A brief comment about DiCorcia

It is not easy to make a brief summary of such an interesting photographer and with such a broad experience as this American author, who practices a photo style quite different from Crewdson and Wall styles.

Jeff Wall: Pictures Like Poems

Jeff Wall describes himself as an observant, understanding that as the ability of identify situations that have a potential value as subject matters for his photography. And as we see below, such capacity of observance is not applicable to the visual realm, but it touches some other situations, as reading, listening to music, walking, etc.. In an interview for the Louisiana Channel he admits that “this is his basic feature as a photographer”.

Gregory Crewdson: The Aesthetic Question

There is something unreal and disturbing in Gregory Crewdson pictures; unreal because the theatrically composition of the scenes are undoubtful, and disturbing because the characters featured in the picture always seem to be overwhelmed by doubts and regrets.

Setting the scene: Goodfellas

 

In this first exercise of the part five I have to comment a film sequence from the movie Goodfellas (1990) made in a long take or steadycam shot while a couple, Henry and  Karen, is entering  in the Copacabana Club through the back door.

Deconstructing the White Fence

As an addendum of my fourth assignment, I would like to include a small tribute to Paul Strand’s photography with a picture that can be a corollary of my interpretation. Deconstructing a picture means to reduce it to its essential elements, detaching each one from the picture and reconnecting them in a new composition after a process of personal reinterpretation.

Assignment Four: Formative Feedback

Overall Comments

This is a good start for Level 1 Blas and you’ve done well with your written English. I’ve picked up on a couple of ideas from your own evaluation that might be worth thinking about.

Assignment four: Reading the White Fence

When I reflected about the Paul Strand’s picture “The White Fence” a year ago, I didn’t pay attention to anything more than formal details of the photograph, and although then I established some interesting conclusions such the ability of Paul Strand to confront subjects within the scene in a sort of photographic dialectic, the lack of contextual references restricted the analysis to the surface level of the picture.