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저어어엉말.  간만에 좋은 작업 발견.  삼십년도 더된 작가를 이제야 보았다니 개인적인 무지의 소치가 부끄럽다.  반성의 계기.
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출처 : 구글이미지 검색

Rich and Poor

Early in my freshman year studying photography at Tisch my class was taken into our small library and shown a selection of rare photo books, which were normally held under lock and key. Amongst those we saw was Jim Goldberg's <em>Rich and Poor</em>. At the time I strongly believed I was going to become a documentary photographer and this book profoundly affected me from the first moment I flicked through it- to such a degree that I immediately went home and bought it for over $100 on eBay, quite a huge amount for a college student. Goldberg spent several years photographing in both transient hotels and expensive mansions in San Francisco, starting in 1977 when he was still in art school. After photographing and contacting his negatives, he would return to the subjects and interview them. In his essay in <em>Rich and Poor</em>, he discusses how the questions he asked changed as his perceptions of those he was photographing evolved- Goldberg describes how he went from "collaborat(ing) in creating a myth of noble poverty" when photographing the poor to seeing them as "angry, impotent, bitter, desperate people." His feelings on the rich also underwent a certain amount of adaptation. With the final quotes chosen from his interviews, Goldberg would return and have the sitters write them on the final prints. These photos are seen to "reveal his subjects' innermost fears and aspirations, their perceptions and illusions about themselves, with a frankness that makes the portraits as engrossing as they are disturbing" (Magnum). Goldberg never claims that these images are objective, as he can be seen as much as an editor as a photographer, but they do enhance our understanding of American culture in that era by exposing "people's perceptions and rationalizations about their lives" (<em>Rich and Poor</em>). I've scanned some of the most interesting photos from both sections- the quotes are often heartbreaking,  exposing an understanding of the complete void of meaning in the lives of the sitters from both groups. 


POOR











RICH

"I came to understand the mask that servants have to wear in front of their bosses, the power of money to dehumanize human relations. As with this I sensed the deeper manifestations of false superiority that this society encourages (through the institution of class), the repression of feelings, the distance within nuclear families which the good life and materialism were supposed to decrease. I saw that power based on wealth crippled people in the most human ways, that the sugared rationalization that the money wouldn't get the best of them was a myth. The accumulation of wealth led to more complex lives and then to a desire to simplify. And to a selfishness that comes from the fear of losing all that one has worked so hard for or been given."




Master:



















New York: Random House, 1985.




짐 골드버그는 샌프란시스코 아트 인스티튜트에서 사진을 공부하고 1979년 졸업했다. 뉴욕 현대미술관에서 조엘 스턴펠드, 로버트 애덤스와 함께 연 '세 명의 미국인' 전에서 처음 평론가들의 주목을 받았다. 골드버그는 자신을 '다큐멘터리 작가'라고 불렀고, 글과 사진을 혁신적으로 이용한 작품들로 가장 유명하다. 부자와 가난한자(1985), 늑대가 기른(1995), 망망대해(2009)등의 사진집을 출간했다.  
글이 없었다면 이 사진은 단순한 인물사진에 불과했을 것이다. 하지만 손으로 쓴 글이 사진에 생명력을 불어넣는다. 레지나는 남편의 '강한 성격'을 과장되게 표현했고, 다정하지만 마음을 터놓지 못하는 사람이라는 점을 더욱 인상적으로 드러냈다. 그녀는 "에드거에게 불만스럽지는 않으며, 나는 그를 있는 그대로 받아들인다"고 썼다. 에드거의 평은 간결하다. "내 아내는 그런대로 괜찮다. 우리 관계는 만족스럽다." 이 말은 냉정한 것일까, 아니면 우리에게 모든 것을 말하라고 요구하는 문화에 대한 거부감의 표현일까? 이 사진은 사회 계층상 정반대의 속하는 사람들의 사진을 찍고 자신들에 관해 글을 써달라는 요청을 받고 제작한 연작 인물사진 중 하나다. 사진에 직접 씌어 있는 매우 사적인 글들은 흥미로운 사실을 드러낼 뿐 아니라 감동을 준다. 짐 골드버그는 글이 효과적으로 와닿고 마음을 잘 표현할 수 있도록 피사체들과 긴밀하게 협조했다. 거실에서 포즈를 취한 노부부를 담은 이 사진은 아마 이 연작 중 가장 유명할 것이다. 이 사진이 성공을 거둔 것은 결론을 내리지 않은 채 열어두었기 때문이다. 이미지와 글을 결합해 피사체와 작가 간의 대화를 보여주며, 사진을 보는 사람들로 하여금 복잡한 관계에 대해 단순한 결론을 내릴 수 없게 만든다.
modified at 2016.03.04 20:49:07 by zabel