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LOOKING AT PEOPLE
Everybody looks at pictures of people, most of which are in our line-of-sight because some corporation wants you to consume their goods or services. These are standard, or cliché-edgy, representations whose purpose is to get you to aspire to something and then buy it. Because of that they are, in a certain way, quite telling.
If you are interested, though, in representations of people by artists, the images you seek and consume will be a completely different animal. There, generally, the most interesting images of people are, in my opinion, created by artists who are slightly bent, or at least very curious, their viewpoint, to some degree, abnormal. That’s what makes the work interesting and different from images (commercial and artistic) that support the status quo.
But in these extraordinarily reactionary times (the reactions coming from both the right and the left) the very idea of being bent, abnormal, or curious is abhorrent to many. And each group and faction will have their own idea/definition of what is abhorrent (views that don’t mesh with theirs) and what is acceptable (views that do mesh with theirs).
And I get it. After all, we all filter everything through the prism of our experience, what Jack Kerouac calls “the stress of out lives since birth”.
Now, I’m a non-censorship kind of guy. I believe the world is best understood by considering it through varied perspectives, assuming, of course, you are seeking understanding. Sure, some points of view presented by artists are problematic and discussion must ensue. But an art world without irritants quickly becomes innocuous and, then, redundant. I leave it to the critics to flesh all this out. Me? I’m just a photographer who believes artists should do what they do and let the chips fall where they may.
Anyway, the reason I bring all this up is because I’ve been thinking about two small publications that look at people, or, in the case of Lindzine, a person. Both point to aspects of their creators’ bent and curiosity, their voyeurism and obsession. They are ways of looking at people.
Lonely Boy Mag No. A-1, by Alec Soth, would probably be considered highbrow, the other, Lindzine, by The Wormholes, the opposite. I like them both.