learning to love my camera…
I must come out with it. I don’t like the act of taking photos. I hate carrying it around. Except for the occasional snap I feel it interferes with my enjoyment of the moment. When I draw and paint from life it’s that experience itself that’s the prime motivator, not so much the finished product. But I love photos, absolutely covet the end product. So I must. I’ll be working on this relationship throughout the semester…I’m aiming for a love affair. So familiar and comfy that, like my handbag, if I leave home without it I keeping feeling I’ve lost or forgotten something. Please post advice, especially if you’ve surmounted similar relationship issues. Wish me luck!
- My name is Jeanne Resnick.
- I was born in Taunton,Massachusetts.
- I have one older brother.
- We speak English at home.
- My career goal is to exhibit my work.
- In five years I hope to be as comfortable using my camera as I am using a pencil and paper.
- Those I know who’ve been to college for art are fellow students I’ve met in art classes and workshops.
- I’m most proud of continuing to make art despite the zillions of phenomenal artists past and present.
- In my free time I enjoy reading, taking drawing and painting classes, visiting museums, going to clubs and concerts to hear music, walking, and soaking up the rays at the beach.
- I enrolled in this class to explore expressing ideas through photography, working with photoshop and hopefully improving my camera skills as well.
- The photographers I’m most interested in now are Imogen Cunningham, Henri Cartier Bresson, Sally Mann, Gregory Crewdson and I’m fascinated with the technique of Loretta Lux.
- My ideal job would be to paint, draw, photograph whatever moves me and have others enjoy, appreciate, disagree with, argue with or otherwise be moved by it in turn.
- Three adjectives others might use to describe me are conscientious, determined, interested.
Some Artistic Influences…
Rembrandt van Rijn
Portrait of Rembrandt with Gorget
37.9 x 28.9 cm
The self portraits Rembrandt painted throughout his life are, for me, the consummate inspiration. They are not merely a record of his face – through them he’s embodied his experience as a human being as he journeys through life- the man and technique maturing, developing through time. Here he is as a young man, engaging us through his direct gaze, serene yet confident of himself as an artist, lips slightly parted as if to speak at any moment, displaying his flawless technique and characteristic chiaroscuro. Through this work Rembrandt says to me, here I am and this is what I can do.
106 15/16 x 86 5/8 inches
When I first saw this work I was immediately transported back in time -the visceral feeling of YES this is what it felt like- the children still very much a physical part of your own self. The work embodies the sheer weighty physicality of motherhood. These three figures form one monumental unit – the foot of one child inside the mother and gouging a hole through the other. Boundaries are confused and blurred in spots. The mother is a source of stability in the center, yet there is a tremendous sense of movement, which she seems to be trying to contain. Whew! I love how Savilles’ figures are so PRESENT.
19.2 x 24.1 cm
I greatly admire how Weston has taken a seemingly lowly common subject and showed us it’s great beauty. The image is an exquisite combination of voluptuous form emphasized by the linear veins, set off perfectly by the flat contrasting background. The lit form emerges in a crescendo from the darkness and is evocative of other things such as cascading hair, swirling skirts. There is mystery, movement. I experience a sense of intimacy from the detail and chiaroscuro yet the image also feels monumental from the simple pyramid shape squeezed to the boarders of the frame. The work reminds me to stop and look closely to discover the beauty in my most mundane moments.
A found street image with a profound message that is perhaps more timely than ever. (Though like war and death do these things ever change?) I love his high viewpoint which lends an overseeing observer quality. The tiny, scattered organic forms at the bottom seem visually crushed, dominated by the regular, heavy dark rectangles. The scene goes on in both directions with no seeming beginning or end.
The soft focus lends a dreamlike quality to this image. The figures are beautifully framed by the trees and there’s a lovely rhythm to the curves of the boys’ bodies and their reflections.
From “Sonny’s Blues” a short story
in collection “Going to Meet the Man”(1965)
“For, while the tale of how we suffer, and how we are delighted, and how we may triumph is never new, it must be heard. There isn’t any other tale to tell, it’s the only light we’ve got in all this darkness.”
This idea has kept me working when I’ve wanted to throw in the towel- because I feel it’s all been said, done and will be again by artmakers much more talented than I am.