There is always a subjective aspect in landscape art, something in the picture that tells us as much about who is behind the camera as about what is in front of it.
Interpretation
Landscape art reflects the artist's perspective as much as it represents the scenery.
Robert Adams emphasizes that landscape art is not just a depiction of nature; it also reveals the artist's personal interpretation and identity. The subjective nature of art means that each landscape is filtered through the lens of the artist's experiences, emotions, and intentions, suggesting that both the subject and the creator are equally important in understanding the artwork.
In practice
In an art class discussing the importance of personal style, one might say, 'As Robert Adams noted, there is always a subjective aspect in landscape art.'
Part of the reason that these attempts at explanation fail, I think, is that photographers, like all artists, choose their medium because it allows them the most fully truthful expression of their vision... as Robert Frost told a person who asked him what one of his poems meant, 'You want me to say it worse?'
If I like many photographers, and I do, I account for this by noting a quality they share - animation. They may or may not make a living by photography, but they are alive by it.
When photographers get beyond copying the achievements of others, or just repeating their own accidental first successes, they learn that they do not know where in the world they will find pictures. Nobody does. Each photograph that works is a revelation to its supposed creator.
We have names for everything. What if we forgot about those names? And we stopped seeing things as something? What if we just observed things, watched things, without giving them a name, without coming to a conclusion? What do you think would happen? You would transcend everything.
The only things that distinguish the photographer from everybody else are his pictures: they alone are the basis for our special interest in him. If pictures cannot be understood without knowing details of the artist's private life, then that is a reason for faulting them; major art, by definition, can stand independent of its maker.
Why do most great pictures look uncontrived? Why do photographers bother with the deception, especially since it so often requires the hardest work of all? The answer is, I think, that the deception is necessary if the goal of art is to be reached: only pictures that look as if they had been easily made can convincingly suggest that beauty is commonplace.
I think the moment you start trying to please a fan base is when you start going downhill. I'm going to always, always write about what I want, even if it doesn't necessarily cater to most of them.
If you appear in the 'Atlantic' or 'Harper's' or the 'New Yorker,' by God, you must be a writer, because everybody says so.
Even after I became involved in theater and involved in TV and film, I had this sort of idea that Hollywood was off limits. There was something about L.A., the mystique of it and fear of it.
Mona Lisa must have had the highway blues; you can tell by the way she smiles.
Disneyland is the star, everything else is in the supporting role.
I have to say, I grew up with fashion because my mother was a seamstress, and she had an atelier. She would cut the first pattern, and then she had people working for her. So I grew up in an atelier, watching people all around me sewing. I was fascinated.
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