Knowledge of the Raw - Hardcover

Seltzer, David ; Fischl, Eric

Hardcover

ISBN 10: 886208417X ISBN 13: 9788862084178

Verlag: Damiani, 2015

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David Seltzer's images, often personal and frequently graphic, address questions of love, lust, God, art and the human soul. Working primarily with analog technology, Seltzer often layers the photograph by etching the negative itself, and/or by applying various media to the print.

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David Seltzer was born in St. Louis, Missouri. Having received a degree in English and Psychology at the University of Missouri, Seltzer became interested in teaching himself photography. In 1973 he moved to New York City to be closer to what he perceived as the center of the photography world. Working as a taxi cab driver, Seltzer sought an assistant's job with Richard Avedon and Arnold Newman; but the artistic milieu of his downtown meeting with Ralph Gibson galvanized him into pursuing photography as a fine art rather than as a commercial career. Over the years, Gibson's support and influence has never wavered. In 1987 and again in 1990, just prior to retiring from The Museum of Modern Art, the legendary curator, John Szarkowski, purchased two of Seltzer's large scale works for the Museum's permanent collection. Seltzer's work is included in numerous public collections including the Museum of Modern Art, the International Center for Photography, the Norton Museum of Art, The Center for Creative Photography, the Denver art Museum.

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Knowledge of the Raw is a selection of photographs that Seltzer has taken over the course of his life in an almost diary-like style. Often graphic and personal, Seltzer's work is more stream of consciousness than documentary. Years may pass before an image is finished. With the passage of time comes a fresher, and frequently more complicated perspective of what the initial "shot" may have brought to mind. An image that may have lain dormant for years is triggered back to life by a passing memory, dream, sound, smell, or perhaps the patter of rain falling on a city street. Once the image is again brought to the top of the "active" pile, it is reworked in order to incorporate its newly found perspective. This reworking consists of scratching, writing, etching the negative itself, or using a variety of media applied to the print; hand applied toners, paint, ink, etc..

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