Marlena Artis - Gohar Dashti post 6

1) Which of the artist's many technical choices are of interest to you and why?

I really enjoy the color palette of her series, "Home". The color palette was the first thing that had drawn me in; everything looks so serene and calming. Buildings with overgrown plants surrounding them have always really intrigued me, it's something I've never been able to experience before. Dashti had also staged some of these photographs since they were not fully engulfed by nature. None the less, contrast between man made buildings intertwined with nature is just so alluring.

2) What do you believe are the artist's conceptual and/or thematic intentions?

Dashti seems to have wanted to bring attention to what happens to our homes when they've been abandoned. All of these were shot in Iran homes, of families who have fled due to social and political reasons. I believe Dashti wanted her viewers to really contemplate their own definition of home, to consider what their sense of belonging is. Also, I believe she is challenging her viewers to think about what exactly a home is and where are our place as humans are on earth. Over time, buildings will inevitable be abandoned at a certain point in time. These abandoned buildings will be engulfed by nature until it is no longer in existence. Therefore, the sense of refuge is now engulfed as well by nature.

3) How do you personally respond to these choices and intents?

Dashti's choice to stage some of these photographs doesn't bother me at all. I actually encourage the idea of playing with what scenes one will want to shoot. Unreal or real, staged photographs are made to fabricate a bigger idea. As for her color palette and lighting choice, I love the simple and softly lit aesthetic. Dashti's concept for her series is quite interesting, one that I haven't put much thought into prior to this article. Her idea is something we humans don't really think about to begin with since we don't live for long, and these processes she's trying to express happen over centuries. Personally, I'm not quite certain how to respond to her conceptual idea. I don't have an extremely well thought out and articulated opinion on this matter, but I simply believe that humans build a space we call "home" for ourselves in the short life span that we have on earth. The earth graciously allows us all to reside here and once our time is up, it reclaims itself.

Amber Carpenter - Emma Craft - Post 5

1) Which of the artist’s many technical choices are of interest to you and why? 

Theres just something about the way she captures her images that draws me in, I love her use of depth of field and color. She uses these to her advantage and creates this personal portraits of people that just draw in a certain feeling for me. I also love her use of tones and color as well, like my last artist Chloe Sheppard she's choosing to stick to very soft neutral tones in her work and low contrast and muted saturation.

2) What do you believe are the artist’s conceptual and/or thematic intentions?  

I think she started out photographing life and her friends and has slowly moved onto more fashion photography and editorial type work. But her themes still remain the same with a more personal depth to all of her work even when she's taking impersonal photos at places of people she has probably never met before. 

3) How do you personally respond to these choices and intents? 

I admire her photography at these type of fashion events and how she can get such a personal feeling to something with such impersonalization to it. Her use of colors I admire a lot and I definitely would love to achieve the sort of feeling she gives me in her work and apply it to mine.

Emma Craft

Amber Carpenter - Chloe Sheppard Post - 4

1) Which of the artist’s many technical choices are of interest to you and why? 

Chloe Sheppard chooses to use mostly only 35mm, 120mm, and super 8 in most or almost all of her projects and thats something I find admirable. I find that admirable just because of the time and effort and money and frustration is put into film, versus digital. I love that she chooses to really only stick to these mediums and thats something I would love to do and achieve as well.

2) What do you believe are the artist’s conceptual and/or thematic intentions? 

I think she chooses to stay on a very soft neutral color palette in terms of all of her photography, she has mostly one muse and has been practicing photographing her for years. She is the first person in the photo set, but that is interesting to me as it feels like a theme almost as she keeps track of this persons life and how she changes over the years. I would like to achieve some sort of documentation of those sorts with photographing a specific person for a long term amount of time.

3) How do you personally respond to these choices and intents? 

I find them to be very interesting and almost an underlying theme themselves, as it seems to be an intent to photograph someone for years on end. Her photographs with this girl are all visually so great though, they've both figured out themselves and each other and thats present in the camera. 

Chloe Sheppard

Schuyler VanSyckle - Lindley Warren - Post 5

"The Meadows" ---Photos By: Lindley Warren

1. Which of the artists many technical choices are of interest to you?

I like how the artist decided to make portraits in the same location but not the same spot each time.  Using the same location in each portrait gives them all a sense of unity and ties the portraits all together.  

