Artist’s Statement

Approximate Reading Time: 7 minutes

First let me state, categorically, that I am not one of those people who is crazy about artist’s statements. Not from others, above all, but these are easy to avoid. And not from myself, so there are very few such verbal excrescences in my history. But accepting the current premise that it should be short, and in my own words, with every effort made to avoid jargon and pretense, and honest and forthright.

Second, let me offer, as caveat, the second part, below, though honest, is not necessarily true in all its parts. It is closer to art itself, however, I think, to leave the reader to decide for him or her or itself which parts are which.

Any number of people do wonder, especially of late, given my long history as a photographer, just what I am up to, and just how my current work departs, or let’s say progresses, beyond what may be the natural drift of the Dinin canon of images, collected now for over 50 years. There are those who believe they reveal a style that is identifiable. I would hope so. And unique. Even more so.

I am never sure myself that I am moving into areas of what I am very reluctant to call explorations, because it sounds poncey and like the kind of thing I was encouraged to do when I was 10 and betraying “creative” tendencies. I resisted, as it turns out in the full course of my life I have resisted everything, and I merely contented myself with taking photographs of things that struck me as photographable and worth recording (that is, using up costly resources and time).

It was possible after the passage of a number of years, at least the ones between the age of ten (if not, in actuality, earlier) and the age at which I learned with the full impact of its meaning a word that those who know me really really well knows is one of my favorite words of all time, that is, “quotidian.” It qualifies my favorite subject. The mundane, ordinary, largely unsung and, let’s face it, unnoticeable, details of existence as we plod through our all too brief lives continuously, albeit aware of its passage only from moment to moment.

The virtue of photography, the medium of the moment.

photographs I am working on now | a gloss on two images

Lately, I’ve taken to recording real quotidian moments. And as my quotidian, like that of so many people, especially in first world countries, consists of a certain amount of time spent in front of an illuminated screen, watching whatever I like to watch (an irrelevant facet of this subject as far as I’m concerned, so forget about it). I am interested in the image. I’m interested in the randomness of what we take in in our field of vision. I’m also interested in getting a well exposed photograph when I choose to press the shutter release.

So I have a small body of images of late, say the least six years, which is about the span of our household acquisition of a large screen monitor for watching video content – a 55 inch plasma screen. Most of my images were recorded from this device. But others were recorded from the screens of smaller devices, including a phone, a tablet, and a 27” color corrected monitor on my production desktop (I call it that, because that’s where I do serious manipulation of images).

Some of these images have leaked into the stream of images I deign to share in various forms on internet media.

Today, I am posting an image that was recorded deliberately with some sense of it constituting a genre, perhaps peculiar to me, but I doubt that. It is truly peculiar only when considered in the context of all other images I’ve taken, lately, and always. So a particular understanding can be gotten only by those people throughly familiar with images I have been making, as I said, for several decades. There’s, I figure, oh about three or four of you. Talk about small audiences. But I don’t mind.

The first image here is a screen capture of a thoroughly obscure attempt by a British production company to make a successful video series of a very idiosyncratic, if not wholly baroque sequence of detective novels by a Brit (and not the first one with a jones for ginning up Italian crime novels) named Michael Dibdin. It lasted for three episodes before being cancelled. His hero is named Aurelio Zen (an odd name, even to Italians, and explained as being because he’s from Venice—I have no idea what this means, and I don’t care). They didn’t stint on the production, and even got some eye candy performers, it happens with acting ability, to play the major parts. Rufus Sewell (who did a particularly splendid job of distinguishing himself as more than a pretty boy by playing the role of Queen Victoria’s mentor and first prime minister, Lord Melbourne, for PBS Masterpiece. Though Sewell is, today, a somewhat youthful 51, he took the role about two years ago, and played it as written, as a sickly, vaguely decrepit, but clearly still attractive, middle-aged man on the brink of death. It was only six years before that he played the much more youthful role of Zen – for all the good it did his career; though I’m not sure what was expected by those Brits who played the series seriously, shooting on location in Rome, with all roles assumed by Brits, playing native Italians, except for the love interest, who, it happened, was Italian, Caterina Murino, and whose claim to fame then was that she was the first Bond Woman in the first of the rebooted series of James Bond epics, starring Daniel Craig. Murino played a beauty, entangled with the villain, and suffers a horrible fate at his hands. In the role, as these things often go, she played a Greek. Must have been money determining nationality of characters; it made no sense otherwise.

