The Musician and the Photograph
I find it so interesting how the history of various mediums comes into existence, then is forced to re-invent itself time and time again to meet the mold that art takes in any given moment. Of course, the medium itself is not morphing, that is the doing of the practitioner, but it is never-the-less something that the medium must be capable of. I believe that the photograph is a medium among those that has the least plasticity. Unlike the basis of most mediums existing in the mind, the photograph intrinsically exists first in reality. In order to make a photograph, the subject must first exist in the real world. Sure you can practice something that enters the realm of abstract with types like macro-photograph, but still, the object or sitter must first of all be rooted in reality.
This is why this week’s lecture was so intriguing. The lecture invites us into one of the first eras where the photograph was forced to morph into the movement of modernism. The move away from the traditional way to use a camera to record light. And the way in which this was achieved is quite literally to throw away the initial rules which governed the medium. I supposed that is, at the core, the way in which the medium takes a new shape within a new movement, however, most other mediums allow for the subject to be nonexistent in reality.
Number 9, Caleb Theil, 2022
While my main practice as an artist in photography, I really do struggle when I only have one medium to express myself. This is a concept that somehow tends to elude me. When I begin practicing only one medium I end up frustrated with a sever case of tunnel vision and not the faintest idea of why. This has been one of the hardest hurdles I’ve experienced with my time in Singapore. I’ve felt so constrained to the medium of photography that I lost sights of my mind’s need to diversify and practice all kinds of different forms of art.
I finally found a practice room where I can return to my musical-roots as a drummer and I’ve even began to learn the cello.
The only thing I am still missing is the band I left back home, and the regular shows we would play around Denver. As I can’t do much to satiate this yearning, I will reminisce via this week’s blog post; The Musician and the Photograph.
Julia Margaret Cameron (British, 1815–1879) Joseph Joachim, 1868 albumen print
White and Sherwood’s Band (White’s Quadrille Band), ca. 1880. (W. S White: far right). History Room Photograph File P-572.
The earlier the era I look for concert photography in the more I understand how paradoxical that search query is. Even in the photo above the bows in the hands of the violists are blurred due to the prolonged exposure. Everything that I love about concert photography; the expression, the energy, the fleeting moments of connection with the players, are all absent from this period of photography due to the technology available at the time. While still a gorgeous photograph, it is not at all representative of my love for concert photography.
unidentified photographer (American) man with slicked hair holding violin, ca. 1875 hand-colored tintype
Around the world (I’ve searched for you)
Mexican picnic Photo by Hugo Brehme, Mexico, D.F.
I love how music invites us into various cultures around the world. I think, in this way, music and food are the few methods of cross-cultural communication we have as a species. They both allow for a wonderful method and means of understanding and achieve an incredible method of eye-opening experience that truly expands the mind.
unidentified photographer Albert Einstein seated at piano playing violin, ca. 1940
Ted Williams
Lambert, Hendricks & Ross, a trio performing at Newport jazz festival, Rhode Island, July 1959. They traded in ‘vocalese’, a style where lyrics were sung to the tunes of instrumental jazz classics
The energy and diversity displayed in 20th century Jazz is so encapsulating and inspiring. The amount of emotion embedded and evoked by the obscure and acquired genre is enigmatic and so delightfully delicious.
unidentified photographer rows of young Suzuki violin students, 1968
Jim Marshall
Johnny Cash photographed by Jim Marshall at San Quentin prison, 1969 Photograph: © Jim Marshall Photography LLC
Jim Marshal has to be one of the most iconic concert photographers to ever exist. I’m not even the biggest fan of Johnny Cash, however, I’ve had the above photograph hanging in my room since I was 14. I guess one could say that was the beginning of my interest in concert photography.
Portrait of Patti Smith (born Patricia Lee Smith) 1978 in concert
