Parallel Lines: Arianna Grava
Richard Avedon, Audrey Hepburn, New York, 1967
Federica Belli The language of photography is still among the most contemporary ones, notwithstanding the diffusion of digital art and AR. Which factors make photography such a relevant medium in our time?
Arianna Grava Quite simply, photography is the only art form that instantly records a portion of the world. The language is evolving and will continue to do so in step with technology, however it captures reality in a way that still remains pure. While Augmented Reality alters our surroundings and Artificial Intelligence applies algorithms, photography remains eternal. Just like most simple techniques do.
F.B. Photography is starting to contaminate and experiment with the accelerating innovations in the digital field, often relying on techniques such as AI and AR as well. Which are the most promising applications of these media in photography?
A.G. Artificial Intelligence is particularly promising. Through this technology, a cheap device like a camera or an iPhone can create content that combines photography with other art forms, including painting. For instance, one could represent a woman showing Pre-Raphaelite features by first photographing her in Parco Sempione (a park in the center of Milan, ed) and then incorporate her into a Monet painting through AI, using an algorithm. These developments are coming to life right as we speak. We are facing a new reality that does not compensate for creative shortcomings, but rather adds new possibilities. And these developments are already legitimised both in the art world and in the commercial world. For example, during the lockdown, fashion photography relied heavily on the contribution of AI.
F.B. At the same time, many contemporary photographers react to these innovations by avoiding them, rather reevaluating a classical approach to the image and its values. With so many issues linked to our future, what is the available space for a reevaluation of the past in the current market, if any?
A.G. There is definitely room for traditional photography. I personally curate the work of many photographers focused on capturing humanity. And humanity cannot be an artificial creation: whether we are talking about nature or the human body, humanity cannot be altered. And nowadays it has become more difficult to photograph humanity, even more difficult than developing projects focused on the use of multiple digital devices. Richard Avedon, Audrey Hepburn, New York, 1967
F.B. This is probably also due to the fact that it is increasingly complex to show sincere humanity when our society becomes more interconnected but also increasingly detached. The difficulty in capturing this humanity is perhaps a consequence of the difficulty in showing it in the first place.
A.G. As photographers, it becomes fundamental to show a deep sensitivity and to go beyond the surface of human attitudes: historically, the photographer has never been considered an artist, rather a witness of events. Only through its evolution could photography become part of the art circuit. Nowadays, a photographer approaching the creation of a project must conceive it and reflect on its relevance. As a result, fine art photography shows what we don't normally see, taking us to another dimension. Though I am personally enthusiastic about the outcomes of photographic evolution in step with technology, I remain strongly tied to the past in this regard. Before a photographic image, the instinct rules. And strong emotions are almost always linked to a primal, human sort of photograph.
Shirin Neshat, Unveiling (from the Women of Allah series) 1993
F.B. Though there seems to be room for classical values and humanity in photography, in the recent past beauty has been seen as suspicious, almost as evidence of the lack of a deeper message. Luckily, nowadays we are witnessing a re-evaluation of beauty. What is your perspective on the current role of beauty in photography?
A.G. An analysis of this issue must necessarily start from the consideration of beauty codes: there is always a concept of subjective beauty, thus the beauty in your eyes will never correspond to the beauty that I perceive. Yet, the difference between art and creativity lies in the depth of the beauty that is generated in the process. Art somehow goes beyond the communication of a social ideology or political thought, leading any spectator to a sublime state. For this reason, art photography tends to be loathed at first. One wonders what she is looking at, whether it makes any sense. But then you begin to love it. Opposite, the object of creativity leads to a pleasure that always remains on the surface. The advent of digital art has given rise to an aesthetic of smoothness: on our devices everything is shaped to leave a feeling of momentary pleasure. As a result, we may experience the pleasure of beauty, however we never reach the sort of beauty that amazes and disrupts, that tells something new every time. It is sublime. And often innovative arts, at least up to now, are lacking precisely the sublime. The beauty of digital art feels like a crush, irresistibly intense yet temporary. On the other hand, the feeling of beauty in art, the one that comes only in the face of a reasoned and human concept, reminds us of deep mature love.
F.B. Being responsible for the Art Department in a boutique artist agency, you work at the intersection between commercial and fine art photography. These two languages are increasingly merged by brands trying to build their identity. How do you envision the evolution of the relationship between art and commerce?
A.G. Art and commerce need each other, as brands require more and more content. Speaking of the fashion industry, for example, though there are demands from multiple cultures to be met, consumers now have access to all products at all times. In such a scenario, companies try to differentiate by communicating their product in a different way, taking advantage of the ability of art to convey content through the sublime. At the same time, art needs the commercial means to effectively disseminate its thought. It's a kind of osmosis.
F.B. In the shoes of freelance Art Advisor, another occupation of yours, you combine your personal taste in photography to an in-depth knowledge of the art market. Which of the two aspects affects your approach the most?
A.G. My role is halfway between that of an art historian and that of a financial consultant. I combine the pragmatic-economic considerations to the aesthetic ones. The two must proceed side by side. If I were to follow my instinct, the historical-aesthetic aspect would dominate, but the priority is to warrant an interesting investment for the client.The two components are roughly balanced with each other, I would say.
Arianna Grava is primarily an Art Advisor, yet she also organizes solo and group exhibitions for emerging artists. In order to invest in young creatives, she curates their positioning in the contemporary art circuit and generates collaborations between companies and artists, stimulating the professional and artistic growth of creatives.
Federica Belli
