Word: snapshots
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Dates: during 1970-1979
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...18th century Southern mansions, peeling posters, signs. His photographs are either very frontal--showing, with seeming naivete, an object or building in its surroundings--or they are shot from what appears to be a random, arbitrary view, as one would happen upon something while walking down a street. This "snapshot" approach has become the vogue in recent years with such photographers as Bill Eggleston, Lee Friedlander, Diane Arbus, and, to some extent, Robert Frank, and these last three are, indeed, the photographers Evans named as his favorite young photographers. In his humble, gentlemanly manner--he even asked the audience...
...them. On one hand, they seem absolutely dumb in conception. Their composition is so casual-seeming that it is as if their frames enclose not a work of art, but a transparent "peephole" to the physical event that Rosenblum recorded. They are almost like the leaves of a family snapshot album, so direct is the affair they seem to engender between the viewer and the viewed...
...MOST OF the photographers in The Snapshot, time is fleeting and each image is an instantaneous moment within it. Gary Winogrand is a master of capturing the telling moment when human interaction is at its most explicit. Sometimes the result is too neat--one photograph is made by the simple gimmick of two men frozen in the similar act of pointing at the same unseen object. Others strike to the heart of interrelationships. One features the taut confrontation of mother and son on a city street. The kid's whining defiance and his mother's tired implorings cry out from...
...snapshot photographer's greatest fault is that in his obsession with the ordinary and commonplace, he often forgets that he must not only portray, but also reveal. To have impact, the photographer must reveal truths about everyday life that we don't normally recognize. Without such revelation, the images are flat, dull and lifeless. Bill Zulpo-Dane's photo-postcards are faithful portrayals of places he has visited, but as photographs, they are excruciatingly dull...
...snapshot's dominance of modern photography is probably near an end. Its confused reflection of a confused world was and is effective, but as the world changes, so must its art. In their very essence snapshots are temporary, only flashes of civilization, which feels constantly undermined by the rapidity of change. Still, certain commitments never change. Photographers will always share Emmet Gowin's commitment to visual truth: "For me, problem is always to find the shape of the gesture, the feeling of space, a light, which holds again a sense of touching reality...