"in the process of self-definition, an art form will tend toward the elimination of all the elements which are not in keeping with its essential nature. according to this argument, visual art will be stripped of all extravisual meaning, whether literary or symbolic, and painting will reject all that is not pictorial ."
"i think that you can make, very much as in abstract painting, involuntary marks on the canvas which may suggest much deeper ways by which you can trap the facts you are obsessed by. if anything ever does work in my case it works from that moment when consciously i didn’t know what i was doing…it’s really a question in my case of being able to set a trap with which one would be able to catch the fact at its most living point."
jaclyn elizabeth and i have had a few classes together over the past year, making one thing very clear to me: not only is she one of the most dedicated photographers, but she is also one of the only people i’ve seen at saic who understands how to produce a steady and consistent body of work. her images, often picturing young women, draw the viewer in, regardless of the content, due to the pure beauty of the subject depicted.
on closer examination however, these young women come off as completely apathetic. placed in unnerving situations, her models continue to give off a dead look of unawareness, or more appropriately a look that tells the audience that they have been completely desensitized by the situations they have participated in, and now, all they can do is inhabit that picture frame and remain martyrs in place of the viewers.
the young women are always depicted as beautiful; somehow jackie knows how to make human skin look like the loveliest texture in the world. they also play a tense role: each is dressed in a white dress, the symbol of innocence, but each is also participating in a role that is less than innocent and hardly beautiful at that. jackie plays off the ideas of beauty and women, creating scenes to make the viewer uneasy. though they are wildly narrative, she does not box us in. the story is obvious, but also loose, requiring a sufficient amount of interpretation from its audience. and in this way, the photographer forces us to also participate in the grotesque acts within the picture. we are all enslaved by the image, photographer, models and viewers alike.
“but you must think of that lonely death in the tawdry dressing-room simply as a strange lurid fragment from some jacobean tragedy, as a wonderful scene from webster, or ford, or cyril tourneur. The girl never really lived, and so she has never really died.” “the quivering, ardent sunlight showed him the lines of cruelty round the mouth as clearly as if he had been looking into a mirror after he had done some dreadful thing.” (quotes from oscar wilde’s the picture of dorian gray.)
"arbus’s interest in blindness was part of a more general fascination with what could not be seen in photographs. shortly before her death, arbus explained to [her] students that, having been ‘hipped on clarity’, she had come to relize ‘how i really love what you can’t see in a photograph. an actual physical darkness and it’s very thrilling for me to see darkness again’."
|what you would you call that?|
|it's very red for blue.|