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Stephen Gill: "Music Shots" and "Birds" (with interview)

Anonymous Tue 16 Apr 2019 04:00:22 No.3465105 View View Reply Original Report

Quoted By:

Hi everyone,

Today I'm sharing a couple of series by photographer Stephen Gill. These works are mostly "street photography", though he has done different kinds of works in his career. I'll also be including two interviews.

"The Dark Side of the Moon - Pink Floyd"

Anonymous

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Anonymous Tue 16 Apr 2019 04:02:30 No.3465106 Report

Quoted By: >>3465220 >>3465253

"It’s hard to find a photographer quite so synonymous with London as Stephen Gill. Now, after over a decade of working in the heart of the East End and producing some of the era’s most iconic projects, the creator of Hackney Wick has decided to relocate to Sweden. During a quick six-day trip back to London, Gill invited us into his studio-cum-archive to talk about his practice, his books and what he plans to do in Scandinavia."

>How long have you been in this studio space?

SG: I’ve been in this studio for three years or so. Prior to that I was a mile down the road in a place called the Greenheath Centre on Three Colts Lane, which, like many of those big buildings, ended up getting converted into liveable space. So unfortunately I left there because they were converting it into residential spaces, but it was an incredible nine years there. I made so much work in this tiny little space.

"Paranoid Android - Radiohead"

Anonymous

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Anonymous Tue 16 Apr 2019 04:04:34 No.3465109 Report

Quoted By:

>Was it much smaller than this?

SG: Much smaller, though just as dense. Because it was an active studio, where this is more like an archive now, there was a much more alive feeling to it which I loved. Also it was a time when I didn’t have a family and had less obligations in that sense, so I was just there, all the time, to the point where I ended up sleeping there even if there’s no kitchen, but I just washed in the swimming pool. But I did that for years; even now looking back, when I think of that building, I tend to think of the work I made whilst being there and the work that passes through these tiny little spaces really.

"Rough Riders Anthem - DMX"

Anonymous

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Anonymous Tue 16 Apr 2019 04:06:51 No.3465111 Report

Quoted By: >>3465112

>How important has having a studio been to making your work?

SG: I remember firstly having the studio in 3 Colts Lane and of course it’s wonderful because this is a place where you make work, you think, you go there on a daily basis. Even on days when I didn’t make work I went there just to think. I like that there’s a separate space to process and think. But there was a time, in the early days of having a studio, when I thought to myself that when I was in it, it was a bad sign because I would much rather be outside making work where a lot of my early work was made. Only more recently has my work been a mix of studio-bound and walking and cycling. I suppose for ten years so much of my work was made by leaving the studio. It was just going into the studio, early mornings, maybe answering some emails and then by sort of 6.30 a.m. I’d leave again to make work and not check emails or take telephone calls. I try to keep the two things very separate.

Anonymous

Anonymous Tue 16 Apr 2019 04:07:57 No.3465112 Report

Quoted By:

>>3465111
"Pitch Shifter"

Anonymous

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Anonymous Tue 16 Apr 2019 04:10:50 No.3465115 Report

Quoted By:

>How much time of your time is split between your studio and going out to make work?

SG: Earlier on the percentage was definitely 90 per cent out making work, 10 per cent in the studio. The process of making work is very important to me and I try to spend as little time as possible sitting at a computer. I strive for that because I feel there’s a danger that you get in a situation where you make work and then, sadly, the more work and books you end up making, these things trail behind you for ever it seems, so that’s something I’m beginning to learn to try and grapple with. You know, you could make a series in 1999 or a book in 2004 but you still get emails today because people are always seeing things for the first time, so for you, your head isn’t there anymore and you’re not even that person anymore, but at the same time it’s still trickling behind you. I think that is a bit of an anchor sometimes and I’m always tempted to completely cut it. There are times when I do get worried and that’s something I never thought about when I first started making work; you leave this trail of stuff behind and it’s always just these few steps behind you.

"Talk Radio"

Anonymous

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Anonymous Tue 16 Apr 2019 04:14:56 No.3465116 Report

Quoted By:

>If you hadn’t had other people here working with you, do you think you would have been able to go on with it?

SG: The help was absolutely vital. It was key really as this kind of thing will just force you into an admin position. I do know friends who are photographers who don’t even have time to make work anymore because they’re so busy writing emails about their practice and sending images to people that in itself can derail you.

"Hebrew Slave Song - Verdi"

Anonymous

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Anonymous Tue 16 Apr 2019 04:20:13 No.3465117 Report

Quoted By:

>I guess that becomes more and more of a problem as you go on.

SG: It is, yes, and you can end up offending a lot of people. I try to do as many visiting lectures and interviews as possible, but very often in order to protect my practice, I have to say no, and therefore I end up almost upsetting people. It’s a little bit of a fine line and there’s no wrong or right way. If I have time and energy of course I will try to do things. I think much of my momentum and discipline and pressure upon myself was purely internal because I love making work and purely making it for myself. But more recently I’ve not just had the internal pressures but also external pressures of requests, so sometimes it’s a little bit too much.

"How did you learn to kiss that way - Field Mice"

...And unfortunately I got the title of the series wrong... it's "Audio Portraits"

Anonymous

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Anonymous Tue 16 Apr 2019 04:24:11 No.3465118 Report

Quoted By:

>You said it used to be spent 90 per cent out making work, 10 per cent in the studio. Has that changed now that your practice has shifted a bit? I think of projects like Coexistence and Talking to Ants; I guess they are more studio-based projects compared to your work before.

That’s a really good point. I think that Hackney Flowers was probably a balance between the two because I was on my bicycle making pictures, sourcing pictures, but the great thing about that is that even in the studio, it was lots of this manual intervention and digital processes, so it was still working with my hands and I’ve tried to latch onto that with quite a tight grip. Even with Coexistence it was knitting together work that I was doing outside with different types of cameras and taking water samples with buckets of water, but it was a strange multi-layered series. Much of it, what I call ‘base pictures’ that were C-types, were almost starting points, and then I would rephotograph those a second time with some little manual interventions or the pond water itself; I would take back those very pieces of paper and reimmerse them and rephotograph them, so some of those pictures were sort of three or four generations in. So you’re right, I was kind of dancing between the studio and the geographical parameters of the subject.

"Bad - Michael Jackson"

Anonymous

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Anonymous Tue 16 Apr 2019 04:30:36 No.3465120 Report

Quoted By:

>That leads on to a question that I was sort of going to save for later but it seems right to ask it now. Why is it so important to you that you touch everything that you make? Is it because it’s so personal?

SG: I can’t pinpoint it to anything. I really enjoy the tangible process of making something. Often it’s also not just the feeling of touch, I think it’s that it’s the touch linked to something – almost a frame of mind, kind of tuning or diving in. Sometimes I see it as almost a visual extraction where you’re not just using a camera to describe; it’s almost this extraction of what a place feels like and therefore I think the hands probably play a big part in that because you’re aiding the subject and that might mean the burying or collecting or the sourcing of objects. It’s an interesting observation, I haven’t really thought about that before.

