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Sean Wilkinson Photography

Primary

  • Affinities
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    • About Affinities
  • China
    • China
    • About China
  • Dayton Part One
    • Dayton, Part One
    • About Dayton, Part One
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  • Early & Later Black & White
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    • About Emanations
  • Flora Part One
    • Flora Part One
    • About Flora
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    • About Flora
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    • About Flora
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    • About Flora
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    • About Greenhouses
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    • About In Passing
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    • Kaddish
    • About Kaddish
  • Memoria
    • Memoria
    • About Memoria
  • Norfolk Parish Churches
    • Norfolk Parish Churches
    • About Norfolk Parish Churches
  • Six
    • Six
    • About Six
  • Sketches from Memory
    • Sketches from Memory
    • About Sketches from Memory
  • BIOGRAPHY
  • TEXTS
    • Writing About Other Photographers
      • Ansel Adams DAI 1994/2014
      • Clarence White 2016
      • Desert Cantos by Richard Misrach 1991
      • Don Anderson 1992
      • Doug Prince 1983
      • Harry Callahan 2010/2016
      • Ron Geibert 1992
      • Rule Without Exception by Lewis Baltz 1991
      • Serrano Mapplethorpe WSU 1990/2016
      • Texts from A Birthday with Presence 1989
    • Writing About Photography & Other Topics
      • Being Here: Graul Chair Installation Address
      • DVAC Talk 2007 rev 2015
      • Learning from Minor White
      • Notes on Place
      • Photographs Photography 1990 2016
      • Photography and Translation
      • Photography as Fiction
      • Relationships
      • Two Statements & Two Quotations
  • CONTACT

Learning from Minor White

Learning from Minor White

Minor White was fond of St. Catherine of Siena’s observation:  “All the way to heaven is heaven, for He said, I AM the way.” I am not qualified to offer a theological interpretation of this statement, but I will offer a simple analogy with my own understanding of the medium in which I work.  Which is that the making of photographs, the visual, intuitive, and lively conversation with light and the things of the world, the ongoing and evolving dialogue that is mediated by the camera, matters every bit as much as the pictures that emerge from that exchange.  I believe that you devote yourself to making images because of what you put into the process, not just what you get out of it.

Ad Reinhardt remarked: “Looking is not as simple as it looks.”  To speak of “taking” pictures reduces photography to petty theft.  I think the challenge for the serious photographer is to take a medium that can be used so simply and with such little thought or feeling, and to invest it with vision, discovery, rigor, and meaning.

 

Minor also spoke quite often about what else an object or an image might be, or what it might become through seeing it as more than a commonly understood signifier of identity.  Centuries earlier, William Blake referred to the same idea when he wrote about two-fold and three-fold vision.  It is easy to dismiss such ideas.  Hardboiled pragmatism is the supreme virtue of many, while cleverness and cynicism seem to satisfy most of the rest.  But it is the insight and imagination of Blake and White that I most wish to honor through my own work.

Another one of many things I learned from Minor White is the importance of sequencing.  That is to say, the order in which multiple photographs are seen, the relationships that can be created/discovered between one image and the next, and throughout a body of work.  Nothing in the universe stands alone.  And as the American poet, George Oppen said, “Things explain each other, not themselves.”  Each picture is influenced by the context of others in its company.

 

© 2025 Sean WilkinsonMINIMAL

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