Pimpin’ aint easy
If you ever try to do something creative like make music, paint, write, or whatever? There may come a time where you think, “Hey maybe I got something here. I might be able to make a real go of this.” And you look around at all the people trying to make it with their art and most of em seem kinda fucking miserable about the whole deal. Do you really want to become an insane desperate asshole? For something you hopefully enjoyed doing at one point? Seems like a double bummer. Or maybe you could make a living doing your art and you could write a bunch of shitty boring articles or play six 45 minute sets at some tourist trap and turn the art you love into a cheap whore, doing pirouettes in the bathroom for five bucks a spin.
I went about ten feet down this road and I didn’t like it. I enjoy playing with words and drawings and ideas. It excites me and gives me enjoyment. When I make something I’m pleased with (and I’m easily pleased) I feel a sense of accomplishment. Of course I feel the same way about eating waffles or ice cream or ice cold beer. I’m easy like Sunday morning baby, so why turn it into a 9 to 5? I gots the happiness. Aint that the whole shooting match? Letting the creative process run wonderfully roughshod?
That’s what art is for me. Doing what turns you on and not chaining it to some kinda grindstone.
Stop trying to make your art get a shitty job
Let that crazy bitch wander worryless and free
Easy like forever after
I have mixed feelings about it!
I’ve learned how impactful the online photo community is in influencing and accelerating trends in photography. When I was in school, I saw a lot of work influenced by more ‘canon’ figures like the New Topographics, Nan Goldin, Gregory Crewdson, 70’s color photography, etc. While that’s still a big influence to a lot of the work I see, I’m also seeing work that is peer-influenced, young/emerging photographers taking cues from their peers, from work they’ve seen online… it’s interesting to see how quickly this develops and spawns new ideas and trends. In some ways this is great and really helps to keep photographers thinking on their feet, but I also see a lot of young photographers rushing their ideas and getting their work out there too quickly, which results in a lot of projects that feel unresolved, and incomplete. — Jon Feinstein (via photographsonthebrain)
I had a few supporters who really liked what I was doing with color and strobe, but most of the members of Magnum, especially the Europeans, hated it with a passion, because it violated every one of Cartier-Bresson’s rules. If you read The Decisive Moment, he literally set out rules: We photojournalists do this. We photojournalists don’t do that. And two of the things that we photojournalists don’t do is one, in his words, “use little flashlights,” because that violates the integrity of the natural light. And we don’t use color; we see the world in black and white. I cannot tell you the resistance that my work engendered at Magnum in 1978. — Jeff Jacobson (via photographsonthebrain)
Nearly three years post-college, I am just now nearing my first continuous year with a stable job including salary, insurance, and paid vacation days. It has absolutely nothing to do with what I want to be doing with my life. I perform my cubicle duties from 8 a.m. to 5 p.m. each weekday. I edit creative pieces on my lunch break, send out submissions to literary magazines and article pitches to editors in between fielding phone calls. At night I write, or paint, or photograph paintings for my Etsy store. If I’m honest, the amount of money my art makes me—and costs me—renders it an unsustainable career path. I still consider it the most important work I do, though it has been—and may always be—relegated to a secondary position. — I Didn’t Think Art Could Make Me Rich, But I Thought It Might Pay Some Very Cheap Rent (Nope) (via photographsonthebrain)
Art doesn’t normally pay the bills
“Outside it’s raining but somewhere the sun is shining.”
Martin Harrison, editor and author of Saul Leiter Early Color, writes, “Leiter’s sensibility…placed him outside the visceral confrontations with urban anxiety associated with photographers such as Robert Frank or William Klein. Instead, for him the camera provided an alternate way of seeing, of framing events and interpreting reality. He sought out moments of quiet humanity in the Manhattan maelstrom, forging a unique urban pastoral from the most unlikely of circumstances. — iN-PUBLiC | The home of street photography (via photographsonthebrain)
Due to the uncertainty of photo copyrights I have removed my self from the online world, and going to focus on prints/book. I will continue to repost information I find interesting!
We have to stop consuming our culture. We have to create culture. Don’t watch TV, don’t read magazines, don’t even listen to NPR. Create your own roadshow. The nexus of space and time where you are NOW is the most immediate sector of your universe. And if you’re worrying about Michael Jackson, or Bill Clinton, or somebody else then you’re disempowered, you’re giving it all away to icons. Icons which are maintained by an electronic media so that you want to dress like X or have lips like Y. This is shitbrained, this kind of thinking. That is all cultural diversion, and what is real is you, and your friends, and your associations, your highs, your orgasms, your hopes, your plans, your fears. And we’re told: ‘No. We’re unimportant. We’re peripheral. Get a degree, get a job, get a this, get a that, and then you’re a player.’ You don’t even want to play in that game. You want to reclaim your mind and get it out of the hands of the cultural engineers who want to turn you into a half-baked moron consuming all this trash that’s being manufactured out of the bones of a dying world. — Terrence McKenna (via marsnebelwald)
I don’t think that writers or painters or filmmakers function because they have something they particularly want to say. They have something that they feel. And they like the art form; they like words, or the smell of paint, or celluloid and photographic images and working with actors. I don’t think that any genuine artist has ever been oriented by some didactic point of view, even if he thought he was. — Stanley Kubrick (via tat-art)
(Source: stillcantthinkofanything, via photographsonthebrain)
You take a generation of people, subdue and pacify them with an anaesthesia of moronic TV, a gruel of icons, idols and the fantasy of stardom, the banality of celebrity. Render violence and cruelty to nothing more than a cartoon, death, mutilation, murder of people now as distant a real association to mortality as a child’s confusion to the fact an actual living, breathing animal was the origin of the red slab of meat in the local ‘super’ market.
Victorian freak shows light up every living room teaching nothing but the death of creativity, praying on the weak, applauding the crass, vain, self indulgent… subdued, becalmed… no protest to anything, no mass disdain at the plight of our disabled, poor, cheated, displaced, marginalized, raped, beaten, abused, elderly, young, addicted, afflicted, the stereotyped, the different, the isolated and the enslaved.
Brought up tricked into hating those below us instead of the ruling classes above us, into the lunacy of Nationalism, into a blame culture, into the ‘Me’ generation, into a life after death. Drowning in the desire for baubles, addicted to credit and debt. Educated for slave jobs and existing in a culture where empathy is almost seen as a action of subversion or a weakness.
What happened to communities standing up against wrongs because not to do so was a dereliction of moral duty, of communal duty… of just simply giving a fuck about the people around you regardless of their ability, birthplace, sex, age, health but because they are a human being too?.
Fight back with cameras, eternal bullets every image, preserve the stories lest they be brushed aside by time. — http://jamortram.posterous.com (via smalltowninertia)
A Shot taken of me a few weeks back while shooting downtown with @edwino_mart
Hey its me!