"Boyzone"

Anonymous

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Anonymous Tue 16 Apr 2019 04:36:35 No.3465121 Report

Quoted By: >>3465142

>I was looking through your work and thinking that what you’ve made most recently is sort of these collections and gatherings of things, like your Off Ground project where you went around and picked up the bricks from the London riots, bringing them back then into the studio. Even though those images were so simple they had gone through such a history of extraction and touch.

SG: Maybe part of it is just aiding the chosen subject. In the case of those bricks, you’re sort of helping them speak for themselves but in order to do so I’ve pulled them out of where they were found. I like this idea of, as the author, taking steps backwards to allow the subject to takes step forwards. I really like this thought, partly because photography is so much about control, and I like these slippages of control and a conscious stepping back. It’s strange that something does happen, and I think even in the case of the series Talking to Ants, where I’m adding things to the camera, even though there’s a distortion or lack of information, even a lack of clarity, there is something that manages to get through that filter that I’ve put in the way. For some reason it feels closer to what often a very straight, descriptive picture can emit. I just find it amazing that certain things can creep through when you deny information or clarity or sharpness. It’s weird what does manage to get through and sometimes it’s more than ample.

"Love Me Tender - Elvis Presley"

Anonymous

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Anonymous Tue 16 Apr 2019 04:42:13 No.3465123 Report

Quoted By:

Now, from "Birds", continuing the interview.

>I get that. It makes me think of one of the images in the Talking to Ants series; there’s a gravestone with an angel on it that’s just out of focus, as if you’d taken a step back from focusing the camera. The feelings slipping through are so much more intense than it would have been had the image been, like you say, descriptive.

SG: I think that’s true, because you’re not distracted with detail. I think I started to learn this in 2001 to 2005 when I was working on the Hackney Wick series. It was then that I became so excited by this lack of information in a time when we were bombarded with information and clarity. Pictures were packed and I always thought we were amplifying and enhancing, but I like the idea of thinking, ‘Is it possible to deny information, but then retain a kind of weight?’ When I made the Coming Up For Air series I was very much in that frame of mind. I was deliberately overexposing and making pictures almost like you’re squinting. So I think that was a language that I was really trying to tap into and I felt that was very relevant for some reason.

"The Carrion Crow"

Anonymous

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Anonymous Tue 16 Apr 2019 04:54:22 No.3465126 Report

Quoted By:

>Do you think that was a way of going against what contemporary photography was doing at the time?

SG: In a way it was. With photography you’re often trying to describe the times we live in with such high clarity. I suppose I didn’t try to describe so much as try to have the subject creep through. A lot of those works were the first time I’d actually tried making photographic responses to the times we live in as opposed to photographic descriptions. I really think that was the big shift for me. My earlier works like the billboard series and these sort of comparative studies were very descriptive and detached, and the new work was more of a really strong reaction to the times we lived in, but didn’t necessarily pinpoint one thing. For instance, with the Coming Up For Air series, the pictures were actually made in Japan but I would say that that is absolutely not a body of work about Japan. If anything it’s a response to my life in London at that time and more of a reaction to the chaos and muting feeling of being in London, kind of like when you swim and your head is under the water.

"The Heron"

Anonymous

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Anonymous Tue 16 Apr 2019 05:00:01 No.3465130 Report

Quoted By:

>Do you think being surrounded by such an expansive archive has given birth to projects in and of itself? Your book B Sides immediately springs to mind.

SG: Not really. It’s strange, because I’m one of those people that, as much as I like to protect the work I’ve done and archive and number it and so on, I’m also not very good at looking backwards. When I get older I probably will start opening these boxes again, but I rarely do. B Sides, weirdly, was a book that was a companion to Coming Up For Air, but in a way I look at it as one of those strange bodies of work that almost made and assembled itself. These are pictures I just didn’t want to let go of. They made so much sense to me but for some reason jarred or just didn’t allow themselves to go into the Coming Up For Air book, so they were all sort of cast aside. Looking at them as a group it just made sense, and in the future I didn’t want to make a new edition of Coming Up For Air with some new added pictures, revised and updated. I absolutely wanted to stand by these pictures now and didn’t see them as some sort of afterthought. In some way I almost prefer B Sides because it feels a lot more relaxed than Coming Up For Air, which had so much effort put into its edit and is much more complex, but B Sides sort of assembled itself and I think you can feel that in a way.

"The Kestrel"

Anonymous

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Anonymous Tue 16 Apr 2019 05:03:15 No.3465132 Report

Quoted By:

>I can understand that. I think, like in music, an album of B sides that didn’t quite make the cut, makes just as much sense as the finished album.

SG: Maybe it’s that suffocating of the things we love and knowing when to stop. I think you can kill a series of pictures if you keep chipping away. I’m very aware of that when I’m editing pictures. I have these sort of set rules: firstly, I never edit on a computer screen, I always work with hand prints. I always have piles of edit A, edit B, edit C, and they sort of dance between each other. I work that way when sequencing and I look at them and live with them. I may come into the studio one morning and just remove a picture and suddenly you feel the series go up a notch. But then I’m aware that you can look at things too much and you can kill them, like listening to your favourite record too much or eating your favourite food. We can absolutely kill the things we love by too much exposure to them.

"The Starling"

Anonymous

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Anonymous Tue 16 Apr 2019 05:07:50 No.3465136 Report

Quoted By:

>I want to talk briefly about your books. I guess that main thing I want to ask is, why are your books published by Nobody?

SG: In 2005 I decided I wanted to publish a book of photographs called Invisible, which was a book of mostly service men and women in fluorescent clothing, based on this idea that it was originally designed to make people more visible but, in my mind, had the opposite effect. I really wanted to assemble and make the book myself, and was definitely going to do that. Someone asked me, ‘Who have you got lined up to publish it?’ and then the name ‘Nobody’ was born out of probably replying ,‘Nobody’, and it became a sort of joke. Then I just kept it. It’s a little bit silly, but it’s just stayed for nearly ten years now.

"The Town Pigeon"

Anonymous

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Anonymous Tue 16 Apr 2019 05:11:24 No.3465138 Report

Quoted By:

Since the interview isn't over, I'll be posting from another series, "Billboards" (mentioned in the interview).

>I think it’s quite interesting that now with photo books, you have people buying them solely because it’s the next book by whatever publisher, and not looking or even caring who the photographer is. So with Nobody, it’s almost the opposite as it’s nobody publishing it. Do you think the publisher’s name now carries as much, if not more weight, than the work itself?

SG: I don’t really know if that’s where it’s at, but I have felt in the past few years this hype where someone at the top of the cultural pyramid says, ‘This is a great book,’ and then everyone rushes out and gets it, but I don’t know if people even look at it to decide whether or not it’s great for themselves. I don’t think people decide so much for themselves anymore, which makes me a bit sad. I think we’re being told what’s good, rather than deciding what’s good.

"Your money should work harder, not you. Make more of your money."

