ANTES DE TEMPO

<body><script type="text/javascript"> function setAttributeOnload(object, attribute, val) { if(window.addEventListener) { window.addEventListener('load', function(){ object[attribute] = val; }, false); } else { window.attachEvent('onload', function(){ object[attribute] = val; }); } } </script> <div id="navbar-iframe-container"></div> <script type="text/javascript" src="https://apis.google.com/js/platform.js"></script> <script type="text/javascript"> gapi.load("gapi.iframes:gapi.iframes.style.bubble", function() { if (gapi.iframes && gapi.iframes.getContext) { gapi.iframes.getContext().openChild({ url: 'https://www.blogger.com/navbar.g?targetBlogID\x3d6432744\x26blogName\x3dANTES+DE+TEMPO\x26publishMode\x3dPUBLISH_MODE_BLOGSPOT\x26navbarType\x3dSILVER\x26layoutType\x3dCLASSIC\x26searchRoot\x3dhttps://antesdetempo.blogspot.com/search\x26blogLocale\x3dpt_PT\x26v\x3d2\x26homepageUrl\x3dhttp://antesdetempo.blogspot.com/\x26vt\x3d810648869186397672', where: document.getElementById("navbar-iframe-container"), id: "navbar-iframe" }); } }); </script>

quarta-feira, 6 de julho de 2005

Eric Fischl (VI)

Eric Fischl, Untitled, 1999.

A photograph is a witnessed moment, and great photographers have incredible skill in recognizing that moment. A painting arrives at that frozen moment through accumulation. It's not something that is taken out of the world. The viewer not only experiences the poignancy of that frozen moment, but also participates in its re-enactment. We're given all the decisions that go into it: what was included, what was excluded, what was distorted, what was refined — building a different bond between the artist and the viewer. We feel the reality of a photograph because it slices a moment. It leaves us apart from the reality, and we become witnesses rather than participants.