An announcement went out a few years ago that Aperture would terminate in 1967 because by then an objective would have been accomplished. A reference was also made to the dates of Camera Work 1902-1917. The dates of Aperture 1952-1967 were intended to imply the completion of a cycle.
Discontented with the single, fixed frame image (the isolated moment), my work has moved into something of the composite, of collected and related moments. As I find the opportunity in the camera, the darkroom and the final presentation, I employ methods of combination, repetition and superimposition.
In these photographs I have deliberately avoided all but the most neutral, unevocative subjects because I want the viewer to approach them without seeking any iconographie or cryptically allusive context. In the process of making still-life photographs I have grown interested in how deceptive one’s notions about the representational aspect of a photograph can he.
THE PERSECUTION AND ASSASSINATION OF JEAN-PAUL MARAT
Between 1797 and 1811, the Director of the Charenton Asylum, Monsieur Coulmier, instituted regular theatrical entertainments in this clinic as part of the therapeutic treatment of the patients. The Marquis de Sade, an inmate of Charenton from 1801 until his death in 1814, wrote and directed many of these entertainments and it became fashionable in nearby Paris to visit the asylum, as much as to watch these “moral rejects of civilized society,” as to watch the performance.
Documentary photography cannot be exempted from the intimate relationship of history and style. The tragedy which has befallen us today is that the remnants of the immediate past most conveniently saved are old photographs. An image no thicker than a sheet of paper has come to represent the enormity of any object or event, and this miraculous advance in sophistication has allowed the photograph to be seen in terms of two dimensions standing for three, a variety of grays standing for colors and picture size representing life size.
ALLEN DUTTON is forty-five and was born in Kingman, Arizona. He was trained as a painter and ceramist at the Art Center School in Los Angeles and at Arizona State University. He was introduced to photography in 1958 and following 1960 has devoted himself exclusively to the medium.