Anonymous

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Anonymous Tue 16 Apr 2019 05:16:21 No.3465140 Report

Quoted By:

>I know you’re an avid book collector yourself. Do you have any favourites?

SG: It’s incredibly hard to pick. Most of them are now over in Sweden so I haven’t got them to look at. I’d definitely say Michael Schmidt’s Waffenruhe, Fukase’s Ravens as well. Most of the ones I’m thinking of are black and white weirdly.

"Corsett £14.99 - H&M."

Anonymous

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Anonymous Tue 16 Apr 2019 05:18:33 No.3465141 Report

Quoted By:

>What brought about your decision to move to Sweden?

SG: It was various things really. Firstly, my partner is Swedish and our kids are half Swedish, so Sweden has always been there. Secondly, the kind of London squeeze. It’s difficult to be a non-commercial practitioner of any cultural type and to stay afloat. So it’s a protection of the work in a way, a protection of my health as well. I had a bit of a burnout last year and was in bad shape after this 20-year run of seven days a week, obsessive behavior, so it was a bit of a wake-up call really. Sweden ticked a few boxes really, and I’m also really excited about the change. I never imaged I would do something like that, especially because I love London so I feel slightly like I’m turning my back on this place. But we’ll see where Sweden takes me and where it carries my work.

"Welcome to Marlboro Country. Smoking when pregnant harms your baby."

Anonymous

Anonymous Tue 16 Apr 2019 05:20:51 No.3465142 Report

Quoted By: >>3465146

The concept behind the Music Shots one is interesting but the photos themselves are uninteresting beyond the subject.
The Birds shit seems like a slightly clever way to pawn off shitty still lifes as an artistic concept

>>3465121
this seems to be the only photo with any real impact

Anonymous

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Anonymous Tue 16 Apr 2019 05:22:39 No.3465143 Report

Quoted By: >>3465244

>Do you plan on making work there now then, or do you plan on coming back to London to make work?

SG: I don’t plan on coming back to make work. I’m sure I will feel compelled to from time to time, and there’s still things bubbling away in my head that I would love to do here and haven’t executed. That said, I feel quite excited and inspired in Sweden, but God knows how it’s going to carry the work. It’s like starting from zero really, slamming on the brakes.

"Inland Revenue."

Anonymous

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Anonymous Tue 16 Apr 2019 05:27:37 No.3465144 Report

Quoted By: >>3465244

The interview is over, so I'll just post the images I have left.

"L'Oreal Paris. Because you're worth it."

Anonymous

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Anonymous Tue 16 Apr 2019 05:35:43 No.3465146 Report

Quoted By: >>3465151 >>3465373

>>3465142
I disagree. I think the Birds series emphasizes something about the Bird (note that the images are titled after one specific bird which is in the image) and its place in a man-made landscape. Whether this is his actual intention, I'm not sure, but based on the interviews I can see that he does put thought behind his work.

"Free texts when you join Orange. Pay as you go."

Anonymous

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Anonymous Tue 16 Apr 2019 05:40:48 No.3465149 Report

Quoted By:

"Gordons Gin cut with lime - New Gordon's Edge."

Okay, that's the last one!

Anonymous

Anonymous Tue 16 Apr 2019 05:49:54 No.3465150 Report

Quoted By: >>3465219

Yet another thread with a “great” photographer only considered great by post-modernists and their appreciation for the decline of aesthetics in all arts.

Literally a bunch of snapshits. They leave nothing in terms of appreciation and will be forgotten instantly. Please hold yourself to a higher standard than this.

Anonymous

Anonymous Tue 16 Apr 2019 05:50:19 No.3465151 Report

Quoted By: >>3465155

>>3465146
Creating a narrative for your photos is a crutch, the photos need to speak on their own. Actually photo series's as a whole are a crutch. If your photos are so mundane and uninteresting that you have to come up with a gimmick that strings them all together you probably need to be harsher on your own work.

Anonymous

Anonymous Tue 16 Apr 2019 06:10:45 No.3465155 Report

Quoted By: >>3465161 >>3465373

>>3465151
Eh. I see what you mean, but not all photographers are after stand-alone images, and not all photographers need to be. That's just the way you think it should be, but nothing's so absolute. Photo series definitely offer things that stand-alone photos do not and cannot. Some series are actually made of images which are very "powerful" on their own, such as "Human Nature" by Lucas Foglia.

Christian Patterson's book "Redheaded Peckerwood" (where he revisited an unsolved criminal case and constructed an open-ended narrative or exploration of the case with his own photographs, his own graphics, found photographs, and found objects), to me was very powerful yet in my opinion many of the images standing alone are not particularly special. It's their context in the series that gives them weight.

Beate Guetschow is someone who makes series around multiple images which also stand well on their own but don't play into a particular narrative (as far as I know). They're individual "photographs" created by taking pictures of individual objects in nature (e.g. trees) from hundreds of different angles, and combining them in with computer software to create artificial landscapes that seem real but are not. Each series is clearly distinguishable by a particular aesthetic.

So there are different approaches to the series approach which I think undermine your notion that a series is a gimmick. While Stephen Gill's photographs may not be particular profound to you (or even me), they're still works of artistic expression that are miles or years ahead of what the majority of "photographers" are making these days.

Anonymous

Anonymous Tue 16 Apr 2019 06:39:58 No.3465161 Report

Quoted By: >>3465221

>>3465155
Look at all the words you used to justify objectively boring photos being some sort of profound artistic work.
The photos suck, I'm a photographer not a poet, why should I or anyone give a shit about what nonsense you attach to photos of birds on lamp posts.

Anonymous

Anonymous Tue 16 Apr 2019 11:22:00 No.3465219 Report

Quoted By:

>>3465150
I agree. It's amazing how empty so many of these photos are.

Anonymous

Anonymous Tue 16 Apr 2019 11:43:54 No.3465220 Report

Quoted By:

>hard to find a photographer quite so synonymous with London as Stephen Gill >>3465106

While there is an incredibly particular melancholy to (East) London estates, that is not all London is. Also, to my measurements he doesn't even do a particularly good job at capturing that melancholy.

Despondent looks on the faces of working class Londoners/civil servants/homeless people/teenage scenesters on the backdrop of the concrete of British brutalism is interesting as a form of documentation/archiving, but he does very little to communicate that East London melancholy to someone who isn't already familiar with it.

The content of the scenes, the composition (or lack of), all do very little to create a language whose syntax is comprehensible to a non-Londoner. Not shitting on his work, it has documentary value, I just feel that he's hyped by London hipsters who already have a feel for that melancholy, but neither them, or Gill's work can articulate it clearly, so it becomes mere porn for East London hipsters.

Anonymous

Anonymous Tue 16 Apr 2019 11:43:56 No.3465221 Report

Quoted By: >>3465239 >>3465244

>>3465161
That's a bullshit purist view you have there.

Anonymous

Anonymous Tue 16 Apr 2019 13:07:53 No.3465239 Report

Quoted By: >>3465264

>>3465221
Literally everyone in this post is shitting on this dudes portfolio in one way or another.
Maybe this guy doesn't deserve the artistic merit you try to impose on him.

