elasticlimit

Reading the syllabus I was sparked by the discussion brought up about incorporating the technique of hand drawn elements in digital imaging. I find myself drawn to the “hand-crafted” or “humanistic” appeal that this method conveys in works of art. It is true that the books we are reading are heavily biased toward the photographic, which I enjoy as I have a lot to learn in this area, but they do not ever mention or encourage adding marks, drawing, paintings or such. And neither did the several Graphic Design courses that I took, which encouraged clean lines, use of space and not any such clutter, for that matter that much individual expression. However, as a designer that has grown up drawing and painting, I love to incorporate hand drawn or analog elements into my work, without regards to weather this disregards my work as Photography or Graphic Design… it may not be as marketable to design firms, their clients or mass consumerism, but I believe it is more appreciated by the artist and those who value individuality and self expression.

I’m not quite sure weather my work is considered Graphic Design, mixed media, Digital imaging, photography or what but its not really about that, as you could argue any side depending on your training and who you are speaking to. But what I do know is that it is capable of being framed and hung in a house, or used as a means of advertisement, design or print… it just depends on the client. I want to design graphics on snowboards so you tell me what area that would fall into? Digital photography? I think its most likely digital imaging. Reading the Reborn article I came across a quote that acknowledged what I like to do with a passion for multiple mediums, creating mixed media designs digitally,

“What is so radically transforming about digital photography, however, is not the technology itself, but the ideas that ultimately are expressed by it”, the next paragraph goes on, “perhaps the best way to characterize digital photography, or any digital technology for that matter, is that it dissolves boundaries that once separated mediums.”

Very fitting, and very inspiring, the article goes on about the attitude of self-expression through this new technology. It’s not necessarily the new technology that created this attitude but rather the attitude that has long been around that drove this new technology.

“Digital photography is at once a new attitude and a new technology. It is even possible that the attitude came first: the look and content of digital photographs today- in both the arts and sciences- was prefigured by analog work of the 1960s.”

I am inspired by several artists whose work is self-expressive and comprised of hand drawn elements, the latest including the ambiguous nature of Geoff McFetridge’s graphic design. His unique and highly personal visual language which is built around “logofying ideas,” reduce the typical graphical narratives to the point where the meaning is largely a result of the viewer’s own imagination. His partner, Fella’s work, “while stylistically different, evolved out of a similar need for self-expression. While Fella’s career reflects how graphic design has historically struggled to define itself in relationship to art, McFetridge follows a path where by the integration of art and design is taken for granted.”

Misprinted type is another great example of a body of work, print, photography, fonts and portfolio “digital image” pieces that demonstrate wonderful character in their humanistic qualities acknowledging everyday life. An artist I found through their website is Stephanie Brooke who works as a graphic artist who specializes in mixed media collage. She has been a great artist to learn from, appropriate from and be inspired by. Perhaps that is the title all of us should take that have a hard time defining by the debatable titles what we are, photographer, graphic designer or whatever. We should just say we are a “graphic artist who specializes in blank”, and I would fill in the blank with snowboard graphics via mixed media collage.

Bottom line, Graphic Design has evolved into an acceptable (if often debated) form of individual artistic expression. Period. And I express myself like many others by mixing medias, dissolving boundaries, and creating new innovating designs. Hand drawn elements add another depth to both photography and graphic design; it adds a personal touch that is capable of reaching viewers on yet another level.

Posted by: Mary Reeds

I love an artist whom, working in complete anonymity, can so thoroughly tickle and inspire at the same time. I am usually reserved in my reverence for anything, but I have to say…damn, Bravo- whoever you are. Rarely does anonymous work reach the heights that this work has. What the hell am I gabbing about? Guerrilla art, my friends; culture jammers’, So-called graffiti criminals, sticker winners, street performers (not the robots, they suck,) streakers, insane public orators, clowns and yes, the return of the prodigal hoaxer.

This picture was recently featured on the History Channels new show, “UFO Hunters,” which is a comedy at best. Point is, millions are willing to be duped by the power of, nay, the magic of digital/photographic manipulative shenanigans. Honestly, who could resist? My suggestion is that you dust off your old Star Wars models, add a few parts from your Transformers collection, apply an old VW air-filter, spay on some paint (gun ship gray works best,) get you digital cameras, start up CS3, and start having fun at the expense of gullible Americans and people everywhere. I know I will. The invasion has begun people. We are not alone.

Posted by: Bronson Shimabukuro

Ann Gaskell’s untitled #26 (override) is a great example of melodrama in contemporary photography. In much of Gaskell’s work, she is setting a scene of a story, like a movie clipping, rather than naturally coming across her subjects on the street. She seems to have a concrete and well thought or purpose to her works particularly the wonder and override series. In Untitled #26 A young girl is being portrayed, looking almost cruelly at another other girls back. The two girls clothing are the same, which gives a school girl sort of feel, but the expression of the girl facing the camera is something to wonder about. She is not acting at all playful, or young and helpless, as young girls are often portrayed, but rather as if she has the intent of harm on the other. Many of Gaskell’s photographs in the override series, show girls as aggressors, while still evoking an Alice in wonderland feel. It seems as if her pictures show into the mind of a severely disturbed and confused child. The picture has the feel of the birth of a serial killer. The child has just had the epiphany. She has thought that pivotal first murderous thought. And now there is no turning back. One might imagine the next scene where the girl is hurting or killing the girl from the picture before. There is something within humans that evokes tremendous amounts of fear from an unbalanced child. Children have not yet fully learned what is socially acceptable, and if she has the desire to do evil, more than likely she will. Also unbalanced children are a sign of uncontrollability. We can drug them, or lock them up, but there is no “cure” for many psychological ailments.

