“Move on objects with your eye straight on, to the left, around to the right. Watch them grow large as you approach, group and regroup themselves as you shift your position. Relationships gradually emerge and sometimes assume themselves with finality. And that’s your picture.” Aaron Siskind
Aaron Siskind
Rome 55
Gelatin silver print
1963
Aaron Siskind
Chicago 25
Gelatin silver print
1957
Aaron Siskind
Chicago 206
Gelatin silver print
1953
Aaron Siskind
Untitled (wall graffiti)
Gelatin silver print
1955
Aaron Siskind
Gloucester 1
Gelatin silver print
1944
Aaron Siskind
Uvuapan, Mexico
Gelatin silver print
1955
In his essay “Aesthetics and Judaism, Art and Revelation,” Zachary Braiterman notes that, “From Plato’s cave to Freud’s interpretation of dreams, the verbal conventions provided by narrative and theory are required to create, identify, and make sense of visual images.” In other words, when we see a picture we first try to figure out what’s going on, and then try to decipher what it means. The Abstract Expressionist painters of mid-century caused such a hubbub because their works defied this way of seeing. The same was true of photographer Aaron Siskind (1903-91), a contemporary and friend of many of the Abstract Expressionists. [Extract : ‘The New York Sun’ : William Meyers : 5th June 2008]
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