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Chapter 5 Intimate Life

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Elizabeth Lara

on 11 November 2013

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Transcript of Chapter 5 Intimate Life

Chapter 5

Intimate Life
Larry Clark
While the snapshot aesthetic is a popular form of representing intimacy through photography, it's not the only technique.
Intimate photography started with the family by creating the snapshot aesthetic. Untrained photographers shot their families with technical inconsistencies such as incorrect lighting, out-off-kilter framing, and blurriness.

Because the artist works on a project over a long amount of time, books and exhibitions are rarely judged, as that would suggest a moral criticism of the photographer's life as well as their motivations
This chapter looks at how narratives of domestic and intimate life have been presented in contemporary art photography.

Fine art photographers use these technical shortcomings as a means of communicating the intimacy between the photographer and subject, as well as representing the spontaneity of domestic life.
Nan Goldin
Rania Matar
Tina Barney
Her images look more staged than others shown in this chapter; while she still shows familial bonds in her photographs, the usual snapshot aesthetic is missing. However, her work still focuses on the unconscious gestures and displays that her subjects portray. When viewing Barney's images, one can read the different bonds between each person by the body language displayed.
'Family Moments' focuses on her children and their lives "when they were still young and unselfconscious, with minds open to the wonders of the world."
Playstation, Brooklyn 2007
Maya and the Mirror, Brooklyn 2007
Pool and the Soccer Ball, Brooklyn 2003
Alessandra Sanguinetti
Collier Schorr
Martin Parr
Schorr achieved her feeling of intimacy by following these men for an extended period of time as well.
Nan Goldin's famous work Ballard of Sexual Dependency. She uses the snap-shot aesthetic to depict drug use, violence, and aggressive couples. Goldins work is heavily accused of making drug use glamorous.
Tulsa (1971) documents the aimless drug use, violence, and sex activities of Clark’s circle of friends in his hometown. The Tulsa photographs combine the documentary style and narrative sequencing of a Life magazine photo essay with startling intimacy and emotional intensity.
David Armstrong
The End!
By: Liz Lara, Kelly Rogers, Molly Shigemoto, Madison Sury
The images illuminate an intimate and carefree era of innocent-bohemian wilderness -a time just before the tumultuous 80’s.
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