It is really interesting how Gaskell combines a well known children’s story, with this corrupted, damaged, but in a sense more realistic version to make her photographs. Most of her works are full of melodrama. The stories she creates are amazing, and she does it in a way that is really open for interpretation. In the book “Acting Out, invented melodrama in contemporary photography,” the author Kathleen Edwards explains that, “human beings have a deeply rooted need to create and identify with narratives, an instinct linked with the tendency we have to see our lives as a story,” It seems that Gaskell has created a narrative that many can identify with. Though it is uncommon for all of us to have had murderous thoughts as children, and act upon them, the scene in untitled # 26 is that which most of us have felt at one time or another. A feeling of revenge, anger, disdain, but having all these feelings forced beneath the surface because we need to show our bet face to society. The girls clothing and background give the idea of normalcy, and convention, but while societies back is turned, we can really show our feelings, if only for an instant.

Looking at the photograph, One can almost see the entire story playing out. Two young girls are playing in the woods. Many photographers capture this innocent act. But just as the girl begins to turn away to start counting or to hide for a game of hide and seek, a though comes into the other girls head. She remembers how she was betrayed earlier by this friend (the betrayal may have been minor, but with children nothing is ever really minor). Then thoughts begin to cloud the child’s head; thought of revenge. Maybe just a push, or maybe with much more force, will the child seek to make things truly right.

Posted by: Amber Herres

Anja Jensen’s photograph “Devozione” depicits two men on a yacht, one tying the other’s legs. The man being tied up appears to lie unconscious. The binding of the man’s legs gives off a sexual sado/masochistic air, since he is lying passively and doesn’t appear to be struggling. The ages of the two men are also immediately noticable: the one tying the other up is younger, and the one being tied up is older. Are we to interpret this photograph as youth overpowering the eldrerly? Two gay men caught in a moment of dominant/submissive passion? The older man’s hand ever so slightly appears to be reaching for his crotch – is he enjoying this scene? Or perhaps the scene is more sinister: the younger man is preparing to murder the older man; the lighting used in the scene – a spotlight effect on the young man tying the older man’s legs, would suggest visual capture by the police or someone else.

The title gives us little concrete clues as to the meaning of the photograph. “Devozione”, meaning “devotion” in Italian, could mean several things: is the young man somehow devoted to taking care of the older man? Even the choice of an Italian word for the title is appropriately mysterious, since the background appears to be on the Mediterranian – known for it’s oppulent visitors. Perhaps the younger man is attmepting to kill the older, and persumably wealthier, man. It is obviously nighttime in the photograph – the time for romance or sexual encounters, which lends credibility to the interpretation of a sexual relationship. However, as Kathleen Edwards states in Acting Out: Melodrama in Contemporary Photography, “the photograph’s illusory involvement with the photographer/spectator allows the viewer to project him- or herself into the scene in any chosen role.” Are our interpretations of images the sum of our experiences?

My immediate reaction to the photograph was that the younger man was tying up and murdering the older man in order to take his money, since they are obviously rich enough to cruise about the Mediterranian on their yacht. But where did this immediate reaction come from? Edwards describes the advent of film technology and film stills as having a profound effect on still photography. The stills from motion pictures offered the same thing as traditional still photography, but with the added twist of acted melodrama in facial expressions and scenery. Indeed, “Devozione” gives us the same melodrama, reminding me of scenes from television shows and films in which the scenario of a younger person wooing and taking advantage of an older person’s generosity and/or naivety is often played out.

Posted by: by Cynthia McCoy

Dorfman’s project is a series of 15 color photographs that depict intimate human moments without the exclusive use of human subjects. She creates these erie but relatable images with life size women dolls who sometimes appear alone, sometimes together, and sometimes with their male real-life human ‘lovers’ who believably engage them in ordinary activities. Dorfman’s careful arrangement of the figures and her mindful consideration for the surrounding scene work to create layers of meaning and melodrama for the viewer to experience.

The settings are generally mundane household scenes, bedroom interiors, typical living rooms, or backyards that suggest everyday life and signify the human condition by placing the figures in an ordinary context. In one image a man and doll are seated on their living room sofa. While he watches something on t.v., sitting comfortably with his foot up on the coffee table and his hand on her leg, she stares blankly into the room. The doll’s inanimate expression and stiff posture create a body language that communicates to the viewer the sense of detachment, numbness, and apathy that could be experienced by a real woman. The viewer is able to identify with her as an actual person who might feel trapped by her environment, relationship, or sense of obligation to fulfill her social role as a woman. Furthermore, the use of the doll as the female component of the human relationship demonstrated by Dorfman seems to make a blatant connotation of female objectification while also suggesting women’s own resigned participation in such patriarchal ideologies.

Posted by: Kristen Lim