Gene51 wrote:
How does abstract fit into your point of view?
Hi Gene,
I was thinking the same thing. With an abstract or a texture study like the famous waves on the beach by Ansel Adams and others, or Edward Weston's veggies, some of which look absolutely sensual, the subject becomes more of a focal point that draws the viewer's vision to a location or feature. That location could explores/examine, for examples, shape and form, the light/dark. light/bright. texture in the light, fields of flowers or tight arrangements of flowers. But an abstract (painted, drawn, sculpted or photographed) that just strives to be a scene or 'presentation of vision" without a quality graphical element to me, fails as an image, no matter the quality of the workmanship. To be a successful image, it needs to include a quality (avoiding strong or weak here) graphic representation. It MUST include, for example, a focal point or subject. It must use graphic elements such a lines, shapes, pairs/triplets/etc., contrast, texture, balance, asymmetry, color and complementary framing, just to suggest a few.
Out on a limb here, Gene, but conceptually, Sharpie's Great Wall image could actually be viewed as an abstract by someone who didn't recognize it as an iconic subject, but just a representation of a very long and large scale line element spanning the entire vertical of the image. While a difficult case to defend for long, I use it to illustrate that even without it being a Wonder of the World, it is a fascinating almost abstract line study with excellent texture surrounding it. And it is a pleasing balanced image. Thus yielding a successful image that happens, also, to be a wonderfully executed photograph.
It gives us something to create when we're short of attractive models, the flowers aren't in bloom and the snow is already shoveled--or messed up. Or more likely, when the sun is overhead creating all that harshness.
Another thought, that pertains to all graphic representations and relates to the story idea is: The subject (or focal point) is (hopefully) clear. The story part can be (as opposed to documenting a man sawing wood), WHY the artist chose to represent it in a "work." And, what specifically was it about the subject or form/focal point that the artist found to be interesting enough to make an image of it? Was it discernible or was it an engaging enigma? And, with a stretch, WHY the artist thought somebody else might be interested in seeing it, too? Going even further, whyy did THIS artist choose to represent THIS image in THIS medium? Or what made say, a sculptor, choose this object as the subject of a sculpture.
Many mature objects for example the Eiffel Tower, have have been the subject of many works across all media, especially including abstracts.
I'm really glad you brought it up, Gene. I've got something to think about today! Thanks!
C