Joel Meyerowitz, For The Win!
In the interview, Meyerowitz says this:
“I’ve always been a photographer less interested in the academic and formal side of photography than for the feelingful side. I always opt for feeling. I think my pictures have in them–at the risk of sentimentality, which I try to avoid…nonetheless, I think people are suspicious of feeling and beauty. They’ve become sort of no-no’s in the modern, contemporary art world, and so if you make pictures that evoke some form of beauty, people are suspicious…and you see a lot of flat-footed, boring fucking photography out in the world today, that passes as conceptual or high-valued, art-world photography. I look at most of that stuff and I think, ‘these guys are boring, they have nothing to say, they’re walking around formulaicly making bands of modern life…industrial things or supermarkets….’ I don’t give a shit if it’s Gurksy or…any of the others who are playing that game. Most of that stuff bores the shit out of me.”
Here’s the clip:
It reminds me of that ages-old Stephen Shore interview, because both are well-respected photographers who don’t have anything to lose in calling bullshit on the trends of a self-obsessed art world (or flickr, in Shore’s case).
Sure, the world’s full of negativity, but I’m tickled whenever I see a photographer who calls it like they see it. Meyerowitz may sound bitter, but frankly, I’d rather hear his beef about how bad contemporary photography is than read another article in ART FORUM about Damien Hurst’s Skull. Go, JM!
For StartersWays of Working, a 10-step introduction to the ins-and-outs of street photography with only nine steps. Or, look at Resources & Discussions.
- “Foreign & Domestic” at Columbus State University, March 12th - April 19th
- New Winogrand Restrospective 2013-2015
- Chuck Patch Discovers Winogrand’s 1964 Worlds’ Fair Women at Boston Museum of Fine Arts
- A JPG Transcript of Jacques Derrida on Photography and Not Being Photographed
- Same Same But Different
- “Street Photography Now” Fails to Cite Sources
- Winogrand/Papageorge MIT Transcription
- Street Photography Now (printer’s proof)
- Reconsidering Winogrand
- Does Haiti’s Crisis Call for a New Photojournalism?