A few weeks ago I ordered some photography books. Not for the coffee table. For the eye. They are:
Not a photography book, per se, but I also purchased Clive Scott’s Street Photography, From Atget to Cartier-Bresson. I have not read it yet, but it seems a bit pedantic. Stay tuned. I also reread David Hurn and Bill Jay’s fantastic book, On Being a Photographer. Every photographer should have this on the shelf.
When the books arrived, Carole remarked, “More photography books?” She commented on how big and heavy and thick they are. I said, “If I were a poet, the books I’d study would be small and slim. But I’m a photographer, not a poet.” (I’ve heard it argued, however, that all the artistic disciplines aspire to that of poetry. That seems correct.)
The one I to talk about, because it has been the most thought (eye?) provoking of the group is the Friedlander, properly the Peter Galassi MoMa’s retrospective exhibition book, 2005. Thought provoking because I never much cared for Friedlander’s work, to put it bluntly. Now, though, like so many things in life, I think I didn’t care for it because I didn’t understand it. Not that I “get” Friedlander. At least not everything. Much of his work is Hindemith to Stravinsky, Pollock to Jasper Johns, if those references make any sense. (Ulysses to Finnegan’s Wake?) I know I don’t get the “landscape” work of the 90s. But here’s another reference that seems to make sense to me. If Cartier-Bresson is Dickens; and Robert Frank is Hemingway; then Friedlander is David Foster Wallace. If you’re not the music or literary type, what I’m trying to say is that Friedlander is an evolution of the discipline in a post-modern sense.
They say that there is nothing extraneous in a Friedlander photograph, which is saying a lot. His most successful work is thick and complex, and not easy. That is largely the late(r) stuff. It’s not as witty, and strikes me as more earnest. But what is to be said about anyone’s work over thirty or forty years? Just the consistency is inspiring. What I started by saying, that there is nothing extraneous in his photographs, is startling to me–and freeing somehow. It’s as if the (apparent) randomness, at first glance, is to the contrary, order. What a way to look at life! Is that art? I think so.