2. What do you believe are the artist conceptual and/or thematic intentions?

 I believe that the artist intentions for these photographs is to show the growth of this family overtime. Showing how over years of time the family is still living in the same place that they were years ago. These photographs draw the viewer in by making them reflect/think of  their own "home."

3. How do you personally respond to these choices and intentions?

I can personally relate to these images because growing up and still now I am living in the same house that I have lived in since I was born. My house and the location that it is in feels like "home" to me. It is the first house my parents ever bought together and it is the only house that my siblings and I have lived in. The meadows is home to these individuals like my house and chesterfield is home to me. 

Hana Pearlman- Robert Swierczynski. Post 5

1)  The images are all very compelling, and I think it is because of the lack of highlights (excluding the second picture) the images have this flatness to them. You can tell the direction of the light in every image, it's very strong. I have a very extreme connection to these images but it's hard for me to decide why straight from the start.  

2) I believe the artist's intentions were to make the viewer uncomfortable, they are all images of strange things, people, objects, or events. They have all the same flat undertones, or objects that make the enviornemnt around them feel unsafe or uncomfortable.  
3)  I find the last two images the most interesting and disturbing. The feet hanging upside down inside an airplane is one that catches my eye for many reasons. The lighting on the airplane gives off a sick sterile feeling, along with the tension felt on the airplane. This image to me is the most thought-provoking because it leaves me with such a feeling of relatability. I have flown many times in my life so I can relate to that feeling of anxiousness you feel when waiting on the tar-mack, bright unforgiving lights blaring on top of you, the cocoughfany of people sniffling and talking drowning out the sounds of the pressurized air filling the cabin. I know how it feels to have to sit down or walk or stand for long periods of time. The position of the feet, and the anonymity of this genderless person is what makes this image so profound. 

Emma Doherty - Arnold Newman post 5

1. Which of the artists many technical choice are of interest to you and why? 
In every article I read about him, he is described as pioneering the concept of environmental portraiture. A lot of the time the artist doesn't even take up a quarter of the picture but rather his/her environment does. I've noticed that a lot of the photos I viewed didn't seem to have a lot of contrast between the subject and his/her environment but rather he wanted the subject to be a part of it. There had to be no separation or contrast.

2. What do you believe are the artists conceptual and/or thematic intentions? 
I've read that most of Newman's work was editorial. So you would have to believe his intention was to draw the reader/viewer into the article or concept in the magazine. I think he does a great job of showing us as the viewers what we'll learn from the article/concept. The other thing i've noticed is that the environment that goes with the subject is not always the same location. It's not always where they produce their work, with their finished products, etc. It seems as though he photographs the subject where they are most comfortable whether that be during the creation process or the final execution .

3. How do you personally respond to these choices and intents?
I find the photos that Newman has taken to be raw and pure intent. We are not only being introduced to Newman's subjects but also how he interacts with each of them and how he views their crafts as artists.
4. Reason why I chose this artist? 
To be honest we learned about certain portrait artists in my Darkroom course last week and Newman really stood out to me. How he uses the environment to explain the subject more than the actual profile is exceptional.

Brezaja Hutcheson - Masahisa Fusake - Post 5

1. Which of the artist's many technical choices are of interest to you and why?

I like that Fusake focuses on creating a dark, somber environment for his photographs, because I believe that he is trying to tell a story with them. Specifically in his 1970s series, where he dedicated himself to studying black ravens.  I admire the way that Fusake approaches this series specifically, because with each photograph I observe, it appears to me that they could be used as a frame in a film. I admire when photographers can tell stories with their photographs, and create an air of mystery and curiosity behind their photographic work, which is what I believe that Fusake did with his works.

2. What do you believe are the artist's conceptual work and/or thematic intentions?

Fusake attempted to "stop" time with his photographs.  His aim was to document moments that he wished to cherish.  The two most poignant examples lie in his works where he would document his wife - he would do this in different environments and situations, showing how versatile she can appear to be while focusing on the same person in his life.  He did this with both of his wives, which I believe demonstrates how his passion for photography and his art can become intertwined with his
personal life. Often times, I believe that these two may feel one in the same for many creatives.  