But neither here nor there. I provide all these details deliberately and also fairly sure they in some way inform, except it’s too late now to tell, the viewer’s perception and appreciation, if any, of my first image, It’s entitled “Now Watching Zen, Zen.”

Now Watching Zen, Zen

The other photo seems more characteristic of a lot of other work of mine, but I will insist that, in fact, it’s informed by this latest impulsive strain of mine to capture what I’ll call, I hope intriguingly, packaged quotidian. Like most video concepts these days.

It’s a moment caught in the wild, while I was out in one of my rare public forays for any purpose other than to go shopping for food at Whole Foods Market, or for prescriptions at CVS. It records a phenomenon that I have taken note of for some time, and is a real thing, I am positive, though little noted by others, and certainly not by the world at large.

It is the little studied phenomenon of what, for lack of any formal term I have encountered, has to be called “womansplaining,” which is also the title of the second image. There is no need to belabor the phenomenon, duly noted long since by many, and having passed into the common vocabulary, of mansplaining, which is reprehensible and comical at once, and doesn’t deserve any attention from me, I don’t think. But decide for yourself and write to me; we’ll discuss it, as long as I don’t have to explain anything. Whatever other, possibly more sober and serious analysis of the phenomenon is, I will speculate, not only likely, but if it is or it isn’t, it’s not compelling enough to explore in a scholarly fashion. Someone will help me out I am positive, whether I invite the assistance or not.

Womansplaining, as I have fashioned it, and as I have observed it, is the manner in which one woman explains to another woman the immediate subject or topic in a series of these during what is often a wide-ranging verbal engagement. It is rarely a conversation, except for stock, usually terse rejoinders by the woman in the de facto role of listener, to keep the pace of social intercourse at a rate most likely to dispel detectable boredom or ennui in either participant. In short, the woman engaged in womansplaining is also usual the participant who commandeers the conversation, setting its agenda, and delving into the narrative with a level of detail that is sometimes astonishing to witness for its breadth somehow combined with specificity. Many items I would assume, but I am the wrong gender, so I’m probably wildly off here, were of the type that fall under the rubric of speaking for themselves, if not altogether self-evident. But I have long since discovered that, all matters of gender aside, I am a poor judge of what is of due importance to others. They will decide for themselves. I know they will. They always do. I’ve observed it many times.

The explanations in these exchanges can get quite complex, not merely in terms of verbal content, but combined with a concomitant (apparently standard) repertoire of manual gestures and gesticulations. You can tell what’s being said is important because of all the hand jive. That’s not fair, I know. But I’ll leave it.

The exchange recorded here was captured in a suburban restaurant that serves excellent ethnic food. It was only sparsely attended by patrons at lunchtime, but I happen to know most of its business occurs in the evening hours. During the course of the exchange I witnessed, and admittedly I did not observe every moment, never mind closely, as we were sitting three tables away. and mainly concerned with actually eating, interspersed with an actual conversation, I can honestly say now I did not observe either participant in the distant exchange consume one bite of food.


I wasn’t sure I should craft the following coda to this statement, but I can see it presents a little opportunity for doing something else that’s not so characteristic for me: a little merchandising… you know, marketing and promotion.

I wish only to observe about these images, which are suggestive of the totality of the impact I think they embody, like so many of my images, if not all of them, they would best be appreciated as actual objets d’art, that is, physical prints on photographic materials, rendered as I wish them to be seen as closely as I can, with all my skill, manage the process. Anyone wishing to see either of these images as prints should contact me directly and privately.

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