His theory that digital photography is radically different in my eyes if off base. The photographic process still, in my eyes, follows the same path as it always has. The tools for the trade are still the same, but they are now applied in a different fashion then they were 100 years ago.
William J. Mitchell said "the dawning of a 'post-photographic' era in which the emerging new image technologies would unsettle our older, established beliefs in the status of photographs"(318).
While this theory makes sense its not altogether true. Change in it self can be unsettling for some, but for others it is something to look forward too. In my opinion photography has always been destined to change, it has been in its roots since it was created oh so long ago. The ultimate goal was to capture what the eye sees, we have finally gotten to the point were our images are more true to life then they have ever been before.
The book quotes one critic by saying "digital technology does not subvert 'normal' photography because 'normal' photography never existed"(321).
This I can complete agree with, we can not begin to define the term normal when it is applied to photography let alone the world around us. As I said before, photography stems from a technical place were its future has always lead to being the best it can be. It's not an ancient art of mixing your own paint or sculpting a block of marble, but it is a art that is based on technological advancement.
Gregory Crewdson again shows traits that I can relate to in his work. His ability to stage and entire scene, to create a world that is fictious and lit with the same fantastic fantasy fashion. Crewdson often uses underlining tones in American culture to give a message in his works that people can read into, sometimes even from past events of history.
Gregory Crewdson, Untitled (North by Northwest), 2004.
whitney.org
Jason Rhoades has a similar style as well. Rhoades however is a installation artist working with neon and other flamboyant objects of the 21st century. Rhoades still carries with him a childish manner to his works, working with legos and colors that tantalize the senses.
Jason Rhoades, Lego Mecca Kaaba, 2003.
www.davidzwirner.com
Marcel Dzama uses a similar style in the sense he works with miniatures, his work and fictious characters that often lend to that of childhood. His works, whether they are installations in a particular manner or dioramas of sorts lend themselves to the space they are in. The work well as a childhood fantasy or even a nightmare. Anyway you look at it, it is a world of fantasy he is creating for everyone who views his work.
Marcel Dzama, On the banks of the red river, 2008.
www.davidzwirner.com
My own current work as applied to my final assignment is that of a comic strip, broken down to its simplest components while having text lead the viewer through the journey.
To use some of my latest works I will break down a few elements of the comic strip, allowing the individuals images to work by themselves and then together as a complete work of art.
This image deals with simple composition and lighting, which then applies some foreign photoshop technics. The subject matter is that of adolescence in not just the image, but in my own mind. It plays on the ideas of childhood, by using miniature figurines and the teenage state of the conversation.
Ty Giebel, Trooper Comic single frame #4, April 2011.
Ty Giebel, Trooper Comic single frame #8, April 2011.
The final product of my final assignment, all the images coming together to create a somewhat cohesive story line. working as a somewhat pop art work with a twist of the original.
Ty Giebel, Trooper, April 2011.
