society; and thus their art product becomes increasingly ingrown, tapping less and less the vital streams of common experience, rejecting more and more the human imperatives which have propelled and inspired art in past times.
The Shape Of Content - Ben Shahn, courtesy of Karl Dubost