seaweed abstract #2

This  picture of kelp is from the archives. It was made on a walk in South Bruny Island, Tasmania.  Suzanne and I were holidaying in Tasmania.

My digital photography  of the coast/foreshore consisted off  banal snapshots.  If snapshots are seen as the opposite of modernist avant grade practice, then snapshots  are also a crucial photography of our contemporary visual culture and a particular genre of photography.  

I do wish that I had spent more time photographing the kelp properly, rather than just doing a snap shot on the run and never coming back to explore the subject.  I didn't really think of seaweed as a photographic subject  or think of photography in terms of abstractions from nature. Snapshots  are what you do on holidays I guess and they can often be photographs of nothing much. 

 These snapshots have little place in an art history focused on  originality, innovation and individualism  and  what is collected in private and  museums collections whose art discourse is a Euro-American modernist one. Modernism  has constructed the history of photography as a coherent linear narrative occupied by a canon of photographic artists and master works. Snapshots, in contrast,  are about everyday life not art. They are seen by a modernist art history to be dull pictures and visually conformist.  

Snap shots still signify  film cameras,  Kodak's dominance of the photography market,  and Kodak's idea of the  middle class family's precious  memories and magic moments.  Private momentos, as it were.  At best snapshots are seen as visually  conservative folk art.