Also I'm fairly certain you're actually the artist in question and just trying to get your e-peen sucked off by posting yourself anonymously on the internet.

Anonymous

Anonymous Tue 16 Apr 2019 13:30:18 No.3465244 Report

Quoted By: >>3465250 >>3465264

>>3465221
You chose a strange place to self promote.

This is a nice frame, but the work itself lacks either craft or sincerity.

Presentation isn't everything.

It get the stern esthetic, getting a subject that could be overemphasized as is in the spirit of time, deliberately neglecting to do so. That's good.

But maybe in the haste to sell your work, you're lacking real implication?

The billboard series is all right, these two in particular I feel can stand on their own.
>>3465144
>>3465143
Maybe because the pictorialist vibe contrasts with the subject.

You're right, it's still ahead of what you can find on p, because there's at least some coherence, nice editing, concept.
But you can't justify everything by going 'body of work'.
Most of these are low effort, uninspired and insincere.

Anonymous

Anonymous Tue 16 Apr 2019 13:52:56 No.3465250 Report

Quoted By: >>3465255

>>3465244
>You're right, it's still ahead of what you can find on p, because there's at least some coherence, nice editing, concept

You clearly haven't seen Alex's latest thread: >>3463796

Anonymous

Anonymous Tue 16 Apr 2019 13:55:03 No.3465253 Report

Quoted By: >>3465256

>>3465106
>>3465106
>"It’s hard to find a photographer quite so synonymous with London as Stephen Gill. Now, after over a decade of working in the heart of the East End and producing some of the era’s most iconic projects, the creator of Hackney Wick has decided to relocate to Sweden. During a quick six-day trip back to London, Gill invited us into his studio-cum-archive to talk about his practice, his books and what he plans to do in Scandinavia."

This sounds way, way too much like a sales pitch. It's a massive turnoff. Don't try to decide for me what the most iconic photography is.

Anonymous

Anonymous Tue 16 Apr 2019 14:03:21 No.3465255 Report

Quoted By: >>3465258 >>3465260

>>3465250
i don't like Stephen's work
but alex work is just same old repetitive boomer newtopo inspired landscape bullshite

stephen's work is way ahead of alex's work in terms of art world scene

Anonymous

Anonymous Tue 16 Apr 2019 14:03:45 No.3465256 Report

Quoted By: >>3465258

>>3465253
But more importantly it's not true. London isn't simply the melancholia of East London estates and their despondent inhabitants. Also, he's not doing a good job of showing that very specific state in a way that is decipherable to a non-Londoner/Brit. They're snaps and they're only evocative of said melancholy to those who are already familiar with the symbolic load of those surroundings.

Anonymous

Anonymous Tue 16 Apr 2019 14:12:07 No.3465258 Report

Quoted By: >>3465263 >>3465269

>>3465255
>there is at least coherence, nice editing and concept
Alex' photos has all of those, even if you don't like them. He also basically never shoots New Topographics, that thread is all fairly new stuff for him.

>art world scene
Must be why I've never heard his name before.

>>3465256
So it's not just me then, okay. Thought I was simply not getting it and needed to art more or something.

Anonymous

Anonymous Tue 16 Apr 2019 14:16:35 No.3465260 Report

Quoted By: >>3465263

>>3465255
>but alex work is just same old repetitive boomer newtopo inspired landscape bullshite
The way you keep posting the same collection of buzzwords over and over again shows that you don't have an original thought in your head.

Also, you seem to not have the first clue what New Topographic is.

Anonymous

Anonymous Tue 16 Apr 2019 14:28:48 No.3465263 Report

Quoted By: >>3465265 >>3465308 >>3465332

>>3465258
>Alex' photos has all of those, even if you don't like them
which have been done to death already
>that thread is all fairly new stuff for him
no one cares about his understanding of art movements. its maybe new for him the concept is decades old.
>Must be why I've never heard his name before.
if you don't know about some person that means he is not good?
also go on his wiki page. he have done a lot of exhibitions

>>3465260
>The way you keep posting the same collection of buzzwords over and over again shows that you don't have an original thought in your head.
complaining about vulgar "buzzwords" on an anime forum is one of the most ironic things
>Also, you seem to not have the first clue what New Topographic is.
lmao okay maybe my gay. but how do you implied that?

Anonymous

Anonymous Tue 16 Apr 2019 14:29:34 No.3465264 Report

Quoted By: >>3465269 >>3465275

>>3465239
>>3465244
That's not me though. And I am not the anon that is defending it in the thread. I am not referring to this Stephen person particularly, I just mean that saying "photographers should only take photos" implying having essays or poems or whatever else alongside of the photos is somehow not art or incorrect - that's just a bullshit opinion.

Anonymous

Anonymous Tue 16 Apr 2019 14:35:23 No.3465265 Report

Quoted By: >>3465275

>>3465263
>its been done to death
So has this HONY knockoff crap. Le ebin gritty portraits. Seriously I don't even see a valid point here.

Anonymous

Anonymous Tue 16 Apr 2019 14:41:20 No.3465269 Report

Quoted By:

>>3465258
Alex is alright. You're right I was being hyperbolic, there's some photo here. Heck even the pedo has consistency and direction (consistently terrible).

>>3465264
Agreed, but I think it's an healthy reaction to the 'framing is enough' trend.

>>3465258
op's the one who needs to art more.

Anonymous

Anonymous Tue 16 Apr 2019 14:49:28 No.3465275 Report

Quoted By: >>3465278 >>3465292 >>3465332

>>3465264
>implying having essays or poems or whatever else alongside of the photos is somehow not art or incorrect - that's just a bullshit opinion.
true

when faggots start the autistic screeching whenever they see the photos of Jeff Wall, Andreas Gursky etc get sold in millions of dollars. its the theory/philosophy behind those photographs combined with their visual value actually worth the value.
i really like the photos which stand on their own but its good to see some conceptual shots once in a while.

>>3465265
>So has this HONY knockoff crap
where the fuck i mentioned hony?
the idea was cool for a book or a exhibition. but now he is going nowhere other than appealing to same bunch of normalfaggots.
>Le ebin gritty portraits
i am not defending this guy work here.
but good documentary portraiture were and will be here.
>Seriously I don't even see a valid point here
yeah maybe i am being biased toward landscape but like the other anon said itt that photographs of Stephen will only relate to the people who live in that part of london and an outsider will feel nothing. same applies to the photos of alex but his style is very boring and safe, i hate those low contrast pink skies colors really make me want to puke.

Anonymous

Anonymous Tue 16 Apr 2019 14:59:31 No.3465278 Report

Quoted By: >>3465283

>>3465275
>get sold
Artworks are a currency, the OG bitcoins. That's why they have value. Creation and art world are very different things. Pointless discussion methinks.

>i really like the photos which stand on their own but its good to see some conceptual shots once in a while.
Implying those are mutually exclusive.

