Posted on March 30th, 2009 in Art & Theory, Family, travel | 1 Comment
We drove up to Frankfurt last night to see Mike Doughty. Doughty was the front-man for the band Soul Coughing in the 1990s. They were very popular (at least with the people I ran with). Do you remember the song, “Circles”? That was a Soul Coughing/Doughty tune.
He had a lot of problems with the group – he also had personal addiction problems. He quit the band, got clean and started a solo career in 2000. He’s been making outstanding music ever since.
Doughty’s a talented wordsmith, poet, and musician. He’s a true artist in my opinion. He played in a place called Nachtleben (Nightlife) in Frankfurt. Tickets were 12 Euros. The place was about 60 square meters and when Doughty started playing, there were about 15 people, six of those were us. His buddy and fellow virtuoso, Scrap Livingston accompanied him on Cello – beautiful stuff.
He speaks this fast, broken German (he’s obsessed with the German language). It was funny to watch the Germans in the audience as he said things like, “You look sexy and healthy,” auf Deutsch. Good stuff. It’s easy to trip up a German with American idioms and random sarcasm, they don’t get it.
We got to meet him after the show. He seems like a nice guy, down to earth. He could have sold out for big money and a few “pop” songs, but choose to stay independent and play for the real people. That says a lot to me.
I sent him the photos, maybe he’ll use some on his blog, I hope so. We hope his “German obsession” doesn’t go away any time soon, and that he comes back to play. If you get a chance to see him, do it, you won’t regret it – like I said, he’s a talented dude.
Posted on March 29th, 2009 in Art & Theory, Collodion Images, Europe, Holocaust, Shoah, nazis | Leave A Comment
A sense of urgency overtook me today and I was able to get a couple of important photographs made. I’m exhausted right now, but elated. While I call everything an experiment, it’s not exactly true. For now, however, I’m calling the work experimental.
The “train tracks” image below is something I’ve been meaning to try for a while. Most all of the tracks here were used, at least in some part, to transport Jews and other undesirables to either bigger train stations or directly to the concentration camps. My friend, Caron, mentioned that I should look at making some images like this - I couldn’t agree more.
The feeling I get when I look at this empty, quiet image is one of anxiety. I’m waiting for a train to rip through this space headed east (the direction of this image) with cars full of people going to their death. Although, it doesn’t look like it, I was very close to the tracks. It made me a little bit nervous. I shot this with my new (old) CC Harrison portrait lens - wide open - what a neo-pictorialist, huh? I was lucky to find a spot where I had access to the tracks (and schlep all of my Scheise to it). Sometimes, it’s difficult doing these kinds of things. I was thinking about how I would probably be arrested in the United States for doing this… you know the whole terrorist scare thing. No one was around when I made the images. It was out of the way and “in between” towns.
Train Tracks Headed East - Bahnhof Ahead
29 March 2008 - 1305
10×8 Black Glass Ambrotype
Southwestern Germany (quiet countryside)
I’m going to keep making images of memorials, tracks, and portraits (and whatever else strikes me). I’m also going to explore making images of smokestacks. All of these symbols are very powerful to me. I have no idea how all of this is translating, or will translate, but I’ll keep making images, thinking out loud, writing my thoughts and ideas down and hopefully, someday put it all together.
Posted on March 29th, 2009 in Art & Theory, Kristallnacht | Leave A Comment
I can only imagine what goes through the minds of the people watching as I make photographs in the small towns and villages here.
This morning I went out to re-photograph the Synagogue memorial in the village I live in, Viernheim. They moved the memorial (I call them gravestones - they always seem to be weeping) a couple of months ago. They also included a little sitting area and bench. It’s actually a lot better.
As I setup and made preparations to make a plate, several people walked by and stared - I mean stared! One old German man, maybe 70 years-old, or more, almost tripped, as he was walking by staring. He wasn’t watching where he was going. I said, “Achtung, Baby!” - I wonder if he got the reference to the U2 album, probably not.
I don’t mind people watching. I’m a voyeur by profession and passion. The thing that I don’t is like not knowing if they’re just interested, or if they’re thinking, “I would prefer that this guy go away.” It feels like the latter, but I’m hopeful that it’s the former.
The photograph I made this morning is gone. It made me sick, but I wiped it from the plate. This is the only “evidence” that remains of the Ambrotype. What if I made this whole project like that? What if there were no plates in the entire project, only non-tangible (digital) representations? It would be a lot like the subject matter, no?
A friend/colleague emailed me the other day asked me about my thoughts on impermanence, or ephemeral art. He’s working on his M.F.A. and doing some really interesting things with chalk-screen transfers. His images are only there for a short time on a chalkboard - this theme has been explored by a lot of artists, but it keeps coming back to me, time and time again. It feels like I’m not listening.
Just as the Synagogues and people were “wiped away”, I think that this method may serve the project well. I first thought about breaking the glass, destroying the images, or having Germans do that in a performance. After some thought, I decided no, that’s too much. However, wiping these images from the plates, and maybe even keeping the Collodion I wipe off as residue may be the answer I’ve been looking for.
You have to remember, these images are extremely beautiful when you’re holding them in your hand. They’re a “precious artifact” in a lot of ways. They’re also a lot of work to make - a big investment in many ways - time, money, effort, etc. So destroying them and only keeping (digital) representations creates a sense of loss for me - a lot like how I feel when I see (memorials) representations of these beautiful Synagogues (and people) that were destroyed.
I’m going to seriously explore this some more. Right now, in this moment, I feel very strongly about it.
Destroyed Synagogue Memorial With Apartments and Playground
8×10 Black Glass Ambrotype
29 March 2009 - 0923
Viernheim, Germany
(I flipped this positive so you can read the text)
Notes: The memorials seem to be “weeping” every time I photograph them. The background (apartment buildings, trees, playground, etc.) appear as a painting or drawing, unreal, if you will. The gravestone seems to be emerging from a black earth - terrible and foreboding.
Posted on March 28th, 2009 in Collodion Images, Collodion Workshops, Europe, Family, Family & Friends, Summer Performs | Leave A Comment
We’ll be leaving this week for Austria. I’m teaching a workshop in Kefermarkt. It usually takes me a few days to get ready for a workshop. I have to gather up a lot of equipment, do an inventory on chemistry, glass and aluminum, as well as get prepared personally. I’m hoping we can spend a day in Mauthausen-Gusen Concentration Camp. We’ll be about 30 minutes north of it. I want to stop in and make some photographs. I’m excited about the workshop, but I’m more excited about making some work for my project.
I bought a CC Harrison 400mm f/4 lens a couple of weeks ago. It’s American made and I wanted to own a piece of American Wet Plate Collodion history. I also wanted to test it out before the trip to Austria. Summer said she would sit for me and play her guitar while I made plates. So that’s what we did.
Click on the images to enlarge them.
1861 CC Harrison Lens New York, New York.
5×7 Black Glass Ambrotype CC Harrison
2 second exposure - no stops
5×7 Alumitype CC Harrison
3 second exposure - no stops
I really like the lens. I like both of these images, too. The second image, the tighter shot, is very cool because her hair is blowing around during the three second exposure. I call it, “Painted Hair”. It’s wild to see time pass in an image.
