Timmers Loc: San Antonio Texas.

newsguygeorge has shown a response to a reaction that he has. He has opened himself to new ideas and the world around him, that is a definite position for him and how he is evolving as a person open to the world of 2020.

First let me take this in a direction that defuses my supposed "only responds to doting or positive feedback and gets rather defensive otherwise". Here in the general discussion on the Hog Forum, there was recently a running discussion with regards an artist who duck taped a banana to a gallery wall. That artist made references to Andy Warhol, "The Factory" (references to Warhol's working environment), Pop Art as an extension of Modern Art, and the artists expression/gestures as continuing that arena of modern art.

Now you can go read the rather convoluted thread, it goes on for some time. As you read the opinions and the reactions to what was occurring, the statments are simply not well informed about modern art, as an extension of commercialism, consumerism, post WW II art as expression, the entire Abstract Expressionism.

It goes on and on and those discussing the subject seem to know nothing about the subject and history of Modern Art, Warhol, and all that Jazz. Truth is it was all rather pedestrian in that the artist was re-hashing old tired ideas.

As example, the banana was not an arbitrary object, it is a reference to Warhol taking control of the commercial development of a fringe musical group, The Velvet Underground and catapulting it into main stream commercial music. On the cover of the first album is a ripe banana on white field.
Keep clearly in mind that Warhol has no musical capacity, nor any interest in music as a fine art per say, it is just not the issue with in the context of modern artist to express ideas or content. Warhol was deep in his position on art, as a modern post WW II/Post Abstract Expressionism (Jackson Pollock as a top example of that movement) movement/idea.

Now note that most everyone is now saying, "What has that to do with what you have posted?" Nothing and everything.

Comments were thrown out that I did not create the work in a lighting studio, I assume with cloth or paper 9' backdrops.

No, I did not, I'm not interested in that type of studio production. I have a studio like that and could do images in that studio yet I choose to use a nicely carpeted room with window seats and no curtains; elevated in the air one story during the daytime. These are key elements in the making of the 'set' in which the events are unfolded.

Notice the reflection in the mirror to the left, perfectly frames the full and casual clothed woman who is directing the action. I even bring her into the camera view shooting her interaction with the main subject, the model VADA, who is acting out the roll of submissive in the 'power transfer' that is being enacted.
The images carry a snap shot like quality in their handling, that is true, yet the tone of the commenters is that this is some how demeaning to the crafting of the image. The answer there is that there is no high art nor low art, just as there is no longer 'grand art' (like Rembrandt's portraits), there is only the modern art of that which is common, that is to say we have dismissed the differences of Folk Art and 16 century high art portraiture or landscape. These are separate and we no longer allow the distinction of one being better than another. They must be viewed as standing on their own merits, AND these art forms are now interchangeable and can be mixed.

So what do we have here, and THIS is just one possibility of interpretation, but of course it rests in the singularity of the artist ideas. We have two women, one is in a state that is sexualized. The other is aloof and removed, indifferent. Much like she is at her job, nothing more.

As the session progresses, a third element is brought into the event, that of another nude female. She engages in horsing about, teasing, being both detached but also part of the unfolding event. Then the third female disappears from our event and we return to the recurrent theme of a direct one on one 'power exchange'.

(note, Google 'Power Exchange' in BDSM roll play*). But if you don't know what a 'power exchange' is then how would you understand what an artist duck taping a banana to a gallery wall is about?
I'm aware that what I'm doing is not the main stream of old photography/figure work. Just like I know what the Cohen Brothers were doing in their film No Country for Old Men (hint, it ain't just about a film, it is the state the US is in these days).

So the image structure is narrative. The apparent 'snap shot' quality is balanced against the well framed mirror images of the protagonist, her roll is just as critical as that of model VADA's. You catch glimpses of her clearly as standing there in the set (node to Dylan's lyric "People Standing Around Like Furniture...").
This series as a group of images can flow like a musical score or a Dylan like poem. Taken individually, the images tell minor parts of a story, as a whole they will finally read like a small or short story. It is not hap hazard, but it does require an understanding of the early 21st century.

Viewed with myopic vision it is a jumbled mess. It was intentional presented as a partial construct. To get from it meaning of any sort you will need to return to see more pieces of the story, down loading the images and then rearranging the visual story in the manner you the viewer desires the story to go.
Here is another helpful hint, you are use to 'reading' a book, a story that is bound between two covers. In modern art we question basic assumptions. The book has been altered to remove the covers. Think even if it helps that the book is not a rectangle, nor a square, rather it is circular. Which is up, what is down? Were does the story begin, where does it go. Can we break the back of time being an arrow, moving from a start to an end? Can we take the images and sort them as a deck of cards.

We read the images after they are shuffled. Lay the image cards out like a Tarot deck, one card image reveals and influences the other around that first throw of the image card. You say, "But I don't know Tarot." But the standard playing cards have no real difference from that of the Tarot deck. What is different is the viewers desire to draw from the experience of playing a card game and then applying that to the order and structure of a set of images, into a new experience that informs our grasp of the world around us and how and what we are perceiving both inside and out. That is what Modern Art offers us.

* If you look up Mary Magdalene, you will be informed, "Nationality: Israeli," really? She was Israeli? Such mindless tripe!

JohnFrim Loc: Somewhere in the Great White North.

Tim, your post reminds me of a roommate I had during university. He said there was nothing "cooler" than smoking up with a joint or two, turning on the TV but muting the sound, turning up the radio or record player, and then putting it all together in the mind. Never having tried weed I could not relate to what he might be experiencing.

Similarly, not having an MFA degree, I guess I just can't relate to your explanation above. In that regard I'm just a simple guy who knows when I like something and when I don't. A few of your contributions have been interesting, but most are... well... kinda like that radio and the TV. For you they come together I suppose, but for me they are... the radio and the TV. For the life of me I can't understand how Aida or the 1812 Overture would ever fit with Alice skipping down the Yellow Brick Road.

