Rank Your Influences

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You can learn more about your influences by identifying their relative strengths. This quick exercise will not only help you understand how different works influence you but also begin to reveal why they influence you. It’s time well spent.

Make a ranked sorted list of your influences. Start by listing your influences, in any order that they come to mind. Then, arrange them, placing the strongest influence at the top of your list, the next strongest influence below it, and so on until the end of your list.

While some choices will come easily, others won’t. To help you make these choices, assign a number to each item on your list to determine its rank. (Use a scale of 1-10, with 10 being the highest.) Then arrange the items on your list from the highest number to the lowest. After you see the results, you may need to adjust your list by reranking/moving specific items.

It’s highly likely that you’ll find different artist’s works are influential to you for different reasons. Identifying how these works are influential to you can help you understand them even better. Rank each item on your list numerically based on three criteria – content (the ideas behind the work), form (style or how the work looks), and feeling (the strength of your emotional reactions to the work) – assigning a number from 1-10 for each criterion. At the same time, you can also create a cumulative or average score for each item. Now you’ll have four ways to sort your list or four new ways to compare and contrast your influences.

You may find patterns in the data that you’ve created that reveal something that wasn’t obvious before. You may find that a particular influence is significantly stronger in one criterion than the others; you like this artist’s work because of their … You may even find that a majority of your influences influence you more in one criterion than the others; you like artists who emphasize … The act of assigning numbers will encourage you to make distinctions in degree and quality that it’s very likely you hadn’t made before.

It’s quite likely that your ranked/sorted list of influences won’t be 100% accurate. By using criteria you become a little more objective. But influence isn’t entirely objective. Some things, sometimes very personal things, influence you more than others, sometimes for very personal reasons. So, fine-tune your list – intuitively. Trust your instincts. While you do, ask yourself why you’re making the moves you make and you’ll gain even more insights.

While numbers offer valuable information that can lead to genuine insights, numbers alone don’t tell your full story. For this, a little more soul searching is needed. But if you do this exercise you’ll have started off on your journey of self-discovery better informed and with a clearer direction.

Here’s a ranked/sorted list of my photographic influences.

A general trend of interest in relationships between man and nature drives my list.

Read Why Tracking Your Influences Is So Important here.
Find out more about my influences here.

Aaron Siskind – Literally Abstract

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If he wasn’t the first, Aaron Siskind was certainly the preeminent abstract expressionist photographer. The abstract details he presents as new hyper-flat surfaces stand independent of their original subjects.

Abstraction in non-representational art celebrated in the modernist movement early 20th century has taken many forms; Kandinsky’s expressionism, Picasso’s Cubism, Malevich’s a Constructivism, Stella’s Minimalism, Vasarely’s Op Art, etc) While photography quickly became the gold-standard of realism and consequently it took it longer than painting to embrace abstraction. (It’s arguable that the invention of photography forced painting to embrace abstraction.) Siskind’s images helped establish photography’s credibility as abstract art.

But what kind of abstraction is Siskind’s abstraction? And what is the function of abstraction in Siskind’s work? Coming late to the game his work aggregates many previous sensibilities and ideas.
Like so many modernists he emphasized that what he made was not a representation of something else but “the thing itself” – an idea that has metamorphosed chimera-like since the Greeks and been repurposed by nonrepresentational artists and realists alike. But, while most modernists took pains to avoid including elements that suggest figurative images, Siskind’s images are peppered with them and because of their photographic nature they always reference something else, no matter how covertly. Like Jackson Pollock, Siskind prized directness and immediacy of expression but the personal authenticity derived from this becomes ironic given the essentially appropriative nature of photography. Like Franz Kline, Siskind’s images are riddled with poetic gestures, but none of the gestures in his images are made by hand or by him. Like Wassily Kandinsky, Siskind drew an analogy between his images and musical scores or performances, never mind that he worked without color or purely with tone.

Siskind’s abstraction defies resolution. Perhaps the most interesting thing about Siskind’s abstraction is that so many forms of abstraction and the ideas behind them coalesce into a single arena, the photographic frame.

Siskind’s work fascinated me instantly because in representing so little it demonstrated so much. A literal recording can be supremely abstract. Sometimes a photograph looks nothing like the thing photographed. To photograph is to transform. (And there are many ways to bring about transformation and many kinds of transformations.) A photograph is never the thing it represents and never just a photograph.

Find out more about my influences here.








Richard Misrach – A Life’s Work

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Richard Misrach has dedicated himself to a single project for a lifetime – the Desert Cantos. Begun in 1979, the Desert Cantos is a series of series that takes its name from its location, the American desert southwest, and the structural term for a subsection of a long song or poem. Each canto varies in subject matter, the amount of time it spans, and the number of works included. Numbered as each canto is completed, the first fourteen cantos, in order, are The Terrain, The Event, The Flood, The Fires, The War (Bravo 20), The Pit, Desert Seas, The Event II, Project W-47 (The Secret), The Test Site, The Playboys, Clouds, The Inhabitants, and The Visitors. Stranded Rowboat, Salton Sea is from the third canto, The Flood. Stylistically ranging in sensibility between minimalism, realism, romanticism, impressionism, and expressionism, Misrach’s work is sometimes challenging aesthetically and always subtly steeped in the social issues that surround land use, ultimately becoming an extended meditation on how man (particularly the American psyche) and nature (specifically the American southwest) define one another.

Misrach thinks of all his desert pictures as part of a single great work, divided by smaller themes and stylistic treatments. When collected together, they become a monumental study constructed by wide-ranging explorations of many aspects of a complex subject with a long history and ultimately a rumination on self and identity. The American west is the landscape that defined the American psyche as we know it. Through his work, we come to understand that both may be stranger than we think.

Richard Misrach’s work reminds me of how each work an artist produces is connected to all other works, in one way or another, and that creative development and presentation of that work can highlight those connections, not just for the public but for the artist as well. Even more importantly, he demonstrates the depth and breadth that can be achieved through dedication to a single subject for an extended period of time.

Read my extended conversation with Richard Misrach here.
Find out more about my influences here.







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