He does the same thing with his series where he would study ravens; he attempted to document them in as many different situations as possible to show versatility, while keeping the focus the same. I do not believe that these series were intentional, rather just topics that he focused on on a daily basis, which may have subconsciously turned into a series of work. I believe that Fusake became so engulfed in his fascination with life and nature, that he continued to document his subjects because he saw something new in them every single time, even if the subject appeared to remain the same.

3. How do you personally respond to these choices and intents?

Fusake, like many other artists that I admire, uses his method of documentation to express his feelings and/or admiration for his subjects.  I am interested in the idea that there is more to see from a subject every time that they are photographed, and that each individual photograph - even if documenting the same subject - can have a different meaning to its viewers.  As a person who aspires to be a "snapshot" photographer, or an artist that documents people and processes, I admire Fusake's photographic work merely for this aspect.

I am also intrigued by the mood that his photos convey. As someone who is interested in themes that appear dark and mysterious, his photos speak to me on a level that I resonate with. I am inspired by the aesthetic choices that he has made, and it makes me think about the ways in which I can emulate this style/way of thinking and transform it into ways that appeal to my own artistic voice and vision.

Denver Edmonds- "The Malian Community in France" Patrick Zachmann *post 5*

1)  Technical decision and why I'm compelled/moved by said tech decisions?
I feel as though Zachmann wanted to capture the life that the Malian community brings to France by incorporating colorful garments that correspond with their environment/community. The colors mainly revolve around red, blue, green, and yellow. I think this balances the photos well because they are primary colors and green colors involved. I also enjoy how to poses are natural, this shows that Zachmann didn't want anything to feel forced in the composition. Lastly, I appreciate how the subjects sometimes look into the camera while posing, which relatively shows there was a comfortable relationship between the photographer, the environment, and the subjects. 

2)  What I believe the artist's intentions and concept are?
I feel as though Zachmann wanted to show appreciation towards the Malian community. Personally, this is a community in France I have never heard about from anyone. I'm assuming that Zachmann wanted to display appreciation and consideration for this community. Since I've never heard about the Malians in general, I wanted to know more about them from the photographs. Yet, the series is about the differences between the Malian's homeland in Kayes and the suburban area of Evry (outside of Paris). France decided to improve the living conditions of  Malains (through the city of Evry) because there are 60,000 of them working in France.  However, most of the workers are in Kayes and receive aid from their families in Kayes. 

3)  How do I personally respond to the intentions and concepts?
I feel as though the series provided a lot of context before I knew any information behind it. I could tell there was a difference between two types of communities by the black and white photographs of Kayes and the colorful photos of Evry. This allowed me to analyze the composition and objects within each scene. I think Zachmann made smart visual choices that were not only pleasing to the eyes, but informational. 

4) Why I chose this artist?
I chose this artist because it allowed me to learn something new. Usually, I pick black artists that are displaying blackness in America, but this time I experienced a small part of the world. This series is especially important to me because Europe seems to be overpopulated by white people, but it's nice to see a community of black people within their own land and infiltrating certain spaces. I hope the Kaynes continues to progress. 

amanda burton - Byron Spencer post 5

Byron Spencer

1.Which of the artists many technical choices are of interest to you and why?

 The first technical choice that stood out to me was his selective choice of color. He loves vibrant and statement color pieces. I was drawn to this first because each photograph there is a selective detail that brings my eye directly towards them. It makes me question why he used those colors, it makes me really put thought into my work and why I used the colors that I do.

2. What do you believe are the artists conceptual and/or thematic intentions?

I believe that Byron's thematic intentions have to do with emphasizing a certain part of the body or frame with a color. He draws his viewers to a specific point in the photograph. Not only are the colors important to him but the hue, saturation, and luminance. The clothes or props he uses to do so are very carefully chosen and I find his choices to be very intriguing.

3. How do you personally respond to these choices and intents?

With each technical choice and thematic intention Byron executes, I enjoy. The way the whole photograph comes together with his vision makes it an even more fantastic shot. Not only does Byron respond to color but the way in which the angle he shoots from. I love how he thinks of every detail in such a simple photo.

4. Reason why I chose this artist.

I chose this artist because I saw he was published in Vogue. Once I ventured into his Tumblr I uncovered more about his personality, his interests, and inspirations. I then logged onto his Instagram and saw an amazing feed of images. His images spoke to me not only because I thought they were super editorial but of who he is as a person. 

