Artist Blog

Every week an artist whose single image was published by Der Greif is given a platform in which to blog about contemporary photography.

Three Favorites

Jun 23, 2016 - Daniel Everett

ref="">Shore For my first post, I want to share three of my favorite photographs. One of my irritations with the culture surrounding contemporary art is that many artists are so reluctant to show enthusiasm about the art that they love. A running joke when I was in grad school was that the only way to get some artists to shut up was to ask them what artwork they actually liked. Maybe it’s borne out of a fear of liking the wrong things or being seen as derivative of the artists that inspire you - either way, it’s an attitude I wish would go away. Here are three images I love unapologetically. Shore Stephen Shore U.S. 97, South of Klamath Falls, Oregon July 21, 1973 This image is perfect to me. I don’t know how to defend it in any substantive way, but the alignment of each of the elements manages to create something both sublime and empty, and I’ve found myself returning to it over and over throughout the years. This image also served as my introduction to the rest of Shore’s work, including his postcards and early conceptually projects that have had a significant impact on me. Williams Christopher Williams “Kodak Three Point Reflection Guide / © 1968, Eastman Kodak Company, 1968 / (Meiko laughing) / Vancouver, B.C. / April 6, 2005,” (2005). Chromogenic color print. Paper: 20 × 24˝; framed: 34 × 37 3/4˝. Glenstone. Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne © Christopher Williams. As a general rule, I don’t have any interest in portraits. People feel too specific to me and too greedy as subject matter. That said, this photo has always been the exception. Maybe it’s because of the palpable artificiality or the sense of anonymity, but this image has always intrigued me. I remember hearing Williams speak about this piece and explaining that the reason it worked was because there was a mole on her arm, one on her chest, and one on her face, and together they formed a triangle. That’s good enough for me. Cohen Lynne Cohen Untitled (two lights), 2003 Lynne Cohen’s work has been hugely influential to me. I count myself extremely lucky to have known her and to have been able to work with her on a few occasions before her death. She was fiercely opinionated and unapologetically direct in her assessments, but always insightful and encouraging in her own way. At the time I first saw her work, I was struggling to articulate what I was attempting to do in my own art or why it was even worthwhile. This image felt like a revelation and everything I had been chasing after suddenly made sense.