In a video made in connection with A Pound of Pictures, his book from MACK and accompanying exhibition, Alec Soth talks about his process for working on the series. Soth explores “the different ways in which photographs live in the world,” as objects that reflect “the desire to memorialize life.” Soth also describes his approach to deciding what to photograph, by paying attention to what attracts him to certain scenes and subjects. Learn more: https://fraenkelgallery.com/exhibitions/alec-soth-a-pound-of-pictures
In its own right, photography, and in particularly those genres of photography primarily focused on events in the world, is underpinned its own set of apparently self-evident truths. Many of these concern ideas about the correct way to use photography, in other words what it should be able to do that the other representational tools we have available to us cannot. This is significantly a little different from the often-discussed medium specificity of photography, in that these beliefs do not necessarily need to have a direct relationship to the actual technical qualities of photography (indeed sometimes they ignore these qualities altogether), but in many cases originate elsewhere in society and culture, often in ideas which significantly predate photography’s invention. The problem with these beliefs, and the value in exploring them, is that they shape and direct the ways we use cameras and photographs in ways which sometimes prevent us using photography as dynamically as we might, and as a result undermine rather than strengthen the goals we seek. For this reason, if no other, we should try to draw them out and assess quite how useful they are.
In what now feels like an eternity, but was only 11 years ago; I created a website called altfotonet.org. It was going to be a publication of photography from creatives/artists/ideologues/ratbags/visionaries. I published 3 issues along with Gary Sauer-Thompson. Somewhere along the line it all became too much for me and the idea lay idle, the web site remaining static. In the intervening 11 years the ground has shifted drastically. So much so that even after recently having revived the website I am unsure if I should continue publishing? I originally published 3 issues.
The site was meant to showcase work that fell outside the mainstream art world and was not commercial photography either. I’m not sure what possesed me to undertake such an endeavour? As Facebook was launched in 2004, and it must have taken a few years for it to reach critical mass here in Australia. Facebook has famously sucked the life out of many other online communities; flickr in particular. So I ploughed on regardless. The truth is I was very fortunate to have been donated some server space and the ideas driving the idea were all very egalitarian at the time. I was hoping to make something that was useful and new.
Now I have a new appreciation of what it takes to publish a magazine. I have also learned lots about photobook publishing. The world both in real life and online, is completely different now compared to 2009.
With all this in mind I have archived the old site and started a new one. Using a WordPress installation I will write at length about the ideas and concepts that drive my picture making and some of my underlying concerns. With occasional guest writers artist and photographers.
Recently I had call to revisit some of my receipts for taxation purposes. I was reminded immediately of a couple of purchases that I had not delved that deeply into in the 2 years I had owned them. One book required little more than a flip through the contents page to reveal useful but not burning questions buried within it. I was looking for idea and inspiration for my classes as well you see. This book entitled , ‘Rethinking Digital Photography Making & Using Traditional & Contemporary Photo Tools’ by John Neel will come in handy for exploring bespoke and handmade image making classes.
The other book, ‘The Camera Essence And Apparatus’ by Victor Burgin will hopefully float on or around my desk at home for a while. It may even get dragged to work. Burgin is a renowned Artist, Marxist and Theoretician. I have on loan from the RMIT library a copy of his photobook ‘Between’ published in 1986. ‘Between’ is a kind of retrospective catalogue, but is also a photobook unto itself, predominantly about the pictures with in it.
I am going to assume that both my readers know of my long interest in photobooks. They will also appreciate that I own the 3 volume set of the ‘History of the Photobook‘, by Martin Parr and Gerry Badger.
Reading the Burgin book, ‘Between’ got me wondering. Was it listed in the 3 volume set by Parr and Badger? Well the short answer is no. At least not in the index of any of the books. Another author/critic whose writings I admire is John Berger. He has co-published a photobook that is also very interesting, ‘Another Way of Telling’. This too is not listed in any of the 3 volumes. My question then to Mr Parr and Mr Badger. Why are these two Artists and their books omitted from your histories? Even though Martin Parr talks about the size of the task and the impossibility to include every photobook ever made in the introduction to Volume 1. Surely including ‘Between’, and ‘A Different Way Of Telling’ should have been a no-brainer?
What seems to be real in the photograph is always a simulation of something else. We have shown how this way of thinking provided a theoretical basis for simulation methods in contemporary art and photography. The exploration of staging, quotation, repetition, copying and plagiarism typifies the postmodern trends of the 1980s. These anti-realist strategies found a rationale in the conceptual art movement’s critique of documentary methods and the emergence of sceptical attitudes to the truth claims of photography.
pg 169. RETHINKING PHOTOGRAPHY: Histories, Theories and Education, by Peter Smith and Carolyn Lefley published 2016 by Routledge, 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN, ISBN: 978-1-315-72241-2 (ebk)