Jim Sienkiewicz's thoughts on his own and others' photography
May 18, 2013Posted by on
I was recently sorting through my archive of prints and during this substantial undertaking I discovered a collage from years back that I had completely forgotten about. I knew I had another, larger work on paper that had been shuffled away some time ago as well, but upon finding this smaller work on cardboard I was delighted, as it was the last collage I produced for my series City of Industry. This was the final image created for that project and it ironically dates back to May 2008, exactly five years past.
At the time I had created dozens of finished pieces for my industrial body of work and felt that I needed to shift gears and move back into traditional photography, evidenced by the advent of my 8 x 10″ wildfire project The West Is Burning. I didn’t resolve to abandon the former medium permanently, just for the immediate future. One might read into the title of “Path to Nowhere” as a metaphor for where I seemed to be going with mixed media at that time, but the name of the work actually refers to the clearly defined iconography present in the picture.
May 12, 2013Posted by on
Hans Holbein: “I would like to paint her.”
Thomas Cromwell: “I don’t know. She may not want to be studied…She has a great presence, espirit…You may not be able to put it in a painting.”
Holbein: “I see you think I am limited.” (1)
I just finished reading Hilary Mantel’s Wolf Hall and I would highly recommend it to anyone interested in this period of English history or just quality contemporary literature in general. Hans Holbein the Younger (1497-1543) the famed Renaissance portraitist is featured as a minor character in the novel and the well-rounded studies of famous figures like Anne Boleyn, Thomas Cromwell and Thomas More that Mantel provides in her writing piqued my interest in re-examing some of Holbein’s work while performing commissions for Henry’s court. The artist came to be renowned all over Europe for his subtle yet penetrating images of the era’s leading figures but I was particularly concerned with viewing some of these paintings again with respect to the individuals described in the book. Besides Holbein’s gift for depicting the essence of his sitter’s personalities through physiognomy, the flawless craftsmanship of his oils is remarkable still even today.
Here’s how editors H. W. Janson and Anthony F. Janson describe Holbein’s 1540 portrait of Henry in History of Art: Volume II:
“His portrait of Henry VIII has the rigid frontality of Durer’s self-portrait, but its purpose is to convey the almost divine authority of the absolute ruler. The monarch’s physical bulk creates an overpowering sensation of his ruthless, commanding presence.” (2)
(1) Mantel, Hilary. Wolf Hall. Henry Holt & Co., New York, 2009. Pgs. 304-05
(2) Janson, H. W. & Anthony F. Janson, Eds. History of Art: Volume II (Revised Fifth Edition). Harry N. Abrams, New Work, 1997. Pg. 538
May 4, 2013Posted by on
If you follow the chronology of photographic history, there are some milestones that illuminate how the medium has become more and more available to the everyday purposes of the public at large.
1839-Photography’s advent: The first photograph is officially created by Niepce in France 12 years before but this date is when Daguerre and Talbot simultaneously unleash each of their unique processes upon the world, forever changing media, art, and society as a whole. Both of these processes (the Daguerreotype and the Calotype/Salt Print) are the province of the elite, wealthy and all but most adventurous hobbyists for the next decade. The chemistry is sophisticated and for the larger part of the 19th century a photographer is equal parts craftsmen, scientist and alchemist (upon those rare occasions when images of lasting value linger into our contemporary consciousness even today). While the operator of the camera is as distanced from the everyday citizen as the hierarchy of classes essentially allows, beginning in the 1850′s the average person is finally able to afford a likeness of themselves, a luxury previously only reserved for the commissioners of painted portraits and the expensive tastes of church patronage. The “Tintype” and the “Carte de Visite” were the first true levelers of this prior artifact of excess, with everyone from soldiers in the American Civil War to casual tourists now able to possess a small, inexpensive portrait made in a quick manner.
