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[OM] Re: Miroslav Tichư (was Pinhole conversion)

Subject: [OM] Re: Miroslav Tichư (was Pinhole conversion)
From: Andrew McPhee <macca@xxxxxxxxxxxxxx>
Date: Wed, 10 Aug 2005 20:26:16 +1000
>Andrew McPhee wrote:
>  Most of these photographs are out of focus, the framing is
> > bizarre, the
> > prints have stains and lack contrast.  They look just like my
> > first roll of
> > film taken with a Diana when I was six years old and my
> > beginners efforts
> > at printing when I was twelve.
> >
> > Yet I see them exhibited in a museum.  And a book and a film
> > are mentioned.
> >
> > I am sincerely trying to understand what is going on here but
> > instead I am
> > very confused.  Can someone explain what I am missing?
> >
>
>
>I think it's called "marketing".
>
>...Wayne


Ahh...I didn't think of that.  Goes some way to explaining it.

This reminds me of the time a fellow photographer and I visited our city's 
art gallery to check out a photo exhibition that was travelling around the 
country.  We did the rounds and thought most of them were very good and 
quite inspiring.

Then we came to a small postcard-sized color print matted in a very large 
frame.  The photo was of someone's aluminium fishing boat sitting on a 
trailer with an outboard hanging off the back.  A clothesline was next to 
it.  The grass needed cutting.  A kid's bike was laying in the grass in the 
background.  The subject was dead centre in the middle of the frame, the 
corners of the photo were blurry and it looked like it was taken with an 
Instamatic.

We stood in front of the photo in silence and looked at it for a 
minute.  Then we looked at each other quizzically and laughed.

Granted, this person's art had made us feel an emotion.  And on the way 
home in the car this image was the one most talked about.  And years later 
it is the only one that has stuck in my mind out of all the others in that 
exhibition.

Maybe the photo taken by the curator's favourite grandson.  Was it 
submitted by a famous photographer and the curator was embarrassed to 
refuse it?  Was it submitted by someone in irony as a protest?

I still don't understand the 'why' of the photo.  The more I try to 
understand what constitutes good art the more I am confused.

Andrew McPhee



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