Art21 viewings 2

Looking back at the work of Sally Mann, I am struck by her determination in her medium, at least concerning her photography.  I was reminded of Robert Frank's work, in how the "mess-ups" and scars on the photographs are not at all hidden, and truly seem to be on purpose a lot of the time, seeming to add grit and/or some type of authenticity to the photographs.  But Frank did actually have limited resources, at least more so than Sally Mann, whose work is featured in the Smithsonian among others.  But she chooses to shoot in black and white, and not just in black and white, but with a camera modeled after those used in the 1800's, using her hand for a shutter.  At first it would seem as if these choices are just creating unnecessary difficulties and obstacles.  On the one hand though, it probably makes it that much more rewarding when the result a beautiful picture.  And on the other, even if the specific individual scratches and light blots aren't purposefully placed, it definitely seems the methods taken in order to develop the film to appear that way is on purpose.  And the ghostly, ethereal images that are produced are really beautiful. 

I find Mel Chin's work to really inspiring, in the way he intelligently assimilates so many disparate disciplines, as in the case of KNOWMAD.  In doing so, he stretches the notion of what an artist actually is, what an artist makes or does.  I think that even if his "works of art" can't or wouldn't normally be considered as works of art, that there is something very artistic in the very act of asking these questions, of stretching those bounds.  If art is about taking the viewer away, of forcing them to look at something in a new way, then he is doing this.  Not only in his projects, which seem to me to be directed at making the world a better place by bringing attention and aid and art to hurting corners.  And this is to be highly admired whether or not it is art.

I have been out West once before, but when I go again, I will go to the Roden Crater, built by James Turrel.  His work with light is really fascinating to me, like the corridor of light, called "The Light Inside", where the block's of light appear to be solid, but are not.  And of course, the crater, a visionary work, to be able to turn such an empty place, to build a place where light, natural light can be so viewed.  Light itself is such a beautiful phenomenon, and to be able to create such interesting ways to look at it, that in turn allow us to look inwards, and upwards, is inspiring. 

I feel like I can probably relate most closely with Gabriel Orozco, out of this group of artists that we learned about.  I identify with and admire the way he uses any and all mediums not only to give answers, to tell messages, but to ask the questions, so many questions.  Like Mel Chin, sometimes I think that it is in asking the questions that the true art, the true human experience comes through.  I can relate to this exploration and asking because that is where I am right now in life.  Sometimes I feel like I'm not even sure what the question is I'm asking, that I'm trying to answer.  Perhaps by making these works, by exploring these questions through such a cathartic process, one may hope to register the actual questions being asked, and may hope to find the answers.