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Re: alternative processes.
Hi Linda (and the rest of the alt list)
I've been collecting messages for a while now tho' not contributing much
(mostly for lack of time) but anyway one response to your question about the
resurgence of "alternative processes" might be found in the october issue of
the french photo journal "pour 'Voir'", in an article written by Dominique
Sagot-Duvaroux.
His article is about the market for photo prints - collecters, gallerys and
the like. I think it's best read in the original, but the sense of his text
is as follows:
1. There are two ways of selling something (two dominant models).
- either industrially on a grand scale, or
- on a small scale, volontarily limiting the offer so as to sell it only to
a limited number of persons (small demand but high prices). Which he calls
the "artistic model".
2. The only way painting was able to survive after the discovery of
photography was by adopting the second model, while photography largely
adopted the first (in the sense of conveying information).
3. The photographic pictorialist movement was in part a similar reaction: As
the supremacy of the early photo studios was litlle by little lost to Kodak
and other "popular" methods, they were forced to adopt the fine-art model:
limited production, high technical quality, and "liberation" from the market
economy. The key words were (are?) authenticity, originality, and unicity.
The article is quite a bit longer, and not as critical of the "fine-art"
aspect as these lines would suggest. Although he doesn't mention "alt-photo"
processes, it seems pretty clear where they fit in.
But the other aspect of the resurgence, speaking from more personal
experience, is certainly the importance that college and grad photo courses
have taken over the past 20 years in the USA, and their relatively open
attitude. They have allowed a whole host of ideas to be disseminated to a
much larger population than the strict number of "alt-photo" professionals
would have allowed.
As to the visual relationship between such radically different approaches -
computer and alt-processes- (and why David can still stand up to
Goliath-Gates), try reading (in order) William Ivins "Prints and Visual
Communication" and the historical canvas in William Crawford's "Keepers of
the Light". Basically, each medium can only convey a certain kind of
information. There is therefore a place for both.
The alt-process movement is stronger in the US than in europe in general for
the above mentioned reason concerning education, and also because of the
amazing prices one has to pay here (at least in France) to begin to have the
necessary materials.
Well, hope that gives you some ideas.
And if anyone is interested (a nice journal, good photos - no , I don't
work for them)
pour "Voir"
29, rue des Trois-Bornes
75011 Paris
tel. (33) 1 53 36 14 01
fax (33) 1 53 36 14 00
pour.voir@wanadoo.fr
Cheers,
Anthony Jahn
----- Original Message -----
From: Bussey, Linda <L.Bussey@shu.ac.uk>
To: 'the list' <alt-photo-process-l@usask.ca>
Sent: Thursday, October 26, 2000 6:22 PM
Subject: alternative processes.
> A big hello to everybody out there on the list.
> Wondered if there was anybody out there who can spare a bit of time. I'm a
part time student studying BA Fine Art and for my final year
> dissertation I'm doing research into alt processes. What I'm trying to
find out is why there has been a resurgence of interest in these
> processes. As digital imaging, the computer et al is being hailed as the
future of photography why are some photographers/artists choosing
> to go back to the roots of photography and in a sense rediscover
historical processes? Just what is about alt processes that fires you up
> (the mixing of chemicals, appealing to the mad scientist in us all, the
hands on, coating the paper, the way image and substrate become one
> , artistic input, whatever.) I've only just begun to experiment with the
processes myself and do feel there is something about them. I just
> need to hear from more of you to get a balanced feedback.
> One interesting discovery I have found is that the atl process movement
or Post-Factory as Judy Seigel's excellent mag calls it) is
> stronger in America than the UK. I wonder why?
> I was disappointed to hear that the Photo-Historica conference due to have
taken place in Bath England this Oct was cancelled due to low
> numbers. This kind of shattered my research so far and made me question
whether or not there is actually a resurgence , in the UK at any
> rate.
> My apologies to anyone on the list who has already provided me with
feedback on this topic.
> Look forward to hearing from anybody on this.
> Thanks in advance
> Linda Bussey
> (In wet and windy Sheffield UK)