1.Who said ‘The camera gave me the license to strip away
what you want people to know about you, to reveal what you can’t help people
knowing about you’ and when was it said?
In the early 60’s Dianne Arbus roamed the streets although
charming and quietly spoken, Arbus quoted this statement. She spoke openly of
photography’s power both to steal and exploit other people’s faces and lives,
but in taking her pictures she tried in her own words, to be good. Arbus was
drawn to society’s marginal characters prowling the side streets and the back
alleys of the city in search of the fantastic.
2. Do photographers tend to prey on vulnerable people?
Photographers have always sought out some kind of
marginalized subjects; it has been a controversy in recent years of the
scholarship of photography whether or not photographers tend to prey on
vulnerable people, people who are exposed socially, economically, culturally in
some way because photographers could get access to these people if they were
out on the streets. Their faces reveal the emotions that we feel when someone
wants to take our picture. However the person behind the camera can either feel
compassion for the subject or are simply driven by their hungry eye.
3. Who is Colin Wood?
In 1962, Arbus took a picture of a skinny 7 year old boy
Colin Wood in Central Park, an image that is once funny, tragic and ghastly,
she took many pictures of him that day but chose the one shot in which he clutches
a toy hand grenade in one of his tense claw like hands as if seeming to have
answered a decade of crazed violence in America. He was a curiosity for her,
and captured an aspect of his life when his parents had divorced, but for Arbus
she was merely seeking a reflection of herself in the pictures which was her
genius.
4. Why do you think Diane Arbus committed suicide?
Arbus photographed
those who showed a genuine awe of those she often referred to as freaks but
sometimes called them aristocrats people who in her estimation had already
passed their test in life. She was not threatening she was curious her real
native curiosity, or her awe of their original individuality that loosened them
up to be present for her. She was articulate and poetic her work is unique and
is all about her, her work tied into her mood which came along later, and she
desperately wanted to be anybody but herself by trying on everybody else’s skin
emphasizing the degree of empathy which was rare in any art and described that
there was seriously something wrong with our culture. But I think Arbus had
gotten too involved with the subject and who she was photographing that her
work had portrayed her anxieties and vulnerabilities in her life .Arbus was
herself connected to the many of the cities important tastemakers at the time
but not everyone was behind her or agreed with her which could have had an effect
on her death as well.
5. Why and how did Larry Clark shoot Tulsa?
Larry Clark first published his book ‘Tulsa’ in 1971; his
took pictures of his own life which involved drugs, sex and violence of his
life in Tulsa, Oklahoma. He was an insider kind of like a photojournalist, in
his hands photography became personal as confessional as a written diary
because he was one of them not one of us he had opened up a whole new impolite
genre.
6. Try to explain the concept of ‘confessional
photography’ and ‘what is the impolite genre’?
Confessional photography is about the truth of real life and
the misunderstandings of the world, intimate scenes that people ignore and don’t
want to know about. Whereas impolite genre relates to photographs that are
rude, descriptive and exposing that not everyone feels comfortable looking at
as well as taking a photograph in that light and in that certain way. That is
often disturbing and shocking at times.
7. What will Araki not photograph, and why?
Araki is a promiscuous photographer snapping everything
around him, exploiting intimate detailed pictures of his daily life. Araki
shoots photography to remember things as it helps you remember, he has come to
use photography only to photograph things he wants to remember.
8. What is the
premise of Postmodernism?
The premise of postmodernism is that we now live in a
culture so saturated with media imagery and media models of how people live that
our initial idea of how one lives one’s life and who one is, is made up of that
kind of media myth. In a sense it contradicts the idea of portraiture because
the idea that you can dress up and go to a studio and somehow reveal your
strength of character or your inherent humanity when that’s not the case. As we
don’t have an inherent humanity in the post- modernist analysis of things as we
are all these composites of a lot of myths or in other words narratives that
are written by other people.