Flash ahead to 1878 when the laborious and complex wet-plate collodion negative technique is replaced by a dry-plate version, then 1883 when celluloid (modern-day flexible film) is introduced and most importantly 1888: the introduction of the Kodak Hand Camera. This is the year the “snapshot” is born and with it the rise of the “vernacular”. The vernacular is common, even generic and boring everyday photography created by amateurs, in-laws and basically anything not deemed art or serious photography. This is the true ascent of photography’s democratic ideal: that anyone, not just a skilled technician and not the previously wealthy class of the old world could now make pictures whenever and of whatever they wish. Kodak’s Rochester, NY facility boomed under the marketing scheme of selling the cameras preloaded with roll film and then having the customer send the entire camera into the factory. The labs then printed all of the images and loaded the camera again for its next term of use. It was genius. This is the business model that launched Eastman Kodak to stellar financial heights. (It is ironic and unfortunate that the advent of digital photography and less dependence on traditional silver-based materials has essentially been the death knell of this corporation a century later.)
So it is by no mere coincidence that one year after the introduction of this snapshot revolution that in 1889 one witnesses the birth of Pictorialism, a photographic movement that lasted until the outbreak of World War I and came into existence with the express purpose of establishing the photographic medium as a fine art and in direct opposition to the types of pictures being created by the quotidian masses. (This movement was noble in its intentions but ultimately doomed in its insistence on mimicking the surface effects and subject matters of painting, attempting to co-opt aspects of the latter in legitimatizing photography’s place in the visual arts.)
Fast forward a half-century or so and we arrive at the large-scale introduction of color photography. Color images had existed to some degree in the 19th century, either through a process where miniaturists on staff at studios would paint colors over monochromatic pictures or through incredibly laborious and unstable processes like the “Heliochrome”. The Lumiere Brothers introduced the “Autochrome” around the turn of the 20th century and while the Pictorialists experimented with this technique, the slides were one-of-a-kind and incapable of reproduction. (I had the pleasure of seeing some examples of autochromes in Paris at the Musee D’Orsay some years back in a darkened room, and the aesthetics of the pictures are gorgeous.) It was really the debut of Kodachrome film in 1935 and its wide scale use by families and tourists in the 1940′s and beyond that ushered in the age of the true to life images that we take for granted now. While color remained the domain of the advertising photographer well into the 1970′s, essentially hands off to fine artists, generations of families now grew up on the amateur father or mother snapshot still image-maker, not to mention the pulpy 8 and 16mm moving pictures that became a staple of American and European living rooms during the era. (Polaroid becomes a mere footnote in this article, but Edwin H. Land’s innovation in instant picture making is where this whole summary culminates in the mainstream uses of photography as we know them today.)
From the 1970′s to the early 2000′s the amateur or vernacular photographer was judged by the sharpness of his glass, and if he used the best cameras available on the sub-professional market. The often Nikon clad weekend warrior photog was hunched over due to his enormous telephoto lens and their estimation of success was the itinerant house guest’s notion of “hey, you took these? These could be in National Geographic!”.
Ah, and on the 7th day God rested, but then everything was nearly open 24 hours/7 days a week and in this atmosphere came Digital! Analog photography’s decline was of course precipitated by the introduction of digital cameras and what at first was the sole province of the technophile soon became the working standard of photojournalists and media, and now the domain of the majority of people who consider themselves “photographers”, novice, professional, or ambivalent to the term whatsoever. At first digital cameras had to catch up to the resolution and dynamic range of film-based capture but within the scope of 20 years, digital has essentially surpassed film in sharpness and reproduction quality except for the largest of traditional formats. This leads of course to the teaser that possibly drew you to even reading this essay…the appearance of camera phones on the scene and their contemporary status as photography.
Now, when I mentioned sharpness and quality in the previous statements, let me be clear. This matter of quality is key because much of the world has lost its appreciation for subtlety and classic aesthetics, which is at the heart of the matter. Camera phones now possess incredible resolution and can even be utilized to make the small-scale prints that once would have graced the pages of the typical family picture album. I have no doubts that relatively soon “Moore’s Law” will account for camera phones being able to make greater and more significant enlargements and with even smoother and more professional looking results. (This assumes of course that people still view pictures as prints or in traditionally published media, as tablets, phones and online require about a quarter of the resolution necessitated by the older standards.) Damon Winter’s 2010 Iraq War pictures were made with an iPhone and stylized with a widely available app. This year Nick Laham had an image of New York Yankee Alex Rodriguez published on the front of the New York Times that was captured and processed through Instagram. Often photojournalists and other media photographers supplement their higher quality captures with images created in this vein, and it will only continue to grow more and more popular. This fails to recognize of course how many millions of individuals utilize this technology on the daily level and as Anderson Cooper claimed in an interview he conducted of Kelsey Grammer, with Instagram “Everyone’s a professional photographer”.