Anonymous

View Same Google ImgOps iqdb SauceNAO Jeff Wall After ‘Invisible (...).jpg, 482KiB, 1280x898

Anonymous Tue 16 Apr 2019 15:26:43 No.3465283 Report

Quoted By: >>3465298 >>3465332

>>3465278
>Artworks are a currency, the OG bitcoins
maybe.
>That's why they have value
having value does not imply the art piece is good or bad but theory and critique does.
>Creation and art world are very different things
yeah that's why Daido Moriyama, HBC, Saul Leiter, Lewis Baltz, Ren Hang etc never got published, right?
>Pointless discussion methinks.
maybe for you, I don't know.
>Implying those are mutually exclusive.
it could be. this show your lack of understanding/research of conceptual photography.

Anonymous

Anonymous Tue 16 Apr 2019 15:54:46 No.3465292 Report

Quoted By: >>3465295

>>3465275
>boring and stale
To you. Everyone has different tastes. I wish he had more contrast in some scenes, but at least unlike these "artists" he isn't insisting how much better and unique his photography is than yours. He just shoots what he wants and doesn't mind the rest.

Anonymous

Anonymous Tue 16 Apr 2019 16:16:43 No.3465295 Report

Quoted By: >>3465312 >>3465332

>>3465292
>but at least unlike these "artists" he isn't insisting how much better and unique his photography is than yours
i don't which kind of delusions your are living in those artist are not just "insisting". they are much better and unique than his work.
>He just shoots what he wants and doesn't mind the rest.
yeah just like other millions of photogs. thats why he doesn't stands out. because he has no unique voice of his own.
now that you're comparing him with past masters. they are great artists because they are much better then the rest and they don't follow the same easy paths just like everyone else. and all of them have their own unique voice/language.
if he is doing it for "himself" then its okay but his photographs/concept have very little to no artistic value.

Anonymous

Anonymous Tue 16 Apr 2019 16:24:22 No.3465298 Report

Quoted By: >>3465332

>>3465283
I obviously meant monetary value.
Theory and critique are just examining a piece in a set framework. One could argue that is hard wired into human beings, part of the biological given (and I'd probably agree). But in practice this is a framework among others.

>yeah that's why
Again, not necessarily exclusive. I'm just saying monetary value is not a consecration.

>your lack
A bit easy honestly, though I'm a complete ignoramus, for sure. Any work to recommend in that line? In practice, I find even the most conceptual works rely on a bit of craft. I'm happy to be proven wrong, though.

Anonymous

Anonymous Tue 16 Apr 2019 16:28:45 No.3465301 Report

Quoted By:

Good thread. At least it generated some discussion around something other than which Brand TM is the best even though they're pretty much all the same.

Personally don't like the selection here, I think he does a poor job even at showing the despondency of east london estates in a way that translates to everyone, BUT to be fair the article in question doesn't do him any favours hyping him up with shit like "hard to find a photographer quite so synonymous with London as Stephen Gill". Not his fault the interviewer is some retarded hipster cunt that sets him up for failure by raising expectations with retarded soundbites. Also, the selection here isn't necessarily representative of his body of work. Worth looking at his other shit:

https://www.stephengill.co.uk/portfolio/portfolio

Anonymous

Anonymous Tue 16 Apr 2019 16:44:00 No.3465308 Report

Quoted By: >>3465332 >>3465336

>>3465263
>complaining about vulgar "buzzwords" on an anime forum is one of the most ironic things
Not complaining about buzzwords, just pointing out that you mindlessly parroting them shows us all that you've no actual thoughts of your own to contribute
>>Also, you seem to not have the first clue what New Topographic is.
>lmao okay maybe my gay. but how do you implied that?
Because you keep missing the most important aspect of New Topo: it's clinical and seemingly stripped of aesthetic sensibilities beyond the technical. The images are draftsman like or purely of documentation value if you just stick on the surface level. It's like you've just seen some of the Belchers' pictures, heard they were New Topographic, then just assumed any picture with an old industrial-y building was automatically New Topo.

Anonymous

Anonymous Tue 16 Apr 2019 16:46:26 No.3465312 Report

Quoted By: >>3465336

>>3465295
>my snapshots of people in the street are the highest art possible
>this is objective fact
Oh no

>Stephen stands out
Honestly? No he doesn't. I've seen so many series like this one it's not even funny. If you think that snapshots of people in urban settings is a unique, groundbreaking art project you probably haven't seen nearly enough work.

Anonymous

Anonymous Tue 16 Apr 2019 17:42:55 No.3465332 Report

Quoted By: >>3465334 >>3465335 >>3465336

>>3465298
>I obviously meant monetary value.
i also meant that
>Theory and critique are just examining a piece in a set framework. One could argue that is hard wired into human beings, part of the biological given (and I'd probably agree). But in practice this is a framework among others.
well i don't think so there is any. the old ideas get rejected because its been done before. great thinkers thoughts/ideas are abstract and complex which cannot be defined by just speaking thats where the the importance of art comes in. it enables them to project. it enables them look at certain sight from non-conventional perspectives.
>Again, not necessarily exclusive. I'm just saying monetary value is not a consecration.
what you think that the artist that i mentioned and their work is not important? and not all of them live comfortable lives. no one is retarded to buy a certain piece even if its not good. high art just like all art could have much grater value.
>A bit easy honestly, though I'm a complete ignoramus, for sure. Any work to recommend in that line? In practice, I find even the most conceptual works rely on a bit of craft. I'm happy to be proven wrong, though.
idk if this is bait or not but i have really basic knowledge about theory but i have enough to appreciate an unusual piece by reading the context and without autistic screeching
start by reading jeff wall essays and as some other anon posted Art In the Age of Mechanical Reproduction is something everyone should read, Benjamin, Barthes, and Sontag are foundations of any arts education in photo.

>>3465308
>Not complaining about buzzwords
buzzwords and shitposting is the trademark of 4chan and it make faggots mad so its good you dumb redd*tor
>just pointing out that you mindlessly parroting them shows us all that you've no actual thoughts of your own to contribute
>>3465263
>>3465275
>>3465283
>>3465295
these all are my thoughts now shut the fuck up and suck my cock

cont

Anonymous

Anonymous Tue 16 Apr 2019 17:47:52 No.3465334 Report

Quoted By:

>>3465332
>buzzwords and shitposting is the trademark of 4chan and it make faggots mad so its good you dumb redd*tor
Still not mad friendo, yet you're still dumb.

Anonymous

Anonymous Tue 16 Apr 2019 17:52:57 No.3465335 Report

Quoted By: >>3465340

>>3465332
Seems like you're trying very hard to misunderstand me. Also you're talking to several people.
You can be commercially successful and be good, but monetary value is unrelated to the quality of work.

"New perspectives", futurism has been done to death, what do you do once new isn't enough?

It's not bait, I hoped you could point me to a few conceptual photographers that I could enjoy and learn from. Would be something to take out of the whole discussion. I'm not looking for theory, just interesting artworks.

>suck my cock
Not into that, sorry.

