Violin Profile 2

A photographic still life study of a well used and played now retired high school orchestra violin in profile.

A great photograph

is a full expression of what one feels

about what is being photographed

in the deepest sense, and is, thereby,

a true expression of what one feels

about life in its entirety.

                     Ansel Adams

They were given or presented to us on our first day of music class, most of them pristine and perfect in their protective cases or coverings. But that was soon to change being under the charge of teenage or child musicians. Once the pride of a adolescent musician, a high school band or orchestra, they are soon forgotten and relegated to a corner of a dusty warehouse to await their fate.  Each piece with their dents, bruises and worn off finishes; a story to tell, and if we’re lucky fond memories of forgotten music for us.  I’m pleased to anounce this image, “Violin Profile 2” is available at Fine Art America, along with the initial version “Violin Profile” overlaying old sheet music.

Important or not; I’ve always wondered what sort of genre as a photographer I fall under. I wouldn’t classify myself as a “street photographer,” although I love the work and sometimes venture out onto the streets. Either would I classify myself as a “studio still life photographer” since I haven’t used my lights in awhile and I do venture out looking for images. The Facebook group “Minimalist Photography(log in required),” the fine work presented there, the thoughtful comments and insights from other participants, along with the ongoing review of my work has helped me further define myself.  Any thoughts and/or comments on this topic are more then welcome.

To have your images view-able at Fine Art America you have to sponsor search engine pages, these links follow below.  Feel free to share the above image across the social media universe, leave a comment, Google + this posting, Pin it, but most importantly: Enjoy the image!

violin art for sale musical art for sale musical instrument art for sale wall art art for sale orchestra art for sale orchestral art for sale

Succulent Plant Leaves

Succulent

I take photographs

to see what something looks like

as a photograph.

Garry Winogrand.

Really enjoying the alternative process look of this image, please contact me for print sales details.  Comments and sharing across the social media universe is most welcome.  Enjoy.

Vice grips

vicegrips

Vice Grips, a photographic study of old used and abused Vice Grips inspired by the magazine work of Walker Evans.

Walker Evans was one of the most important and influential artists of the twentieth century, producing a body of photographs that continue to shape our understanding of the modern era. He worked in every genre and format, in black and white and in colour, but two passions were constant: literature and the printed page.

While his photographic books are among the most significant in the medium’s history, Evans’s more ephemeral pages remain largely unknown. In small avant-garde publications and mainstream titles such as Harper’s Bazaar, Vogue, ArchitecturalForum, Life and Fortune he produced innovative and independent journalism, often setting his own assignments, editing, writing and designing his pages. Presenting many of his photo-essays in their entirety, Walker Evans: The Magazine Work assembles the unwritten history of this work, allowing us to see how he protected his autonomy, earned a living and found audiences far beyond the museum and gallery.

David Campany

The career of Walker Evans stretched from 1928 to 1975, perhaps the most important period in the history of photography. In the 1920s the medium asserted its modern significance, spreading to every corner of culture via the growing illustrated press, becoming an art both popular and avant-garde. In the early 1970s, as the power of the illustrated press began to wane, photography secured its place in the museum and gallery. Evans was first published in the American cultural journals of the late 1920s and 30s. After the war he worked for Fortune for twenty years. He also published in Harper’s Bazaar, Vanity Fair, Vogue, SportsIllustrated, Flair, Mademoiselle, Architectural Forum and Life, among others. Where possible he set his own assignments, did his own editing and design, and supplied the accompanying words. A brilliant and idiosyncratic writer, he also penned appreciations of photographers and painters he admired, and wrote reviews forTime magazine and The New York Times.

Although Evans began to exhibit his work around the same time that he began to publish, he did not have many shows in his lifetime. He was uneasy with photography as art and cautious about his image as an artist. He did not even attend the opening night of his now legendary solo exhibition at the Museum of Modern Art in 1938 (but he did lock himself in the night before to ensure the complex sequence of images on the walls was as he wanted). He was just as ambivalent about the printed page. In letters to friends he railed against the crass populist press and compiled for himself a scrapbook of its worst offences. Nevertheless he was formed and fascinated by printed matter, and felt even the most conservative publishing empire might afford the space to make good work with a resistant attitude.

Little of Evans’ magazine work is well known. Unlike a museum’s holdings, or even photographic books, magazines are ephemeral. They are expected to have a short shelf life and when it expires they often take with them the most revealing culture of their time. Despite his long working life most of the photographs upon which Evans’ reputation still rests were made in 1935 and 1936, in the American south. It was an intensively creative period in which, well paid and well resourced for the first time in his life, he focused on the making of pictures that were formally ambitious and layered in meaning. His output was prodigious. He loosened the directives set for him by his commissioners, the U.S. government’s Resettlement Administration (later the Farm Security Administration) and Fortune magazine. Deferring the question of use the images piled up. Perhaps inevitably they came to the museum as exemplary photographs in the “documentary style”, as Evans called it. After the 1930s he did reach those pictorial heights again but he never surpassed them. This is not uncommon among even the greatest photographers. Many achieve their best work early. Either they try to sustain it, which often proves difficult, or they leave for something else.

Evans’ path was different. As his career developed, his commitment to photography extended far beyond the single image to take in the whole craft complex of modern photographic culture. Rather than simply shooting and handing over his pictures to editors or agencies he sought to take much more control. This included editing, writing, design and typography and the development of an acute sense of context. In his first decade (1928–38) he mapped out for himself the enormous possibilities of sequencing and image-text relations. He also established his chief interests: America’s anonymous citizenry and vernacular culture, those emblems of resistance to the creeping values of celebrity, corporate business and consumerism. These interests became passions, explored slowly and carefully across an entire career in print. This is what makes the magazine work such a significant and lasting aspect of Walker Evans’ achievement.

An excerpt from the introduction in Walker Evans: the magazine work by David Campany

This image is available, printed on metal at Displate.com and at crated.com as a art print ready to be matted and framed.  As usual feel free to share this image across the social media network, let your friends and acquaintances know about my work, leave a comment, join me on social media, and register for my newsletter for upcoming specials and giveaways.  Enjoy!