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Course: The Museum of Modern Art > Unit 1
Lesson 10: Seeing Through Photographs- Seeing Through Photographs
- Nicholas Nixon | The Brown Sisters
- Hank Willis Thomas | Unbranded
- Katy Grannan | Boulevard
- Vik Muniz | Equivalents (The Museum of Modern Art)
- Marvin Heiferman | Seeing Through Photographs
- Sarah Meister | Seeing Through Photographs
- Lucas Blalock | Strawberries (Fresh Forever), Strawberries (Forever Fresh)
- David Horvitz | Mood Disorder
- Anouk Kruithof | Subconscious Travelling
- Ilit Azoulay | Shifting Degrees of Certainty
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Lucas Blalock | Strawberries (Fresh Forever), Strawberries (Forever Fresh)
Working with both analogue and digital technologies, Lucas Blalock often begins his images with a camera and finishes them on a computer. In this conversation with curator Roxana Marcoci, Blalock takes us through his process of making his visually and conceptually confounding photographs. -- Enroll in MoMA's new, free online course, "Seeing Through Photographs": http://bit.ly/1KANpxB See other interviews with photographers: http://bit.ly/1o30O85.
Video transcript
I often start making a picture
by bringing some objects into the studio, and I start by trying to get this object
to sort of sing for me, and that process is in some ways
sort of self-contained. But then once I've shot the film
and I take it to the processor and get it back and scan it, then I'm left with this relationship to this object
that I was attempting to have. So I was attempting
to relate to this thing through drawing its picture
with a camera, and I think that sometimes
there's a gap there or a space there where there's more that could be done
or more that could be considered, and that's where
the computer comes in. Whether I'm making
a straight photograph or an unmanipulated photograph, or a photograph
with a lot of manipulation, this is my process. It goes camera, scanner, computer, and so the computer
can be very active. So if I see an opportunity
within the picture-making in the computer,
then I'll go ahead and take it. So you say that you start
by bringing some objects into the studio. How do you choose these objects? I've said before
that I really like objects that have a kind of pathetic quality. But I think there's some objects that are sort of really made
to be looked at, that that's sort of... it's sort of in their DNA. And other objects that really aren't, that refuse that somehow
or that might be... that there's still something left
to be discovered in, and I think those are the objects
that attract me more than others. So let's take as an example
the strawberries, for instance. Can you run us through how
you made that, –Sure.
–those two pictures? The strawberries photographs
are two photographs that start with the same two negatives. One negative is on top of the other, and then in the other one
the relationship is flipped. So it started out by me bringing
these sort of strawberry candies into the studio, and sort of arranging them
onto a table into a field that sort of just took up
a space in front of the lens. I really like objects
that sort of act like photographs, that are imitators of the things
that they're trying to be, even if they're sort of,
I don't know, not so convincing. And so I made this picture
of the candies, and they actually sat on my table,
I think, for a day or two, and it popped into my head
that maybe I should replace them with the real thing. And at that point, it's like this problem
has gotten set up, and I did. I went and bought some strawberries
and took the candies away, and replaced them
with the strawberries, and made another photograph. And at that point I didn't know
whether maybe they would be just two straight photographs
that would sort of hang out together or how I would end up
drawing that relationship. What ended up happening
was that I thought about them through this overlay of one sort of
taking the place of the other. Their titles are Fresh Forever
and Forever Fresh. The forevers are the candies, and the fresh ones
are the fresh ones. So in each of the two pictures,
they have the opposite relationship.