Alas, where does that leave us? Are images created with camera phones “photography”? Yes, without a doubt. But, are they “serious photography”? No. That may seem a bit snobbish, but it is in reference to that quality issue I referenced before. It’s about process…thought…commitment…and things not always seeming as easy as society would have you believe. There is a substantial difference between the amateur photog that anyone on earth can claim to be these days and those practitioners of either traditional or contemporary craft that can truly refer to themselves as photographers of a certain regard. Even if the case is made for qualified and dues-paying professionals using these apparatuses, they are essentially pushing a line that they know they are in the unique position to walk over. Quality is an evaluative term and it can be troublesome in this age of political correctness, social egalitarianism and post-modern globalization. That said, is it wrong to believe that people who have dedicated their entire lives to the craft and service of the photographic medium are not separate from the remainder of the public in their status as photographers? If some stranger came up to you in the style of Alec Soth or Bruce Davidson, would you think higher of them if they were asking to photograph you with a large format view camera or a Leica rather than framing you in 5 seconds with their phone? What about the future status of professional photojournalists or art for commerce? Will all commercial and news publications simply scroll through the archives of Flickr and Facebook to access ready-made images that require no greater thought than a computer logarithm mimicking a “Holga” effect or vintage sepia? What will it mean when more and more MFA Photography programs are tortuously extended into a Studio Art PHD when schools can require more and more education and finances of their students, but still accept that they might never learn the craft of photographic history and potentially complete a thesis project with a camera phone? These are some of the expansive questions that face photographers of tomorrow and ones that do not present easy answers.
Roland Barthes hypothesized in Camera Lucida that the vernacular photographer was closer to the true essence of the medium due to the photograph’s quintessential nature of having documented, or certified “this has been”. He also believed that when photographs were subjected to the same aesthetic constraints of composition, surface effects, etc. as those of the traditional visual arts that they sacrificed this essence in an attempt for legitimacy. Perhaps he was right, but I find rather that a combination of these concepts is truer to the crux of the argument. That the democracy of photography is a large aspect of its power, but that also it is a momentous achievement of a photographic image-maker to transcend the billions of pictures circulated endlessly through the world at any given time and create those pictures of lasting import, value and ultimately physical or intellectual craftsmanship. And that readers, can only be attained through process…thought…commitment.
April 29, 2013Posted by on
Let’s face it: Richard Prince is a joke. He may be incredibly wealthy and atop the summit of the New York Art world since the late 1970′s, but regardless it doesn’t make him any less only a clever impersonation of an artist. Appropriation is long established. The “singular” or “unique artistic genius” declared a dead and naive idea by the tenets of a four decades-old Postmodernist philosophy. There are historical precedents of appropriation of course from Picasso’s depiction of African masks during Cubism, to Dada, to the avant garde assemblage artists of the 1960′s (Rauschenberg, you sultry reconstructor of the turbulent aesthetic of mass media, you) and beyond. These were artists that understood the power of re-contextualizing found pictures and did so with a formal or narrative bravado that significantly changed the outcome of the work and often visually dissected it into new and all but unrecognizable relationships to their former existence.
That said, are we any better off for the Richard Princes, Sherrie Levines, Richard Pettibones or any of the other Duchampian imposters that have usurped the heraldry of the art history canon for their own financial gains? No, we are not, and if you argue that we are, under the guise of freedom of expression, deconstruction or other revisionist histories of the art of the past, then frankly my friends (?) you are fooling yourselves. This is mere intellectual masturbation run rampant in a hyper pseudo-philosophical approach to art-making. The recent reversal by an appeals court of the March 2011 US District Judge Deborah A. Batts’ decision that Prince had violated fair use in his appropriation of Patrick Cariou’s “Rasta” photographs is a sad day for the legitimate practitioners of le monde d’art. Prince has gotten away with ripping off Jim Krantz, biker magazines, pulp fiction cover artists and the true image-makers of the world for far too long, and the earlier decision that he would have to return his Gagosian gallery catalogs, previously sold works and pay remuneration to Cariou was just desserts. The more recent ruling is really a testament to the legal swagger of Mr. “If I weren’t doing this I’d be in real estate” Larry Gagosian and his proliferation of garbage art that he has routinely championed. I would choose to be crushed by the fearsome wave of this lowest of cultural artifacting and conceptual gamesmanship rather than be subsumed and sweapt away by its rancid tide of cheeky, chortling entrepreneurs.
