In 1990 I Began to Look up at the Space of the Sky As Well As Down on the Sea
"Clouds" (1990-93) In 1990 I began to look up at the space of the sky as well as down on the sea. Leaving behind the pinhole aperture but using filters on my camera to darken the sky and extend the exposure from seconds to minutes, the moving clouds were rendered as abstract blurs to my stationary lens. These pictures recall the pioneering work of Alfred Stieglitz, and his abstracted cloud photographs intended as music-like emotional metaphors. Unlike Stieglitz's images, which were very sharp, small 5'" x 4" contact prints, my long blurred exposures resulted in soft, dark, large 30" x 40" prints. The scale, softness, and darkness were an attempt to abstract the sense of space, moving the image away from a literal description of the sky - to create a pictorial void which the viewer could metaphorically enter. While Stieglitz championed the "straight" photograph, believing that his cloud photographs could be both highly descriptive and metaphoric "equivalents", I was less sure that the descriptive photograph could transcend the everyday world and speak to the spirit. I greatly wished to make pictures that evoked my emotional, and dare I say, my spiritual experience of landscape, and I hoped that by pushing the photograph to the abstract limits of ordinary description, I could shift the reading of the image from fact to idea, and advance Stieglitz's notion of the equivalent. David Stephenson, Cloud, 1990, gelatin David Stephenson, Cloud, 1990, gelatin silver photograph, 75 x 97.5 em. silver photograph, 75 x 97.5 em. By 1993 James Danziger Gallery in New York had offered me an exhibition of the cloud pictures, and I did some additional work on the series in preparation for this, although my pictorial strategies did not change.
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