Archived posting to the Leica Users Group, 2000/08/29

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Subject: RE: [Leica] Personal portfolios of misery
From: "Bob Walkden" <bobwalkden@hotmail.com>
Date: Wed, 30 Aug 2000 00:08:03 BST

Hi,

with the possible exception of some of W E Smith's work (and I'm not 
sufficiently familiar with Tina Manley's work to comment on hers) these 
photographers did not set out to make 'fine art', by which I, and I think 
Jim Brick, mean photographs whose primary purpose is display in museums, 
galleries or other art forums and art magazines. They took their photographs 
for journalistic / reportage purposes. Of course, some of their techniques 
are the same as those used by artists, but only because these techniques are 
effective for communicating ideas.

It is a mistake to think of them as 'presenting suffering in art'. Their 
work is art only in retrospect, if at all.

Regards,

Bob


>From: "B. D. Colen" <bdcolen@earthlink.net>
>
>
> > >From: Jim Brick [mailto:jim_brick@agilent.com]
> >
> > >
> > >What I don't like, actually detest, is the merging of a
> > >terribly troubled
> > >soul with fine art and/or a personal portfolio.
> > >
> > >Neither a personal portfolio nor fine art should be made,
> > >based upon the misery of another human being.
>
>Hmmmmmm....There goes the vast majority of pre-19th century painting, to 
>say
>nothing of the sculpture.....
>
>To object to exploitation is one thing, to object to the presentation of
>suffering in art is another....What about the work of virtually all the
>outstanding documentary photographers of the past 50 years? What about
>Eugene Smith's Minimata (forgive my spelling)? And Eugene Richards' Cocaine
>and poverty work? What about Nachtwey and Salgado? What, for that matter,
>about Tina "Mother LUG" Manley's  Central American work?
>
>Good documentary work often presents the suffering of those whose lives we
>so easily ignore, and it often makes it presentable by presenting it as 
>art.
>
>B. D.
>

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