David Brandon Geeting pillages the broken and useless. Wonderful things become unforgiving, unexpected, and totally exciting. He is one of the best kinds of people. Not out of bias or intimacy but because of rapturous wonder. A good image can make boring exciting. Specific representations become parts of something completely opposite of their original function in his new book Amusement Park. Bemused in assembly he makes things seen. New forms of language are highlighted in surges of creativity. What makes sense is the simplicity of nonsense. The world is ripe, the camera picks at, Geeting assembles parts. Forward, in front, searching behind, behold the uses of colors, objects, places, and people. There are all kinds of qualities inside of his work. Nothing is the same in his world, between these covers.
Book review by Efrem Zelony-Mindell
“When I have to break something, that’s when I make a photo,” says Geeting. Photography is a strange bedfellow to nostalgia, and Geeting is a victim of getting over his attachments. There is something inside the things he makes that are tests. Results may vary, recognition is thrown out, but not completely. There is a conflict between carelessness and precision. The accident is not without tact and craft and insightful consideration. The photography may be of things that are at times broken, but in their composition the frame is totally found in realization. Confusion is an accident.
Geeting’s work isn't sorry. The photos inquire new constructs and choke the limits of design and turn rules on themselves. Closer to the edge a disaster is nearly within grasp. There are things in this world that come true from the profundity of disbelief. Lives begin from Geeting’s crumble, falling away together. Chasing dreams and watching fantasies decay, perceived mistakes embellish exquisite layering. Bright objects hang low like lush fruit. A hand combing through hair becomes a right angle, flush plastics read as vast oceans. In that depth a new landscape opens through the eyes of still life and portraiture. All the parts shout at each other begging to be reckoned in the viewer’s head. That's the only place where resolution comes. The struggle inside the mind is rewarded by the allowances of Geeting's carnival.
Above and beyond all else value is in the game of art. Images make madness—unashamed—breaking away from fear. Systems can become politicized. The huddle of Geeting's Amusement Park is every shape, size, and color. There is no patience for boring and the works aren’t about understanding. They are feral. Metaphor is a privilege and it is undeniable that in Geeting’s photographs opposites find qualities of commune and the abandoned find community. Their rebellion is as quiet as it is sharp. The elite is devastated by Geetings compositions. It may not be obvious, or outright, but such life is lived in his imagery. All things are for everyone. The fun of amusement is in the grip of togetherness; it doesn’t have to make sense at all.
Intrigued by this work? Read about David Brandon Geeting's crazy commercial outtakes from shoots he did for Bloomberg Businessweek and beyond HERE.