But do carry on. You are entertaining.

PaulG Loc: Western Australia

Thanks for the book-like response ( ). I'm just wondering though, with your explanation, if you aren't over complicating things a little. Do you mean to say that all of that forethought goes into every image you create? If so, that's a hell of a lot of pre-thinking to the point it would wear me out. It would be easy to say that after the fact , of course. I'm not suggesting you're joshing but it would be all too convenient to take an image, look at it, then in hindsight explain all the elements that went into it's creation, eg: the model is portraying a mood of confusion, hence the image is out of focus. Anyway, I did read your narrative twice and after six beers I might just have a better sense of exactly how your brainbox functions. Another six and I might be completely on your side. By the way, I'm all for non-conformity in art/photography and provoking and posing questions etc. "Art" is a very personal thing after all and a matter of style and taste.

Timmers Loc: San Antonio Texas.

I had a vary smart mother, she use to tell me that I thought too much. My generic answer back was that people just don't think enough. That was actual a false hood, it is not true. It not that people don't think enough it is that they get distracted by internal dialogue.

There exists a theory, it is called the Bicameral Mind. Right and left talk to themselves during the waking state. Oh yes, it has been dismissed as none sense. As everyone is reading this you are in a conflict with that other voice, you talk, you argue with yourself, it is pretty much non stop. Everyone does this.

The secret that is never revealed is that the Buda became the enlightened one, he became the Buda. He simply stopped talking to himself. That is the reason for meditation, its sole function is to quiet the mind, to become aware of the silence. It can transform you into a deep thinking creative being.

So now the anger will begin, I have no internal dialogue. Oh yes, I can start it up, I can engage internal dialogue, the trick for me is that I must work to maintain the internal dialogue, other wise it stops.

What I have written here just now, I have thought about none of it. There is no 'thinking' about what write, I don't plan it, it just flows out. I am effected by the moon cycles. I'm at my best some two to three days before the full moon, then I crash down to a lesser state, but still no internal dialogue.

I was not born this way, I was a normal child until about the age of ten. I got sick, spiraled down word and died. Physical death, but no one noticed the death, but I did discorporate. I don't remember any of that, I have no memory of the first part of life. Then I reentered the body and as a tine form I did a tour of the body, floating through the blood stream. Then I expanded and occupied the body. Tell you what I did not like it at all!

So there I was in this weird body in this strange place. In short order I learned to speak and think and be part of a family of five other kids and two adults, but of course I did not 'know' that. The closest thing that I have found is Heinlein's book Stranger In A Strange Land.

With that basic presentation I can say that when not distracted one can put gifts/things/abilities to use. This is wonderfully outlined by Carlos Castaneda books The Teachings of Don Juan. There are several points that can be found in the books, but the subject that is critical for the how and why of this thing about what you bring up, the 'control' of the events, to create, to mold, to form an outcome of a session is real found in the subject called "The Cubic Centimeter Of Chance Popping Out".

I do set the conditions for a window of possibilities. It is a way of seeing and then acting on the unfolding possibilities. The way to navigate, to steer the events is through magic. Nope, not card tricks, the real thing. Magic? Yes magic. We preform magic constantly. The power is based in words, in structuring words. The delivery to manipulate and structure events is by speaking the words. That is how magic is preformed. As simple guidance look to the Bible story. God has a conflict with the devil. The devil is more powerful than Adam, he wants God to acknowledge this. He asks the devil what is this animal called, and the devil has no need to name animals the real reason is that he can not, he has no free will and cannot create magic). Then God asks Adam and he has no response but God presses Adam and Adam names the animals, and God confirms this to Adam. Adam can control the world by naming things, he gives names and speaking the name he commits magic. The devil does not speak, he thinks thoughts, but that is not magic. Magic is speaking, that us magic.

So working with the women in the sets I create the possibilities through the set up, the set. As the 'event' unfolds, I talk to the women. I create the ideas in their heads, I guide their thoughts to crate possibilities. None of this will do any good until the potential energy emerges, this is what is called the Cubic Centimeter of Chance. One can feel this moment building, even sense as it emerges. It is a life form like energy. It just pops out, and at that moment using spoken sound (or any sound) you can direct people to pay attention to that sound(s) and they are carried along like water flowing in a river.

People that have worked around me will tell of me cursing the camera, becoming angry. It is the dance of the magician, it is slight of hand. When something needs correcting, to redirect the events energy I will curse at inanimate objects. Camera's and gear are good places to take that energy away and rechanneled it. Energy needs often to be bleed off or redirected.

You can not make things happen any more than you can make a cow do what you want, but you can set the cow up so it desires to do something. For that, you need to learn to touch the world lightly. Never force things, rather guide things the way you want them to go.

When a shoot is done and there are others interacting with the shoot I give them copies of the images. This has been such a great part created by digital imaging. The models become deeply connected to the work, they regard the work as their own (and in many respects this is a great truth, at least for myself). You here models say often now, "Look at MY photographs, See what I DID!" I have also found the model(s) will do better during a session when they vocalize those words My Photographs.

Simply put, I'm more the director and not the camera man.

Down below, My vary good friend Starena, so HOT!!! (Now that is truly a snap shot!)

(Download)

travelwp Loc: New Jersey

Nice tits.

Timmers Loc: San Antonio Texas.

Naughty boy! Yes, Starena has vary nice tits, or boobs or rack or what ever you wish to call her mammaries! Me, I'm just driven nuts by her nipples!

The 'look' helps a whole lot as well, naughty to the core!

Timmers Loc: San Antonio Texas.

Find instalment TWO on One A Day, Day 165.