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Thread started 29 Oct 2014 (Wednesday) 04:18
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Ten of the Most Expensive Photographs Ever Sold.

 
OhLook
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Oct 31, 2014 18:47 |  #76

Tedder wrote in post #17244570 (external link)
"objective judgments" (note the spelling)

The form with an e in the middle is the British spelling.


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Tedder
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Oct 31, 2014 18:52 as a reply to  @ post 17244029 |  #77

>>>... if you don't know what concept Sherman has been developing for her entire career of course you wont appreciate her images, as her work is as much about the concept behind as it is about the image….

That sounds as if no one could appreciate any of the works in the National Gallery of Art unless he first knew the "concept" behind each image.

I believe that's far from true.



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airfrogusmc
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Oct 31, 2014 19:03 |  #78

Tedder wrote in post #17244608 (external link)
>>>... if you don't know what concept Sherman has been developing for her entire career of course you wont appreciate her images, as her work is as much about the concept behind as it is about the image….

That sounds as if no one could appreciate any of the works in the National Gallery of Art unless he first knew the "concept" behind each image.

I believe that's far from true.

Ya know, there is a pretentious attitude that runs in some that think they know more than those collectors that have bought some of this work. What is really funny is those that bought it early have all made a lot of money and yet many act is if those that made a lot of money are the idiots and they themselves have some knowledge that the work is crap and they know more yet they are the ones on the outside looking in. Maybe there might be something to finding out why those images have sold for big $$$.

And getting back to some of those images you refer to we do not about the artists and about their intent because of history. Many have written about their work, their influences and why they created what they did.




  
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Tedder
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Oct 31, 2014 19:07 |  #79

OhLook wrote in post #17244603 (external link)
The form with an e in the middle is the British spelling.


We know that. But Jirousek, who was born and educated in Minnesota and taught at Cornell University in New York, either didn't know it or didn't care. :D



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Tedder
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Oct 31, 2014 19:23 |  #80

airfrogusmc wrote in post #17244633 (external link)
Ya know, there is a pretentious attitude that runs in some that think they know more than those collectors that have bought some of this work. What is really funny is those that bought it early have all made a lot of money and yet many act is if those that made a lot of money are the idiots and they themselves have some knowledge that the work is crap and they know more yet they are the ones on the outside looking in. Maybe there might be something to finding out why those images have sold for big $$$.

As I said above, whoever sold the Edward Weston for $1,609,000 most likely bought it for less than that and for good reason considers it to have been a wise investment.

Whether the seller liked the image or thought it qualified as good art is separate from whether he expected it to increase in value after he purchased it.

airfrogusmc wrote in post #17244633 (external link)
And getting back to some of those images you refer to we do not about the artists and about their intent because of history. Many have written about their work, their influences and why they created what they did.


But do you believe that a visitor to the National Gallery would be unable to appreciate the works there without first learning the concepts behind the works? That was the position stated concerning Cindy Sherman.



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Various Items (external link) Mineral Matters (external link) The Bench (external link) Tracks (external link) Cars and Stripes (external link) Behind the Wheel (external link)
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Circles of Confusion (external link) Waterous Disturbulations (external link)


  
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OhLook
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Oct 31, 2014 19:30 |  #81

Tedder wrote in post #17244643 (external link)
We know that. But Jirousek, who was born and educated in Minnesota and taught at Cornell University in New York, either didn't know it or didn't care. :D

Not necessarily. Sometimes publishers enforce house style regardless of an author's preferences. Sometimes authors prefer a nonnative spelling--Anglophile Americans, for example. My point, though, is that adding "(note spelling)" in quoted matter amounts to shaking your finger at whoever posted the quotation. It's tsk-tsking that has nothing to do with the subject at hand. It won't win an argument for you; it only makes you look irritable and picky. It's especially out of place when the spelling you criticize isn't incorrect.


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OhLook
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Oct 31, 2014 19:33 |  #82

Tedder wrote in post #17244608 (external link)
>>>... if you don't know what concept Sherman has been developing for her entire career of course you wont appreciate her images, as her work is as much about the concept behind as it is about the image….

That sounds as if no one could appreciate any of the works in the National Gallery of Art unless he first knew the "concept" behind each image.

I believe that's far from true.

I also believe that's far from true, but I don't make the jump from not understanding Sherman's work without following her concept development to not appreciating anything in the National Gallery without knowing the corresponding concept. One can appreciate a painting as a beautiful landscape or a historically significant portrait without tracing the painter's career. Not all art is conceptual art. I would have thought this was obvious.


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airfrogusmc
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Oct 31, 2014 19:36 |  #83

Tedder wrote in post #17244663 (external link)
As I said above, whoever sold the Edward Weston for $1,609,000 most likely bought it for less than that and for good reason considers it to have been a wise investment.

Whether the seller liked the image or thought it qualified as good art is separate from whether he expected it to increase in value after he purchased it.



But do you believe that a visitor to the National Gallery would be unable to appreciate the works there without first learning the concepts behind the works? That was the position stated concerning Cindy Sherman.