Anonymous

Anonymous Tue 16 Apr 2019 17:53:30 No.3465336 Report

Quoted By: >>3465342

>>3465332

>>3465308
>Newtopo
when George Eastman Museum's gates in October 1975 were opened to public it forever changed the landscape photography. it gave a modern recognition to it with very defined elements. a new movement was born to define modern landscape.
> The images are draftsman like or purely of documentation value if you just stick on the surface level
i am not defending his work here
>It's like you've just seen some of the Belchers' pictures, heard they were New Topographic
lmao there were other 7 photogs. and yes i do circlejerk around them except stephen shore. lewis baltz is my favorite from the bunch.
>then just assumed any picture with an old industrial-y building was automatically New Topo.
yes because that what it is, "the man altered landscape". you do it consciously or not the influence is clearly there. thats how art movement work they define particular aesthetic and you will get associated with it if you practice similar elements in your work.

>>3465312
lmao where the fuck i am defending his work?
actually its my mistake i should have mentioned that i was talking about other conceptual photogs like Jeff Wall, Alec Soth, Hiroshi Sugimoto etc

Anonymous

Anonymous Tue 16 Apr 2019 18:07:49 No.3465340 Report

Quoted By: >>3465406

>>3465335
>You can be commercially successful and be good, but monetary value is unrelated to the quality of work.
the work of Daido Moriyama, HBC, Saul Leiter, Lewis Baltz, Ren Hang etc is not "quality work"?
>"New perspectives", futurism has been done to death, what do you do once new isn't enough?
every thing that is "new" way more interesting than keep clinging on to century old concepts. i am not talking about which one is greater but new ideas will always be appreciated. because thats how we as a society progress.
>I'm not looking for theory, just interesting artworks.
okay here are some
Hiroshi Sugimoto
Jeff Wall
Luigi Ghirri
Francesca Woodman
Lewis Baltz
Cindy Sherman
>Not into that, sorry.
lmao i was not talking to you but okay

Anonymous

Anonymous Tue 16 Apr 2019 18:14:26 No.3465342 Report

Quoted By: >>3465350

>>3465336
>thats how art movement work they define particular aesthetic and you will get associated with it if you practice similar elements in your work.
Lol.
The subject isn't the aesthetic.

Anonymous

Anonymous Tue 16 Apr 2019 18:31:00 No.3465350 Report

Quoted By: >>3465352

>>3465342
>Lol.
>The subject isn't the aesthetic.
6 words reply to my 6 lines autistic text
if you wanna justify your autism then do it in a non-brainlet way

>The subject isn't the aesthetic.
english is not my first language so i have really limited vocabulary.
also my statement is semi-true because the subject is a part of whole newtopo aesthetic.

Anonymous

Anonymous Tue 16 Apr 2019 18:46:33 No.3465352 Report

Quoted By: >>3465370 >>3465374

>>3465350
Sure thing. I'm the brainlet and not the guy who is claiming any picture with a building in it is New Topo wholly missing why "Topographic" is in the name.

Maybe, just maybe the approach to the subject is important. Maybe even it's the most important defining aspect from all the other pictures of buildings. And maybe you're kinda dumb if you keep trying to use that label for images that just happen to have pictures of buildings in them...

Or I'm wrong and if you take a picture of a building it's New Topo.

Anonymous

Anonymous Tue 16 Apr 2019 19:08:28 No.3465370 Report

Quoted By: >>3465375

>>3465352
>not the guy who is claiming any picture with a building in it is New Topo wholly missing why "Topographic" is in the name.
>>3463805 this photo and series is "an man altered landscape". yes this is newtopo.

and i don't even know what the fuck you're talking about. the initial idea of newtopo was pretty straight forward but if you see the later work of the original crew members such as lewis baltz. yes he shot banal buildings and weird corners with minimal but solid composition. don't tell me i am dumb with that "is taking photos of building newtopo". go tell lewis in his grave that he is stupid for shooting buildings and calling it newtopo and tell him that you know the movement better than him.

now fuck off and learn a thing or two about newtopo and other genres/movements and then argue you entry level massive faggot and double retard

Anonymous

Anonymous Tue 16 Apr 2019 19:18:55 No.3465373 Report

Quoted By: >>3465406

OP here,

I just want to clarify that I'm not Stephen Gill... this thread is my third time sharing the work of a photographer I've enjoyed in the past few months. Here was the previous:

>>3461825

I'm going to keep doing this but honestly I don't know what it is about /p/ that makes it suspect that I'm the artist just because I defended the work (and mostly the practice of making series) in my posts:

>>3465146
>>3465155

I know Chosis is apparently, supposedly, doing that kind of thing, but it turns out that people do like things that you don't. Also strange that one of these posts even critiques the work as if it's by some new photographer trying to desperately make money (read the interview: Stephen is probably doing just fine without 4chan in his life).

Audio Portraits was taken in the 90s, after the artist had left Magnum photos years before, and also when portable music was still on the walkman cassette player. This was BEFORE Humans of New York. These works were made in a totally different time and so likely had a totally different meaning and significance (whatever it was). We also see in the interview that the photographer has changed his process since. He grew. Chances are that your critiques, while new to me, aren't new to the work.

I'm just an uneducated photographer sharing work from my bookmarks folder. Every time I read a book on art I see names I've never heard before. This is not an indicator of valueless work but just a part of the social fabric we're in which shares the same artists work (Winogrand, Adams, Arbus, Frank, McCurry, Moriyama, whatever) over and over again without ever looking at the sidelines. Hence these threads.

Anyway I'm looking forward to making more in the future, because still it's good to question these works no matter where they are in the artworld heirarchy.

Anonymous

Anonymous Tue 16 Apr 2019 19:21:14 No.3465374 Report

Quoted By: >>3465382

>>3465352
Not that anon, but I don't know how the word Topographic makes a substantial difference. Topography is defined as the following: noun
the arrangement of the natural and artificial physical features of an area.

So in a way it could mean...anything. sure not every photograph of a building is New Topography - architecture and interior photographers shoot for a commercial purpose. Street photographers include buildings as props for obvious reasons. But otherwise someone who is simply documenting a landscape and man's incursion upon it, could be considered part of the movement of New Topography.

Anonymous

Anonymous Tue 16 Apr 2019 19:22:02 No.3465375 Report

Quoted By: >>3465388

>>3465370
>and i don't even know what the fuck you're talking about.
That's pretty clear because I've stated it pretty clearly twice already. The subject isn't the only defining aspect of a genre. The approach matters, and in most genres because there's only so many things you can take pictures of, the approach to the subject is the most important aspect to defining the genre--something you keep missing. That you keep trying to wedge Alex's series into New Topo shows you have essentially no visual literacy because literally the only thing it shares with New Topo is the subject with a complete inversion of many of the qualities of the New Topo genre, but I guess your one little phrase you keep trotting out completely invalidates what the NT images actually are...

Anonymous

Anonymous Tue 16 Apr 2019 19:29:22 No.3465382 Report

Quoted By:

>>3465374
>Topography is a field of geoscience and planetary science and is concerned with local detail in general, including not only relief but also natural and artificial features, and even local history and culture. This meaning is less common in the United States, where topographic maps with elevation contours have made "topography" synonymous with relief.

