The artists makes a body of work. This body of work is always in flux to certain point as everyone who accounts to seeing the body of work has a much different reaction to it. These reactions in their early part, give the artist a place to assume change to the work or fine the space and place where the work exists in this mortal coil. We play with ideas trying to find something a little more cohesive to tie all the loose strands together so the piece presented has as much of the artists and their intent as possible showing through. The the artist releases the project for all to see and judge, and is no longer tethered to the work so it can exist free from judgment as art.
So in a brutal, judgemental, accessory way I have to ask photography WHAT THE FUCK?
When we transformed from an analogue process to a digital process in photography a lot seemed to change. The way photography records was questioned and its validity as an ‘art’ became very different. The computer became a tool to ‘lie’ from as images over and over again could be changed and manipulated without showing the scars. Everyone became a photographer and in turned to something that took skill, finesse, knowledge, and time and turned it into a free for all. The camera stopped being limited to 24-36 frames and having to take time and decide on the content and exposure to the ‘spray and pray’ 3k images on a single little card thats uploaded in 1’s and 0’s to an artificial world and left there till they rot into corrupted digital compost.
A lot can be said for the instantaneous feel of modern digital photography. It’s ability to be shared to millions in a nanosecond is truly impressive. Like many photographers in the digital age I sit watching my phone over a coffee and something tasty tick over the importance I think I have in this digital place seeing the names of my Instagram follows flash for a mere second on my device of choice. This instant gratification and placement of the importance of my artistic self really still just hides the fact of the inadequacy of my own short comings as an artist that chose and works in a medium that is still considered by many as not art at all.
The photographer is bound by the rules of ‘recorder’ and this seems to change the definition of what the photograph can do, or where its placement in the art world really is. These restrictive shackles seem very hard to break within the confines of the institution and institutional learning.
So i sit in the institution. This institution that reveals photography to be a subset of art and calling it a ‘recorder’ and not giving it the mantel to sit on titled ‘art’. I sit in this institution chipping away slowly at the walls like a convict hoping for escape, forcing them to accept my practice as art, and not a subset.