email page print pageAll Topic Reviews
1000 Families2 ¼32 Stories365 Days51 Months5x7A Child's Life and Other StoriesA Couple of Ways of Doing SomethingA Lifetime of SecretsA Storybook LifeA Treasury of Victorian MurderActing OutAddiction and ArtAEIOUAfter PhotographyAliveAlive with Alzheimer'sAlone Together POCAltered StatesAmazing WomenAmelia's WorldAmerica at HomeAmerican AlphabetsAmnesiaAn American LensAn Exact MindAngel's WorldAngry Youth Comix #2Anjos ProibidosAnthony GoicoleaArchitecture of AuthorityArt After Conceptual ArtArt and HomosexualityArt and PhotographyArt in Three DimensionsArt Photography NowArt, Self and KnowledgeArt/PornAs We AreAsylumAttitudeAutoportraitBecoming Edvard MunchBeg the QuestionBelugaBerkoBig Rabbit's Bad MoodBill HensonBlab!Blab! 13BLAB! Vol. 14BLAB! Vol. 15BlanketsBoneyardBoneyardBoy StoriesBreakdownsBright EarthBrüselBurn, Bitchy, BurnBus OdysseyBut Is It Art?CanvasCaricatureChildrenChris VereneChristy ReportCinema PanopticumClass PicturesClick DoubleclickCloserClumsyClyde Fans CoincidencesComing of AgeComing of Age in Ancient GreeceConceptual Art and PaintingConfessions of a Cereal EaterConsider LoveCouch FictionCrumpleCzech EdenCzech Photographic Avant-Garde, 1918-1948Dan & LarryDargerDays With My FatherDead EndDear MomDeus Ex MachinaDigital DiariesDirty StoriesDisasters of WarDixie RoadDomestic VacationsDon't Go Where I Can't FollowDon't You Feel BetterDr. Jekyll & Mr. HydeDrawingsDriftlessEarly ExposuresEcstasyEdouard VuillardEnduring CreationEngland, My EnglandEntering GermanyEpilepticErwin OlafEscape from "Special"EVAEverything Will DisappearEvidenceExploring the Self through PhotographyExposureExpressionism Exquisite CorpseFamilyFamilyFamily LifeFandomaniaFaster than a Speeding BulletFictionsFigure and GroundFragile DVDFred the ClownFreud at WorkFridaFrom Girls to GrrlzFun HomeGeneration DadaGirl CultureGirls, Some Boys and Other CookiesGoing Into TownGood-ByeGraphic WomenGrave MattersGreat Hiking Trails of the WorldH R GigerHans BellmerHappy Halloween, Li'L SantaHauntedHere Is New YorkHey, Wait...High Art LiteHollywood CowboyHouse of JavaI Am Not This BodyI Love You But I've Chosen RockI Thought I Could FlyI'll Be Your MirrorI'm CrazyIllumineIn My Darkest HourIn Search Of DignityIn the Floyd ArchivesIn the Line of DutyInformation ArtsIntenseInvisible No MoreIt Was A Dark And Silly NightJack Cole and Plastic ManJimmy CorriganJock SturgesJock SturgesJust Between UsKafkaKatharina SieverdingLacan at the SceneLaura Numeroff's 10-Step Guide to Living with Your MonsterLife's a BitchLight in the Dark RoomLine of Beauty and GraceListening to CementLittle LitLi’l SantaLoadsLooking For MayaLost GirlLouis FaurerLouise BourgeoisLove and DesireLove Lust DesireLuckyManufactured LandscapesMass ObservationMaster BreastsMetacreationMisty DawnMnemosyneMomeMona KuhnMy Brain is Hanging Upside DownMy DepressionMy Family AlbumNatural BeautiesNatural BeautyNerveNerveNew and Used BLAB!New York September 11Night FisherNightswimmingNo More ShavesNot My ShameNotes from a DefeatistNothing ObviousNothing to HideNudes and PortraitsOliviaOlivia Saves the CircusOn City StreetsOne EyeOnly a Promise of HappinessOptic NerveOptic Nerve #11Optic Nerve #9Outlaws, Rebels, Freethinkers & PiratesOutsider ArtOutsider Art and Art TherapyPanic at Toad HallPatrolPaul M. SmithPeculiaPeekPeople Love PhotosPerfect ExamplePersepolisPhilosophersPhonesexPhoto ArtPhoto Icons I (1827-1926)Photographers, Writers, and the American ScenePhotography and LiteraturePhotography and PhilosophyPhotography and SciencePhotography and the USA Photography RebornPicturing DisabilityPlaytimePOPismPortraits of ResiliencePostmodernismPsychedelicQuestions without answersRaptors Raw YouthRay's a LaughRazmatazReclining NudeRed SnowRemembering GeorgyRequisite DistanceRineke DijkstraRippleRobert Doisneau 1912-1994Robert MaxwellRoom to PlayRXSame Difference & Other StoriesSanctumSatan's Sex BookSatellitesSchizophreniaSee Me Feel MeSelf-Taught and Outsider ArtSexSexual ArtSexyBookShadow ChamberSidewalk StoriesSkin DeepSleepwalkSmall FavorsSmile of the BuddhaSpectral EvidenceSpentSshhhh!Stranded in CantonStrange Stories for Strange Kids Stranger PassingStripped BareSummer BlondeSurrealismSymbols in ArtTestimonyThe Aesthetics of DisengagementThe AlcoholicThe Art InstinctThe Art of Adolf WolfliThe Art of MedicineThe BabiesThe Birthday RiotsThe Blue Day BookThe Blue NotebookThe BodyThe Body as ProtestThe Boulevard of Broken DreamsThe Breast BookThe Breathing FieldThe Bristol Board JungleThe Clouds AboveThe Devil and Daniel JohnstonThe Diary of a Teenage GirlThe Education of SophieThe Erotic Lives of WomenThe Face in the LensThe Illustrated Story of OThe Incantations of Daniel JohnstonThe Madonna of the FutureThe Mirror of LoveThe New Erotic PhotographyThe New LifeThe Other PlaceThe PervertThe Philosophy of Andy WarholThe Places We LiveThe Psychology of Art and the Evolution of the Conscious BrainThe Push Man and Other StoriesThe Scar of VisibilityThe September 11 Photo ProjectThe Shiniest JewelThe Speed AbaterThe Steerage and Alfred StieglitzThe Story of Frog Belly Rat BoneThe Story of SexThe Stuff of LifeThe Three ParadoxesThe Transformations of GwenThe Transformations of GwenThe Transparent CityThe TravelersThe ValleyThe Van Gogh BluesThe Wolves in the WallsThe Yellow HouseThinThings as They AreThinking of YouTierney GearonTime and SilenceTina's MouthTits, Ass, and Real EstateTransitionTrauma and Documentary Photography of the FSATravelersTropical BlendTwentieth Century EightballTwilightUnlikelyVagina WarriorsVernacular VisionariesVietnam At PeaceVisual CultureVitamin PhWar Is Only Half the StoryWhat Are You Looking At?What Art IsWhat Good Are the Arts?What Remains: The Life and Work of Sally MannWho Am I, What Am I, Where Am I?Why Comics?William KentridgeWillie DohertyWithWriters on ArtistsYoung PhotographerZip Zip My Brain Harts
