Suchergebnisse

The nature & meaning of Flick's photographic representations of Los Angeles, CA, ("Folio: On Pico Boulevard Looking North" [December, 1994]) are examined in an interview. Composed of a horizontal series of photographs with overlapping contents & as if taken while driving down a street, it is suggested that Flick's photography captures the flatness, absence of verticality, & unidimensionality that characterize Los Angeles. The juxtaposition of still images presents Los Angeles as a fractured urban space signified by a collection of moments rather than a fluid progression of time & space. Flick claims that the relationships between frames in the vertical arrangements forces viewers to interpret the tension & correlation between images, & the viewer thereby becomes actively involved in the artistic process. The anonymity & a historical nature of Los Angeles are praised by Flick, who argues that the logic of the street & texture are central to his photographic arrangements. Following a brief history of his artistic influences, Flick concludes that his work & life are marked by the paradox between a scientific search for order & his artistic inability to achieve such order. T. Sevier

Discusses the relationship between photographer, viewer, & subject with a specific focus on the potential agency of the subject. It is suggested that photographic content is determined by technology, & the reality of a photograph is constructed by contemporary notions regarding truth & perception. Diverse theoretical & quantitative research has shown that technology, including photography, can distort or eliminate the agency of the subject. The question of agency is considered in regard to a picture of a NY street corner (1946) by Todd Webb & an assortment of photographs depicting veiled subjects. It is argued that photographs are fundamentally manifestations of power; the photographer presents the subject & thereby denies the subject the possibility of presenting him- or herself. Further, viewers interpret these images through themselves & their own ways of knowing, independent of any concrete knowledge of the subject. However, the subject is granted diversity through the multiplicity of interpretations placed on the photograph, & subjects can construct their own agency & identity through a discourse & negotiation with the photographer that consequently affects the viewer. 22 References. T. Sevier