Maybe it's just a coincidence of date and place, but I always think of Ghirri as the Italo Calvino of photography: Like Calvino (at least in his «Difficult Loves» mode) Ghirri engages in very close
observation of the everyday world, but always manages to find the surreal in it — but again like Calvino, the strangeness seems more profound and structural than merely freaky.
Not exact matches
Ancient cosmologies were developed on the basis
of phenomenal
observations of the
world — that is, things as they appeared to
everyday observation.
His parables reveal a close and sympathetic
observation of everyday life: the farmer's sowing and reaping, the shepherd and his flock, the house built on the rock, the leaven in the dough, the lost coin and the lost sheep, the father's joy in the return
of a wayward son and the elder brother's peevish jealousy, the mother forgetting her agony for joy that a man has been born into the
world, the workers standing idle in the marketplace because no one has hired them, and many other instances.
Nochlin's decades - old
observation that realism would increasingly mimic the hyperreal — the
world as seen through a lens — and re-frame literal objects in subtle ways seems to hold true for Sherald's array
of everyday people.
Moulène's photo series document in retrospect temporally determined alterations
of forms taken from
everyday life as a result
of changing production conditions, but which simultaneously also reveal an
observation of the
world as seen from the perspective
of an attentive flâneur.