(Left: Patrick Cariou: from “Yes Rasta”/Right: Richard Prince from “Canal Zone”)
April 15, 2013Posted by on
After moving up to the Redwoods about a year and a half ago, my darkroom is finally complete and operational. I made my first prints about a month ago and have been developing film in the space for about two months. So glad to be using this area after dreaming of having my own darkroom for years! I had one in El Cerrito but as the current room is in its own separate structure there is no need to do any re-configuring before working in the space. I know my fiance appreciates not having to take showers in the same tub that I used for printing and developing negatives as well.
July 9, 2012Posted by on
Oh, here comes the story of the Manure Man
Who said hell to the county and their terrible plan
Our river’s not your toilet, not now, not ever
Development be damned, this action must sever
His Legend arose when he delivered a hit
To four busy blocks, fresh paved with bullshit
Not the kind normally found around city hall
But a load and a tale that came to be quite tall
I’d love to see them wade in this piss they spew
Which they flagrantly dump towards our towns out of view
A tractor I think will do the job right
And I’ll travel and work while their mouths rest at night
Now tomorrow they’ll notice, when they lift up their shoes
How this is our life, not theirs to abuse
Lynch was his name, talk not his game
But action by one a success all the same
So remember the moral of the Manure Man
His injustice avenged, we could all take a stand
And hell to Saint Rose, at least her town on this day
It’ll be two weeks from Tuesday before the reek goes away.
(Based on a true incident involving toxic dumping in the Russian River under the supervision of Santa Rosa officials)
June 30, 2012Posted by on
Landscape like leather
a world stripped bare of excess
and what man would call life
he kills those he chooses, no trespass greater, than poor fate
and running across him
no streams, no springs, no port of egress
it will swallow you in its parched gulp
it makes haste to drain the blood of what dare cross it
but still you encounter him
but with no signs of a savior
no holy cross formed of snow and ice
the land as barren as your thoughts, he will endure you here,
against all determination
Not man, not mountain
morose, morbid monuments of dust
gathered at the feet of an unfeeling god
left to the devices of a de-peopled place that cares little
for your lot or escape
politics of a point on a map
a territory inhabited by no one
a heat mortal by existence alone, crushing cloud of fact
unabated by attempts to outlast
your body feeds nothing
returned to a source of bad water
that never reaches the surface, only desperate fissures
left to erode over time
June 20, 2012Posted by on
Brown, dirt-fed stream
a century’s dream
control through design
water looks good
“how’s ’bout neighborhoods”?
cash rolls in
thanks to the flood
Desiccated parcels made to lure
5 & dime convenience stores
endless summer at low cost
dollars that is, not forethought
who knows where it goes
this project unfolds
into our gift
to our kin, lots still sold
A mistake by birth
borne of earth
burden of land
deemed void by man
first seemed great
as an escape
now leads to
an empty waste of space
October 5, 2011Posted by on
August 31, 2011Posted by on
Day 1: Big Sage Reservoir, CA
Day 2: Cascade Reservoir, ID
Day 3: Lochsa River, ID
Days 4-5: Glacier National Park, MT
Day 6: Gardiner, MT
Days 7-8: Yellowstone National Park, WY
Day 9: Bear Creek, WY
Day 10: Longmont, CO
Day 11: La Junta, CO
Day 12: Montrose, CO
Day 13: Cedar City, UT
Day 14: Zion National Park, UT
Day 15: Sonora, CA
Round Trip = 4,751 miles
Snapshots from the road:
Here are some of the wildfires in progress that I photographed while on the trip: