Each short chapter of Maximum Sunlight is an account of an encounter with a resident of the town—anecdotal stories of drunkenness, lost jobs, skin heads, juke boxes, the government, and resilience. Each chapter is like the edges of a photograph—sometimes abruptly dissecting and at times cutting short what happened outside the frame or the rest of the story.
Strant is continuing its series titled Pictures Without Words–the idea being the desire for as much intersubjective agreement as possible. Submissions deadline for VOL 001, ISS 002 is 05/31/17. Pictures Without Words VOL 001, ISS 002 will be published July 2017.
“In my work and in my life, I’m interested in how we can choose to live with the things unknown, how we proceed forward anyway even amidst the things that we can’t know yet, or may never know.”
Photographs are product of seeing—another circle with an ephemeral horizon. McCarty’s instant film images like Emerson’s Romantic perspective, are a collective approximation uncertain of our individual existence whose perspective changes and creates a duality of what was and what is—a doubling back on reason.
Regarding this photography with strong themes of the authentic self—autobiography is hindering photography’s ability to create particular truths understood through metaphor and has been lost to an attempt at authentic personal narrative, especially a narrative of specificity and narrow margins of universality.
“How much does Eggleston’s photographs inform our memory… whenever I look upon a photograph, I do so with some nostalgia for beauty and truth that might not have been if it weren’t for the photograph. The photograph as an artistic medium demands it.”