Chris Frazer Smith Color Photography
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Artist: Chris Frazer Smith
Bowling Alley by Chris Frazer Smith - Contemporary Sports Photography
By Chris Frazer Smith
Located in Brighton, GB
Please bear in mind that all prints are produced to order and lead times are between 15-20 days.
Bowling Alley is a dynamic C-Type Matte Print by Contem...
Category
21st Century and Contemporary Contemporary Chris Frazer Smith Color Photography
Materials
Photographic Paper, C Print, Color
Roller Coaster by Chris Frazer Smith - Contemporary Landscape Photography
By Chris Frazer Smith
Located in Brighton, GB
Please bear in mind that all prints are produced to order and lead times are between 15-20 days.
Roller Coaster is a dynamic C-Type Matte Print by Contemporary photographer Chris Fr...
Category
21st Century and Contemporary Contemporary Chris Frazer Smith Color Photography
Materials
Photographic Paper, C Print, Color
Park View IV by Chris Frazer Smith - Contemporary Landscape Photography
By Chris Frazer Smith
Located in Brighton, GB
Please bear in mind that all prints are produced to order and lead times are between 15-20 days.
Park View IV is a dynamic C-Type Matte Print by Contemporary photographer Chris Fraz...
Category
21st Century and Contemporary Contemporary Chris Frazer Smith Color Photography
Materials
Photographic Paper, C Print, Color
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Living in a Dream (Till Death do us Part) - Contemporary, Polaroid, Women
By Stefanie Schneider
Located in Morongo Valley, CA
Living in a Dream (Till Death do us Part) - 2005
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on offer is a piece from the movie "Till Death do us Part"
Stefanie Schneider’s Till Death Do Us Part
or “There is Only the Desert for You.”
BY DREW HAMMOND
Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements:
1.
A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image.
2.
Dated Super 8 film footage without a sound track and developed by the artist.
3.
Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist.
At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work.
First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality.
Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions.
This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects.
A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL
It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image.
One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them.
Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer.
In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer:
A) the immediate experience of reality, and
B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions.
In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist.
In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all.
THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY
This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill.
The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt.
Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect.
* * *
David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...
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Chris Frazer Smith color photography for sale on 1stDibs.
Find a wide variety of authentic Chris Frazer Smith color photography available for sale on 1stDibs. If you’re browsing the collection of color photography to introduce a pop of color in a neutral corner of your living room or bedroom, you can find work that includes elements of orange and other colors. You can also browse by medium to find art by Chris Frazer Smith in c print, paper, photographic paper and more. Much of the original work by this artist or collective was created during the 21st century and contemporary and is mostly associated with the contemporary style. Not every interior allows for large Chris Frazer Smith color photography, so small editions measuring 24 inches across are available. Customers who are interested in this artist might also find the work of Katie Hallam, Nick Turner, and Ira Wagner. Chris Frazer Smith color photography prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $766 and tops out at $766, while the average work can sell for $766.