I'm saying that there is no one road to anything. There are artists that have large bodies of work and they need to be viewed with that in mind especially if that was the intent of the artist. With some artists words are also needed. There is no one way to do any of this. Sherman's work needs to be seen in the context of other work to be fully appreciated. Like taking a sentence out of a book and then scrutinizing the one sentence. By itself it may or may not hold as well as in a paragraph or in the story.




  
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Tedder
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Oct 31, 2014 19:45 |  #84

OhLook wrote in post #17244671 (external link)
Not necessarily...

Unless you know that Cornell University's house style calls for "judgement" over "judgment" or shows no preference, your tsk-tsking is amiss and makes you look irritable and picky.



Tedder Stephenson's Flickr (external link)
Various Items (external link) Mineral Matters (external link) The Bench (external link) Tracks (external link) Cars and Stripes (external link) Behind the Wheel (external link)
Classical Beam Theory Revisited (external link)
Circles of Confusion (external link) Waterous Disturbulations (external link)


  
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Tedder
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Oct 31, 2014 19:48 |  #85

OhLook wrote in post #17244676 (external link)
I also believe that's far from true, but I don't make the jump from not understanding Sherman's work without following her concept development to not appreciating anything in the National Gallery without knowing th corresponding concept. One can appreciate a painting as a beautiful landscape or a historically significant portrait without tracing the painter's career. Not all art is conceptual art. I would have thought this was obvious.

Then, like me, you disagree with the following assertion made in post 41, correct?:

>>>if you don't know what concept Sherman has been developing for her entire career of course you wont appreciate her images, as her work is as much about the concept behind as it is about the image.



Tedder Stephenson's Flickr (external link)
Various Items (external link) Mineral Matters (external link) The Bench (external link) Tracks (external link) Cars and Stripes (external link) Behind the Wheel (external link)
Classical Beam Theory Revisited (external link)
Circles of Confusion (external link) Waterous Disturbulations (external link)


  
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airfrogusmc
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Oct 31, 2014 19:54 |  #86

That's not what I read at all in her post.

Some work is bodies of work and needs to be. In fact I can't name one great artist that didn't create bodies of work. It's like a baseball player that has one great at bat making it into the hall of fame or even getting MVP. It usually doesn't happen. And it's bodies of work can make work more collectable especially if the work is considered important. A collector that might need one more piece to complete the collection might be willing to pay a lot when the missing piece comes up for sale.




  
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Tedder
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Oct 31, 2014 20:06 |  #87

airfrogusmc wrote in post #17244680 (external link)
I'm saying that there is no one road to anything. There are artists that have large bodies of work and they need to be viewed with that in mind especially if that was the intent of the artist. With some artists words are also needed. There is no one way to do any of this. Sherman's work needs to be seen in the context of other work to be fully appreciated. Like taking a sentence out of a book and then scrutinizing the one sentence. By itself it may or may not hold as well as in a paragraph or in the story.


As you can tell, I'm wary of the notion that a person must achieve a certain "level of expertise" (to use a phrase that appears above) to appreciate art and that people with "uneducated opinions" (another phrase from above) should keep quiet concerning art. If those things are true, then someone might be able to appreciate a Rembrandt at the National Gallery and then go to a Cindy Sherman exhibition and find himself unqualified to appreciate her work and forbidden to comment on it.



Tedder Stephenson's Flickr (external link)
Various Items (external link) Mineral Matters (external link) The Bench (external link) Tracks (external link) Cars and Stripes (external link) Behind the Wheel (external link)
Classical Beam Theory Revisited (external link)
Circles of Confusion (external link) Waterous Disturbulations (external link)


  
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airfrogusmc
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Oct 31, 2014 20:12 |  #88

Again I never said that but whether you want to believe it or not there is a language and the more fluent you become the higher the level of understanding can become. And there has never been a better time to get more fluent. Arguments for ignorance in todays ease of getting knowledge never cease to amaze me.

Some folks spend hours and hours on f/stops and shutter speeds (and that has become even easier) but spend so little time trying to understand the really hard part of all of this. Many get into this and hate art which I have never been able to get my head around. And even some of those don't think of photography as an art form.




  
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Tedder
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Oct 31, 2014 20:37 |  #89

airfrogusmc wrote in post #17244724 (external link)
Again I never said that but whether you want to believe it or not there is a language and the more fluent you become the higher the level of understanding can become. And there has never been a better time to get more fluent. Arguments for ignorance in todays ease of getting knowledge never cease to amaze me.

Some folks spend hours and hours on f/stops and shutter speeds (and that has become even easier) but spend so little time trying to understand the really hard part of all of this. Many get into this and hate art which I have never been able to get my head around. And even some of those don't think of photography as an art form.

For the most part, I agree. Probably some of what appears to be hatred of art is instead a dislike for self-declared art authorities who characterize other people's dislike of certain works as proof of ignorance.

If you were smart like me, they seem to say, you'd appreciate this artwork as much as I do.



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Various Items (external link) Mineral Matters (external link) The Bench (external link) Tracks (external link) Cars and Stripes (external link) Behind the Wheel (external link)
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Circles of Confusion (external link) Waterous Disturbulations (external link)


  
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airfrogusmc
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Oct 31, 2014 21:01 |  #90

Or I'm so proud of my ignorance I put down those things I do not understand and call those with knowledge names when I my energy would be far better spent trying to understand and learn about those things that I am ignorant about.




  
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