Topography is a science. The use of the word reflects the clinical approach to the subjects

Anonymous

Anonymous Tue 16 Apr 2019 19:38:35 No.3465388 Report

Quoted By: >>3465399 >>3465402 >>3465410

>>3465375
>>3463804
>The landscape around me is changing rapidly with population growth and a ridiculous real estate boom, I would expect that most of this stuff will be gone or surrounded by suburban homes in a decade or two. I can't believe the amount of history and buildings I've seen torn down and replaced in the last few years.
there you go mong that is very newtopo and environmental approach

also if you take your influence from a particular genre and call it your work is different then thats very faggot-tier of you alex. yes approach do matter but its not the only thing that matters. the aesthetics, style of composition, also matter to a large degree my gay.

Anonymous

Anonymous Tue 16 Apr 2019 20:02:47 No.3465399 Report

Quoted By: >>3465407

>>3465388
HAHAHAHAHAHAHAHA
Way to backtrack

Anonymous

Anonymous Tue 16 Apr 2019 20:11:46 No.3465402 Report

Quoted By: >>3465407

>>3465388
Alex isn't posting in this thread m8

>influence
It's possible to create something in a style you're not aware existed. I was shooting sides of buildings dead on before I even knew of Lewis Baltz or New Topographics.

Anonymous

Anonymous Tue 16 Apr 2019 20:14:01 No.3465403 Report

Quoted By:

lit

Anonymous

Anonymous Tue 16 Apr 2019 20:27:15 No.3465406 Report

Quoted By:

>>3465340
Reading comprehension ffs, some art is good and expensive, some art is crap and expensive.
Ty, I'll check them out.
I'm not sure society progresses at all. I meant new for the sake of new is old news. Futurism movement was a century ago.

>>3465373
Thanks for the effort of sharing an artist you like, wish it were more common.

It's not so much that I don't like it, but that I can't find any merit to his work. It feels phony. Maybe it was groundbreaking at the time or something.

Anonymous

View Same Google ImgOps iqdb SauceNAO sucka.jpg, 59KiB, 501x900

Anonymous Tue 16 Apr 2019 20:30:51 No.3465407 Report

Quoted By: >>3465417

>>3465399
haha liquid comes out of my peepee because pee is stored in the balls haha XDD

>>3465402
>Alex isn't posting in this thread m8
maybe
>It's possible to create something in a style you're not aware existed
it is but that would have no value other than to yourself.
>I was shooting sides of buildings dead on before I even knew of Lewis Baltz or New Topographics.
that exhibition was so influential on the world scale that you must seen some newtopo inspired photo somewhere and you felt inspired unconsciously or consciously. or same thing as above.

Anonymous

Anonymous Tue 16 Apr 2019 20:40:02 No.3465410 Report

Quoted By: >>3465429

>>3465388
Not that guy, but I don't think aesthetic is a key part of the NT thing, at least in some sense. When you consider that the photographer is trying to be more purely documentary than aesthetic, it makes sense that the photos will have a sort of "straight" appearance. In that case, the aesthetic is a byproduct of a philosophical approach. If you're too conscious of hitting a certain aesthetic, then not only are you hindering yourself from making new work with your own eye, but you're also distracting yourself from the main point of the philosophy you're building from. In that light NT, to me, is a product of subtracting aesthetic in favor of a more "scientific" focus. Though perhaps certain artists have found an interesting balance between the two, like Gursky, whose signature look still has a certain scientific value to it.

Anonymous

Anonymous Tue 16 Apr 2019 20:53:08 No.3465417 Report

Quoted By: >>3465429

>>3465407
It's so damn amusing that you keep trying to present yourself as any sort of authority on this topic when you so fully don't understand anything about New Topographics.

The best part is that you selected a quote that shows Alex's latest set is far more on line with Eggleson's works being rooted in a sense of nostalgia while leaning on color to romanticize the scene. There's not the first drop of nostalgia in any of the NT works which tend to portray their subjects more as an indictment and not a perseveration before more change occurs. I wasn't speaking hyperbolically earlier when I said literally all that that series has in common with NT is the subjects. Even the compositions are less stark and orderly.

As for the outright idiocy of claiming that because there's influence it must be of that genre, wut? Well shit, Jackson Pollack is now a romance painter. You're massively talking out of your ass and doing your damnedest to pretend like you're not an idiot, but I'm sorry. You're failing.

Anonymous

View Same Google ImgOps iqdb SauceNAO 1552169164887.jpg, 52KiB, 500x500

Anonymous Tue 16 Apr 2019 21:22:24 No.3465429 Report

Quoted By: >>3465441

>>3465410
yes newtopo aesthetic is very important too
you can easily stop a newtopo photo from negative space, mostly b&W but sometimes emphasis on minimal color, very balanced composition, simple yet conceptual subjects, value, light, conflict with nature, evidence of human existence etc.
>Gursky
his work is very theory oriented with aesthetics just like Jeff Wall.
im not interested on hitting the aesthetic im just interested about the aesthetic.

>>3465417
okay alex having a trip would really help all the board to spot your samefagging
what you're shooting are "man altered landscapes"
denying won't help your point.
after the genres are created the works with same aesthetics are labelled to it, accept or not.

>As for the outright idiocy of claiming that because there's influence it must be of that genre, wut?
because by your own words you took newtopo/lewis baltz -core photos without knowing. so is those are not newtopo then what are those? its like saying i made punk music but without knowing what punk music was. that very faggot-tier of you desu.
and you're preserving the work actually, to have the photos of the place before the certain change. egg is at war with obvious and your work is obvious.
anyway i really don't wanna talk more about your boomer bullshite. that work is trash. so go eat shit and kill yourself.

Anonymous

Anonymous Tue 16 Apr 2019 21:33:10 No.3465441 Report

Quoted By: >>3465444

>>3465429
LOL, I'm not Alex and I'm not that other guy who said he accidentally copied a genre either. I'm the guy that's been roasting you for your complete ignorance and visual illiteracy.

"Man altered landscapes" aren't the totality of what defines the NT genre. That's like 95% of the Earth's surface you dingus. (Incidentally it's cute how you're now ignoring your earlier backtracking since it no longer serves you.)
>Same aesthetics
Back to your complete and utter visual illiteracy. The aesthetics are exactly what differ with Alex's approach. Again, the only point of similarity is the subject. The style, the aesthetics, the purpose, the compositions all differ, and differ greatly enough that even a child can pick out the differences.
>anyway i really don't wanna talk more about your boomer bullshite. that work is trash. so go eat shit and kill yourself.
I don't blame you. Getting dragged this hard is embarrassing. Good thing this is an anonymous board amirite?

