A Quote by Aaron Scharf
How aware were photographers in the past of other visual arts? "No photographer of any distinction at all could approach his work without some awareness of what was going on in other visual media, and for that matter neither the painter nor the draughtsman could ignore photography."
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I often envy my friends who are visual artists. Visual artists have other things to work with. Other media. I envy my sculptor friends: they have hunks of matter. Marble. Wood. It's physical, which I find very appealing. What we have is nothing, is just glaringly blank.
I am a hobbyist photographer so I relate to the visual arts that way, but I'm not a painter.
I don't paint. I am a hobbyist photographer, so I relate to the visual arts that way, but I'm not a painter.
I am a hobbyist photographer so I relate to the visual arts that way, but Im not a painter.
No other creative field is as closed to those who are not white and male as is the visual arts. After I decided to be an artist, the first thing that I had to believe was that I, a black woman, could penetrate the art scene, and that, further, I could do so without sacrificing one iota of my blackness or my femaleness or my humanity.
I didn't do so well in the academic world, so I think the only way I could express myself was through visual art - anything I could get my hands on, whether it was glassblowing, sculpture, painting, or photography. I always wanted to be a painter. Or a farmer.
[My photography teacher] gave me the Mexican Day Books of Edward Weston and just blew me away with this work. The fact that you could be this fabulous visual artist, with all this milieu of people like Diego Rivera and you could sleep with these gorgeous, amazing women, that you could live that life - that photography could deliver you that life.
In the visual arts, for example, the semiological approach to graphics provides a rigorous analysis of the visual means used by the artist. It defines the basic properties and laws governing the arts and suggests objective criteria for art criticism.
A work can do many things at once, and it doesn't have to be just about the world, it could also be about photography, it could be about perception, it could be an exploration of the medium. It could be a document, it could be a visual poetry, and it could be a formal exploration all at the same time.
Not only has photography so thoroughly saturated our visual environment as to make the invention of visual images seem archaic, but it is also clear that photography is too multiple, too useful to other discourses, ever to be wholly contained within traditional definitions of art.
That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
The advice I would give to any photographer - young, old or in-between - is to explore anything visual because this is, after all, how you express your artistry. Look at paintings, movies, drawings, sculptures - look at anything visual and try to integrate that into your visual sense. After that, go out and take pictures and keep on taking pictures!
My fiction has been influenced by the visual arts, though not in obvious ways, it seems to me. I don't offer tremendous amounts of visual information in my work.
Everything is pointing to one's own activity of looking, to an awareness and sort of hyper-consciousness of visual perception. The only way I know how to invite this experience is by removing the other things (i.e., subject matter) for you to think about.
Movies are visual, aural, they involve people, and life, and ideas and art, they are so elastic. They can hold anything, withstand everything, and make you feel anything. Other arts can do that, but movies are the only ones that can incorporate other media into cinema.
As far as stimulus from the visual arts specifically, there is today in most of us a visual appetite that is hungry, that is acutely undernourished. One might go so far as to say that Protestants in particular suffer from a form of visual anorexia. It is not that there is a lack of visual stimuli, but rather a lack of wholesomeness of form and content amidst the all-pervasive sensory overload.
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