Madeline Edwards-Richard Prince

1. Which of the artist's many technical choices are of interest to you and why?
Richard Prince's decision to rephotograph an old Malboro magazine advertisement, remove the text, and enlarge the image to nearly life size are very interesting to me because of the concepts these decisions represent. Reframing a marketing campaign as his own fine art, Prince presents a lofty new set of questions to the viewer regarding the originality  of the image, creative infringement, and the viewer's role in creating meaning in an artwork.
2. What do you believe are the artist's conceptual and/or thematic intentions?
I believe Richard Prince in his Cowboy photograph is emphasizing the role of the viewer and context in creating meaning in an image. Malboro intended the photograph to be a propaganda piece equating their cigarettes to a rugged American masculinity, but in Prince's viewfinder the image takes on a whole new meaning. The new context of the same image makes the viewer rethink the intended meaning of the work. Without the context of a magazine advertisement, I doubt any viewer would associate a heroically life-sized cowboy with something so mundane as Malboro cigarettes. Instead of looking at a cowboy and equating him and his masculinity with cigarettes, the viewer finds higher meaning in Prince's work. The cowboy may represent the macho American spirit of freedom. Prince's cowboy is refreshing in its portrayal of freedom, masculinity and other ideals for its purity. The representation of the cowboy is intended to be appreciated as is, with whatever ideals the viewer assigns to it. No longer is the image burdened by the much more worldly intent of spurning desire in the viewer in order to sell a product that causes cancer. 
3. How do you personally respond to these choices and intents?
This piece has stuck with me since I viewed it for maybe five minutes in a painting and printmaking seminar class. There is something so rewarding in viewing the act of seeing as the act of creating meaning. Prince saw beyond the propaganda of cigarettes to find greater meaning in something so mundane as an advertisement. I am fascinated by the idea of finding the sublime in the mundane, even kitschy.  I am also fascinated by the idea that a new piece of art is created every time a viewer experiences a piece. An image isn't permanent; it changes with the experiences, associations, memories, beliefs and feelings of the viewer. I am fascinated by the idea that no one in existence has ever actually experienced the same image in the exact same way as somebody else.   

Sydni Stearns- Emily Abay Post 5

1. Which of the artist's many technical choices are of interest to you and why?

I really enjoy Emily Abay's fashion photography and I am drawn especially to her black and white images. When viewing her photos, I realized that my favorites were the ones in which the model is wearing black or white clothing. I think that the photographer does a wonderful job at capturing the beauty of the various pieces of clothing. The clothes, in my opinion, are already stunning on their own, so the photographer has to make a choice of what to incorporate in the image to compliment the clothing without overpowering the clothes which are the center of focus. I think she did a wonderful job at this because when scrolling to each image, I found my eyes gravitating to the clothes above any other aspect. When photographing black and white clothing, I think the black and white filter gives her photos such a nice touch and really emphasizes the aspects of the clothes such as the ruffles, the lace, and other sheer materials. The model is also not posing in a way that would take away from the clothing which was a good choice.

2. What do you believe are the artist's conceptual and/or thematic intentions?

I think that the artist's intentions are to make a photo that compliments the clothing she is photographing. These photos I have chosen are apart of her fashion photography that she does, so of course the objective is to make the clothing look appealing. She does not choose to have any intense makeup or hairstyle done to the artist. She seems to choose a "natural" hair and makeup type look. This helps put the emphasis on the clothing. I believe that each model's pose is thought out by the photographer so that the pose will also not overpower the clothing, it will emphasize it. She chooses to put a fair amount of her photos in black and white and I believe this is to make black and white clothing stand out more in a photograph.

3. How do you personally respond to these choices and intents?

Personally, I respond positively to these choices and intents. I think that her intentions create a beautiful, appealing photograph that compliment the clothing very well. I love her choice to put black and white colored clothing in black and white because I really do believe that that choice makes the clothing and its details stand out. While looking at her photos, I think in my head that I want to own or photograph the clothing featured so badly. I love the fabrics that are being photographed and I think she did such a nice job of conveying what they actually look like. The images are well exposed and show detail very well. I definitely greatly enjoy looking at these images and will be inspired by them when photographing similar materials in the future.