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'Found' Photographs in the Boyd collection Philippe Garner The implication of the generic label of 'found' photography is that these pictures - almost invariably of unknown authorship - get lost somewhere along the way. An element of their peculiar appeal - and they have become something of an obsession in recent years to collectors all over the world - lies in the fact that they were most likely never consciously quite sure of the way in the first place. What excites the collector is the image that might be instinctive, random, haphazard, awkward, naïve - sometimes naïve in its pretension - yet which, somehow, was serendipitously blessed with enough of the fall-out from the zeitgeist as defined by the prevailing 'masters' of the medium to have real merit as an exemplar of a kind of folk art. And a further key part of their appeal is in the process whereby the finder, the collector, bestows significance retrospectively on work made with little or no expectations from posterity. I love to recognise within the Boyds' choices images that parallel their primary passion for the Modern Movement in architecture and design and their California modern sensibility - the amateur or journeyman photographs that call to mind the more polished work of Blossfeld or Renger-Patzsch, or pictures that evoke the 'On the Road' mood of Kerouac and Robert Frank, or the attempted replications of the California nudes of André de Dienes, the sirens that awaited the lonely traveller on that road.

AMERICAN PHOTOGRAPHY

THREE VINTAGE PSYCHEDELIC PHOTOGRAPHS

Details

AMERICAN PHOTOGRAPHY
THREE VINTAGE PSYCHEDELIC PHOTOGRAPHS
late 1960s, all framed
each 21 in. (53.5 cm.) x 17¼ in. (43.5 cm.), framed (3)

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