Amazingly enough, Declan Burke, Irish crime novelist and reviewer, has managed to dig up Shakespeare's own treatise on writing. Yes, I could just post the discovery under my own name, but apparently theft is only allowed if you're a genius. Crime always pays, except when it doesn't...Here's the Bard's first rule of writing:
1. Write ye not a new tale if’t can at all be helped. Plunder thou yon histories, myths and pre-Renaissance Italian romances for plot, setting, character, structure, style and theme. If anyone notice, claim ye homage.
For the other nine, I'm afraid you're just going to have to hit the link.
Photography can be a bit hit and miss with me. Much of what gets raves in contemporary art culture leaves me a bit cold, and with photographs in particular, I can often feel that the virtues of composition don't make up for the fact that I can't connect in any meaningful way with them.
But coming across Massimo Vitali in the Winter 2009 issue of The Paris Review, I realize that I'm not that as jaded as I might think.
I'm sure we've all seen countless pictures of crowds on beaches and in the water. For me, at least, they are usually more interesting if they are historic shots. You tend to focus on what is different than today's beach fashion and etiquette, and maybe have a kind of ghostly people about people long vanished. Sometimes it's just the sheer density of the crowd that attracts the eye.
Somehow, though, Massali's photographs are all about individual human beings. Although the Paris Review article talks a bit about how he does it, I'm not sure that this goes a long way toward explaining how he manages this multi-individual focus. I think the comparison they make to Breughel is apt--you do see a vast crowd and then slowly stop and look at individual details. But the difference from Breughel is also instructive--Massali doesn't have entire control over who falls within the frame and who doesn't.
And what people are doing in these pictures is not necessarily so entertaining (because foreign to us) as Breughels are of a long vanished culture. And yet Massali has a way of making them all dramatically interesting. You sense that they are all involved in their own life dramas, which are as interesting to them as your own are to you.
The palette, too, is beautiful, which is also surprising. The bright colors of contemporary swimwear against pale beaches and often pale tropical seas is striking. I think we tend to look on cheap commercial fashion colors, and yet seen from afar we can know it as both beautiful and vital.
In the end, I'm not sure that I have explained the allure of these photographs at all. What I can say is that I stopped and reveled in them for awhile in wonder.