Modes of Photographic Vision
February 8th to March 18th
UC Blue Ash College Art Gallery
The medium of photography has made the journey from its origin as a simple mimetic recording device, temporarily unseating traditional painting as a way to represent the objective reality of our world, to the fractured mosaic of practices and approaches that comprise contemporary photography as an art form and communications tool: formal, illustrative, metaphoric, conceptual, emotional, reportage, and so forth.
Consistent in this array of approaches is the development and application of some mode of photographic vision. Photographic vision can be defined as successfully finding your way through the morass of technical attributes surrounding the machine interface of the camera (or scanner). It is also overcoming the mental and sensory indolence derived from the utter ease of basic execution provided by modern micro-processor driven cameras.
Finally, photographic vision is avoiding the stultifying effects of medium-specific and general fine art traditions.
Photographic vision is, in the end, arriving at a highly personal and idiosyncratic manner of eluding and manipulating these pervasive features of the medium; features that function as constraints on the photographer/artist. What is evident in photographs that exhibit such photographic vision is the subjective intent and irrepressible impulses of the photographer to see mundane reality in a totally new perspective. The artists included in this group exhibition, despite the wide variety of techniques, styles, and processes seen in their work, all are drawn to a distinctly photographic mode of seeing and responding to the world.
William Knipscher’s mode of vision intertwines the photographic vocabulary of light and visual texture with that of physical manipulation and concrete texture to create a unique conceptual space within which the photographic vision is constructed on multiple, simultaneous levels. The resulting imagery emerges from a world far removed from objective reality while depicting it with photographic precision and presence.
By H. Michael Sanders
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