Anonymous

View Same Google ImgOps iqdb SauceNAO winternet.jpg, 59KiB, 850x719

Anonymous Tue 16 Apr 2019 21:42:58 No.3465444 Report

Quoted By: >>3465450

>>3465441
>LOL, I'm not Alex and I'm not that other guy who said he accidentally copied a genre either
okay alex
>I'm the guy that's been roasting you for your complete ignorance and visual illiteracy.
congratulations wasting your keyboards ink my man
>"Man altered landscapes" aren't the totality of what defines the NT genre. That's like 95% of the Earth's surface you dingus. (Incidentally it's cute how you're now ignoring your earlier backtracking since it no longer serves you.)
yes thats what newtopo represents. its the modern landscape which shits on traditional landscape. newtopo is a critique of human foot prints and its conflict with nature
>Back to your complete and utter visual illiteracy. The aesthetics are exactly what differ with Alex's approach. Again, the only point of similarity is the subject. The style, the aesthetics, the purpose, the compositions all differ, and differ greatly enough that even a child can pick out the differences.
no you're shooting "man altered landscapes" thats what newtopo is go ask William Jenkins to change the its definition because you disagree with it.
>I don't blame you. Getting dragged this hard is embarrassing. Good thing this is an anonymous board amirite?
yeah man i fucked :'( for life how i will recover from this shock holy shit man, you won the internet the man you beautiful sperg.

Anonymous

Anonymous Tue 16 Apr 2019 21:47:14 No.3465447 Report

Quoted By: >>3465449

ITT: chosis reads a book but doesn’t understand it

Anonymous

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Anonymous Tue 16 Apr 2019 21:51:40 No.3465449 Report

Quoted By: >>3465452

>>3465447
>anyone who disagrees with me is that fat pedo
>William Jenkins don't know what newtopo is i know what real newtopo is
okay boomer

Anonymous

Anonymous Tue 16 Apr 2019 21:52:41 No.3465450 Report

Quoted By: >>3465455

>>3465444
>yes thats what newtopo represents. its the modern landscape which shits on traditional landscape. newtopo is a critique of human foot prints and its conflict with nature
LOL, and you think that there's an ounce of criticism in Alex's set? Fuck me you're dumb.
>>Back to your complete and utter visual illiteracy. The aesthetics are exactly what differ with Alex's approach. Again, the only point of similarity is the subject. The style, the aesthetics, the purpose, the compositions all differ, and differ greatly enough that even a child can pick out the differences.
>no you're shooting "man altered landscapes" thats what newtopo is go ask William Jenkins to change the its definition because you disagree with it.
Hahaha, yeah baby let's autistically cleave to a brief summation as though that fully captures every aspect of the genre. It's neither my nor Jenkins problem that you're too much of an idiot to consume anything but Twitter length snippets.
>yeah man i fucked :'( for life how i will recover from this shock holy shit man, you won the internet the man you beautiful sperg.
Homie, you're the one that's already admitted you were wrong by backtracking then backtracked on your backtrack just to try to win an argument through repetition.

Anonymous

Anonymous Tue 16 Apr 2019 21:54:00 No.3465452 Report

Quoted By: >>3465456

>>3465449
I can smell the desperation to sound relevant from 3 threads away

Anonymous

View Same Google ImgOps iqdb SauceNAO 1552164975628.jpg, 37KiB, 462x663

Anonymous Tue 16 Apr 2019 21:57:32 No.3465455 Report

Quoted By: >>3465463

>>3465450
>LOL, and you think that there's an ounce of criticism in Alex's set? Fuck me you're dumb.
im over with you
>Hahaha, yeah baby let's autistically cleave to a brief summation as though that fully captures every aspect of the genre. It's neither my nor Jenkins problem that you're too much of an idiot to consume anything but Twitter length snippets.
damn bruh im not going to write waste my keyboard ink on a random sperg. go invade George Eastman Museum to change the definition.
>Homie, you're the one that's already admitted you were wrong by backtracking then backtracked on your backtrack just to try to win an argument through repetition.
Homie, you're the one that's already admitted you were wrong by backtracking then backtracked on your backtrack just to try to win an argument through repetition.

Anonymous

Anonymous Tue 16 Apr 2019 21:58:35 No.3465456 Report

Quoted By:

>>3465452
>I can smell the desperation to sound relevant from 3 threads away
have sex

Anonymous

Anonymous Tue 16 Apr 2019 22:08:57 No.3465463 Report

Quoted By: >>3465468

>>3465455
See if you had an argument, you'd be doing shit like posting Alex's pictures and describing the aesthetic, thematic, and compesitional similarities to NT works showing parallels but you can't do that because outside of subject, they don't exist. Further, I sincerely doubt that you are even capable of such an analysis.

Anonymous

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Anonymous Tue 16 Apr 2019 22:18:36 No.3465468 Report

Quoted By: >>3465477

>>3465463
>See if you had an argument, you'd be doing shit like posting Alex's pictures and describing the aesthetic, thematic, and compesitional similarities to NT works showing parallels but you can't do that because outside of subject, they don't exist
i already did, now i don't want waste time on your repetitive, played out boomer bullshite
>Further, I sincerely doubt that you are even capable of such an analysis.
ye im gay

Anonymous

Anonymous Tue 16 Apr 2019 22:43:03 No.3465477 Report

Quoted By: >>3465482 >>3465483

>>3465468
If you don't want to waste your time then why are you doing it?

You guys should just make your own thread or get back on topic. I don't think Stephen Gill has very much to do with NT besides evidently superficial aesthetic similarities.

Anonymous

Anonymous Tue 16 Apr 2019 23:00:34 No.3465482 Report

Quoted By:

>>3465477
i said i don't waste time writing fuck tons of text about a*ex anymore
i just mentioned newtopo and some newtopo hating boomers sperged out

Anonymous

Anonymous Tue 16 Apr 2019 23:02:37 No.3465483 Report

Quoted By: >>3465507 >>3465531

>>3465477
i said i don't wanna waste time writing fuck tons of text about a*ex ANYMORE
i just mentioned newtopo and some newtopo hating boomers sperged out

Anonymous

Anonymous Wed 17 Apr 2019 00:07:17 No.3465507 Report

Quoted By: >>3465511

>>3465483
>Thinks I hate New Topographics

Damn but you're dumb. I bet you think I think Alex's photos are anything more than postcard fodder too. You are really bad at the thinking thing.

Anonymous

View Same Google ImgOps iqdb SauceNAO 285.jpg, 42KiB, 334x506

Anonymous Wed 17 Apr 2019 00:16:52 No.3465511 Report

Quoted By:

>>3465507
i was not taking about you a*ex my faggot
you won too many internets today now calm the fuck down :)

Anonymous

Anonymous Wed 17 Apr 2019 01:32:53 No.3465531 Report

Quoted By: >>3465533

>>3465483
Nah I mentioned Alex as being a poster here who has consistent, well handled editing and coherence and you got mad and called it boring new topo boomer shit.

Anonymous

View Same Google ImgOps iqdb SauceNAO Screenshot_20190416-213321_Chrome.jpg, 468KiB, 1076x1273

Anonymous Wed 17 Apr 2019 01:33:58 No.3465533 Report

Quoted By:

>>3465531
Epic rage quit

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