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	<title>Comments on: Manifest Hope - Max Ginsburg&#8217;s Street Paintings</title>
	<atom:link href="http://2point8.whileseated.org/2008/08/26/manifest-hope-max-ginsburgs-street-paintings/feed/" rel="self" type="application/rss+xml" />
	<link>http://2point8.whileseated.org/2008/08/26/manifest-hope-max-ginsburgs-street-paintings/</link>
	<description>A wide-open view of the practice of street photography by Michael David Murphy, While Seated.</description>
	<pubDate>Thu, 09 Feb 2012 05:01:07 +0000</pubDate>
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		<title>By: Ian</title>
		<link>http://2point8.whileseated.org/2008/08/26/manifest-hope-max-ginsburgs-street-paintings/comment-page-1/#comment-87732</link>
		<dc:creator>Ian</dc:creator>
		<pubDate>Wed, 27 Aug 2008 20:16:52 +0000</pubDate>
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		<description>(Sorry for the tortured writing syntax...)</description>
		<content:encoded><![CDATA[<p>(Sorry for the tortured writing syntax&#8230;)</p>
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		<title>By: Ian</title>
		<link>http://2point8.whileseated.org/2008/08/26/manifest-hope-max-ginsburgs-street-paintings/comment-page-1/#comment-87731</link>
		<dc:creator>Ian</dc:creator>
		<pubDate>Wed, 27 Aug 2008 20:14:36 +0000</pubDate>
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		<description>Thanks for the link. It's interesting to see his work! Are they small? and I wonder how impressive they are in person at a human scale?

There are a lot of people that paint from photographs. It's  a little odd because they inadvertently capture some of the way of abstractions in seeing that a camera creates. For example: the tonal range, the cyan blue which isn't quite the range of blues in nature, depth of field, etc...There is quite a difference from paintings that are a product of two human eyes and a real time confrontation with a 3D subject. For example, a landscape painters will quickly realize how quickly the sun moves and the nature of the light changes when you are trying to catch it on a big canvas...Monet would revisit a spot for many days, painting for an hour, then pulling out another canvas for the next hour. 

Some artists like Gerhart Richter took a more post modern approach to their paintings of photographs and made obvious the source of their painting. There is a certain self referential quality that makes it seem more at home.

A lot of painters who use photos as a source are almost telling a "lie" by portraying their photo as the actual place...Sometimes a photography is better suited to just being a photograph, than being translated into a painting.</description>
		<content:encoded><![CDATA[<p>Thanks for the link. It&#8217;s interesting to see his work! Are they small? and I wonder how impressive they are in person at a human scale?</p>
<p>There are a lot of people that paint from photographs. It&#8217;s  a little odd because they inadvertently capture some of the way of abstractions in seeing that a camera creates. For example: the tonal range, the cyan blue which isn&#8217;t quite the range of blues in nature, depth of field, etc&#8230;There is quite a difference from paintings that are a product of two human eyes and a real time confrontation with a 3D subject. For example, a landscape painters will quickly realize how quickly the sun moves and the nature of the light changes when you are trying to catch it on a big canvas&#8230;Monet would revisit a spot for many days, painting for an hour, then pulling out another canvas for the next hour. </p>
<p>Some artists like Gerhart Richter took a more post modern approach to their paintings of photographs and made obvious the source of their painting. There is a certain self referential quality that makes it seem more at home.</p>
<p>A lot of painters who use photos as a source are almost telling a &#8220;lie&#8221; by portraying their photo as the actual place&#8230;Sometimes a photography is better suited to just being a photograph, than being translated into a painting.</p>
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