 |
Sketch of Jamie : The Crane Returns To Comfort Job
Scott Bodenheimer 1995
conté on Indian paper, 22" x 17" |
 |
Portrait of a man
Scott Bodenheimer 1994
woven color plates, 38" x 26" |
|
 |
|
Lavida Bodenheimer
Menschen Series
Scott Bodenheimer 2004
color linocut, 6" x 4", edition of 19
|
 |
|
Lee Bryan, Menschen Series
Scott Bodenheimer 2004
color linocut, 6" x 4", edition of 23
|
|
 |
Roncally
Scott Bodenheimer 2000
woven color plates, 22" x 26" |
The word “portrait” comes from the Latin, “pro” - forth and “trahere” - draw or drag. A portrait draws forth, even drags out a person, it pulls some of his inner life out for us to see, and although it does show an instance of time - one specific “then,” it also implies past and future. A portrait, whether painted or drawn or sculpted,or even written, sung, acted or danced, is only as good as it implies a full life and being surrounding its specific depicted instance.
Photography as a medium doesn't do this as well as art. Although it can capture deep insights into a person's character, the ability and the limitation of the camera is to freeze time and capture one fraction of a second and fix it into a depiction. For me, as stunningly beautiful and powerful as some photographs are, this freezing of time, this sort of temporal isolation, separates photography from art. |
|
 |
|
Debra Broman, Menschen Series
Scott Bodenheimer 2002
color linocut, 6" x 4", edition of 10
|
|
 |
|
Scott Baker, Menschen Series
Scott Bodenheimer 2003
color linocut, 6" x 4", edition of 22
|
|
|
