I would certainly say he's not a traditionalist, because his exhibition strategies are unique and distinctive, and have changed the way in which photographic images are read and received in art galleries. He employs a presentational practice that engages the dynamics of space, varying the size of his photographs based on the specific spatial setting of a venue. I read that an aspect of his artistic practice is to assume a curatorial role—he creates configurations with his photographs that draw formal, symbolic and ephemeral connections. I see him most as a flaneur with a camera. His still lifes, architectural photos, and erotic pictures betray the curiosity of a traveller entering unexplored territory. His image making that freely embraces a broad range of subjects from experiences of the everyday.
The hipster can be understood as a sort of modern flaneur. If Baudelaire describes the flaneur as "a person who walks the city in order to experience it," then indeed the modern hipster is strikingly similar, although perhaps more watered down and exhibitionist. Someone who truly lives in and is a citizen of the city, so to speak, does not simply stroll about for the sake of experience alone for it is his land; it is his space and he will experience it by virtue of living, not through deliberation. Like the flaneur, the hipster has an interest in art, particularly in photography. In this way, one can exhibit his alleged interest and connectedness to the city, while also showcasing his alleged passion for art toting his Canon D70 bought with his parents' trustfund money. As for Tillmans, he's probably a flaneur/hipster more than an urban zombie because he obviously pours thought into his choices and his work pays homage to earlier artists, and thus inherently carries a sort of pretentiousness, as is characteristic of the hipster.
I wonder if the hipster is what Richard Florida is describing in his recent bestselling book The Rise of the Creative Class. Florida argues that members of the new "creative economy" seek quasi-anonymity and social relationships that are weakly rather than strongly tied. "They want ample opportunity to be surrounded by strangers and exposed to different types of people. A larger network of weak social ties are more useful to individuals in finding jobs and in mobilizing money and resources than a close-knit group." By the way, Florida advises many major cities across the U.S. on issues of urban planning and development.
3 comments:
I would certainly say he's not a traditionalist, because his exhibition strategies are unique and distinctive, and have changed the way in which photographic images are read and received in art galleries. He employs a presentational practice that engages the dynamics of space, varying the size of his photographs based on the specific spatial setting of a venue. I read that an aspect of his artistic practice is to assume a curatorial role—he creates configurations with his photographs that draw formal, symbolic and ephemeral connections. I see him most as a flaneur with a camera. His still lifes, architectural photos, and erotic pictures betray the curiosity of a traveller entering unexplored territory. His image making that freely embraces a broad range of subjects from experiences of the everyday.
The hipster can be understood as a sort of modern flaneur. If Baudelaire describes the flaneur as "a person who walks the city in order to experience it," then indeed the modern hipster is strikingly similar, although perhaps more watered down and exhibitionist. Someone who truly lives in and is a citizen of the city, so to speak, does not simply stroll about for the sake of experience alone for it is his land; it is his space and he will experience it by virtue of living, not through deliberation. Like the flaneur, the hipster has an interest in art, particularly in photography. In this way, one can exhibit his alleged interest and connectedness to the city, while also showcasing his alleged passion for art toting his Canon D70 bought with his parents' trustfund money.
As for Tillmans, he's probably a flaneur/hipster more than an urban zombie because he obviously pours thought into his choices and his work pays homage to earlier artists, and thus inherently carries a sort of pretentiousness, as is characteristic of the hipster.
I wonder if the hipster is what Richard Florida is describing in his recent bestselling book The Rise of the Creative Class. Florida argues that members of the new "creative economy" seek quasi-anonymity and social relationships that are weakly rather than strongly tied. "They want ample opportunity to be surrounded by strangers and exposed to different types of people. A larger network of weak social ties are more useful to individuals in finding jobs and in mobilizing money and resources than a close-knit group." By the way, Florida advises many major cities across the U.S. on issues of urban planning and development.
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