|Dates: ||1960, 3 September - |
|Born: ||US, NY, Brooklyn|
|Active: ||US / The Netherlands|
Simply understood, photographs are referents to the world, visual signs that point to the things they refer to. Photographs describe the surface of things and present them in an innately recognizable form. But there also seems to be another more compelling aspect to the way a photograph works its way into our minds, something about the way in which we develop a relationship to the thing portrayed both though the making of the image and the context through which the image is seen.
Ultimately, photographic images are never merely just signs pointing to the world. As creations, as a focus of mind, they are the projection of our thoughts. The photograph is the reification of a fluid and fragile relationship: the relationship between a photographer and the way a photographer understands their world from a specific vantage point in time and space. The resulting image mediates between the isolated individual and the community at large, commenting on it, criticizing it, defining it and potentially transforming it.
Images form a discussion about human relations, human relationships and humans in general: their preferences; their priorities and their predicament. When shared, images become a cultural focus for greater understanding in a form that is both accessible and personable as no other. Indeed, when an image is compelling we believe it has revealed something ineffable.
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