This is a large book, both in the
size and number of the pages; at nearly 300, it is has many more photographs
than most collections of the work of individual photographers. Most are monochrome, with a subdued hint of
dark brown. The grain of the
photographs seems coarse, and rarely do the people, animals, or objects
depicted seem to be in sharp focus. In
many, the photographer has deliberately distorted or processed the image; some
have two photographs put together into one, and in others imperfections are
introduced in the development process; the edges of the photographers are often
exposed, showing the very edge of where light hit the original negative; in
some we see small bubbles, brush strokes, or other irregularities which
photographers make sure that their viewers never see.
this playing with the form of the photograph, letting chance imperfections
enter into the finished product, serve as examples of the coincidences of the
books title. The form and the content
of the pictures come together to produce a single finished product. It is very likely that the photographer
experimented with the negatives in many ways, and selected those pictures that
she felt worked best, the happy coincidences.
Looking at individual pictures from the book, one may not be at all sure
what she is aiming at, but seeing the collection as a whole, the mood is
somber, playful, and a little pretentious.
Certain themes emerge; she seems fascinated by formal, geometrical
qualities of images; the abstraction of circles and lines dominates many of the
pictures; she also seems to love random intricate detail the twigs of a tree
in winter, or the blossoms of a tree in the spring, patterns of sunlight
falling on the ground through the leaves of trees, a field full of wild
blossoming flowers, the eyes on a peacocks fanned out tail, the ripples of
the sea in a cove, or the patterned imperfections she herself introduces into
are lonely too; people appear on their own, even in those images where they
appear twice, in a double exposure.
Rarely does she have people looking into the lens; more often they are
facing away, their face is not included in the picture, their eyes are closed
or their eyes are deliberately removed from the image through the introduction
of an imperfection. The picture with
the most faces is one of dead fish lined up in two rows more geometry
there. Because of the imperfections and
the dark sepia tone, even those images where a person looks open-eyed into the
camera seem to be from a different age, bringing to mind the possibility that
the person is no longer living. Indeed,
many of the animals she has photographed must indeed have been dead, perhaps
rented from a taxidermist.
perhaps mention that Moons photographs are wonderfully beautiful. The imperfections if anything enhance the
beauty, heightening the sense of formal composition, reducing the immediacy of
the people, animals or objects depicted, and drawing attention to how they are
represented in a two dimensional field.
(For me, they bring to mind the music of the band Portishead, who also
intentionally introduce imperfections to their recordings, taking special
effort to mimic the effect of scratchy vinyl behind the precision and power of
their soulful gothic dub.)
question how innovative Moons approach is; one can see echoes of photographic
experimentation by earlier masters of the medium, and I am curious to what
extent Moon does this consciously. But
she has her won, self-assured approach that makes these pictures interesting on
their own, and theres no reason to dismiss her work as derivative.
section of the book contains a different body of work of color
photographs. These are rather different
in style, full of saturated reds, yellows, and greens. They feature many more humans, often female
models dressed up in extravagant costumes.
Presumably much of the work in this section is more closely connected
with Moons work as a fashion photographer; she has published in Elle, Vogue,
Harpers Bazaar and many other well-known magazines. These pictures are livelier and far more
sensuous than the monochrome images, but they still betray a love of
geometrical patterns and an involvement in the form of the medium over the
any sense of message or meaning in these pictures, and Im not sure that there
is, it must be to do with the fragility of beauty, and the attempt to catch a
moment. In the prevalence of imperfections,
and the focus on them, one might even interpret a fascination with decay and
death. Many of the pictures have a
surreal quality, and if one were briefly to entertain a psychoanalytic thought,
one might guess that Moon is representing a powerful and destructive
unconscious force that we can detect at the edges of our experience,
threatening to erase the beauty that she finds on the surface.
© 2002 Christian Perring. First Serial Rights.
Ph.D., is Chair of the Philosophy Department at Dowling College,
Long Island. He is editor of Metapsychology Online Review.
His main research is on philosophical issues in psychiatry.
He is especially interested in exploring how philosophers can
play a greater role in public life, and he is keen to help foster
communication between philosophers, mental health professionals,
and the general public.