Welcome to my photography journal of bread found discarded in public.
also available in
Section 1: Definitions
Section 2: Principles
Section 3: Thesis
Wild Bread does not follow particular functional or structural classifications or taxonomy of bread. To be bread, something must be culturally understood as 'bread'. As such:
- bread may be leavened or unleavened. Bread may be wheat or non wheat.
- 'banana bread' while structurally cake, acts as bread for the purposes of our study
- 'sweetbread' (tripe) does not act as bread (though I have a similar unpublished blog of meat waste).
To be wild, bread must be dispossessed, displaced, and demonstrate deviation from the destiny of its creation. By this definition, bread that has been dispossessed and displaced but has found itself into a bin is no longer wild for the purposes of our study. This exclusion is not to assert that landfill or composting are purposeful destinations for bread in society, rather that this artistic exercise is only interested in the transient state between loss and destruction. To be wild, bread must also comply with section 2.1 of this manifesto
For the purposes of this document, 'Wild Bread' defines
- The individual photography works of wild breads included herein,
- The collective works of wild bread photography as an artwork in itself.
Works of 'Wild Bread' may be created and engaged with by anyone, should that person follow the definitions, principles and theses of this document herein.
All photographs are authentic compositions.
No bread is, or ever was, owned by an artist. The artist does not, nor ever shall, deliberately discard bread for the purposes of art or otherwise. The artist does not, nor ever shall, manipulate others to discard bread for the purposes of art or otherwise
The public contributions to wildbread.pictures are to adhere to the rules set forth in this document. Friends of the movement are welcomed to share their own wild bread encounters for the mutual amusement of the community. Contributions may be published or remain private as per the interest of both contributor and curator. Contributors may request to be pseudonymised.
Wild Bread seeks to remain independent in its artistic form. this endeavour is recognisably impossible: external influence is inescapable, and active aversion thereof is itself an acknowledgement of any mainstream artistic theory.
Wild Bread seeks independence of publication, and is to maintain its existence through the free web. Wild Bread supports the free web for all. Wild Bread is averse to social media in the contemporary sense, but understands that itself is a social medium.
The copyright of any of the published works and materials is maintained unto any persons or organisations who adhere to or uphold digital copyright law. These persons may share or distribute works herein with consent of the author as copyright holder. Persons or organisations who do not adhere to or uphold digital copyright law are freely permitted free use of any works or materials.
Wild Bread does not seek to make wild bread photography a fad, trend or otherwise encourage the illegitimate discard of bread for photography or fame.
Wild Bread encourages others to observe or photograph wild bread if that action brings their own amusement, and to share their Wild Bread photography for the purposes of amusement to others.
Wild Bread does not seek profit; though donations and patronage is accepted and greatly welcomed.
Wild Bread instead seeks finds purpose in the shared enjoyment and fascination of its artists and viewers
The curation and publication of wild bread must cease if it can no longer align itself with the rules set forth in this document
Wild Bread as an artform attempts to remain unbiased and journalistic, allowing its independent appreciation and examination of the social commentary produced through study of discarded bread. Wild Bread as a publication, by nature of its public medium recognises its innate social and political stance on the unsustainability of food. Wild Bread and its viewers recognise sustainability issues in the production, distribution, and or consumption of bread in the communities that it can be discarded. Though this cultural examination is specific to bread, these issues pertain to food distribution and security systematically. Any social change that can resolve such issues would render all wild bread photography unobtainable. This revolution is welcomed by Wild Bread, its artists, viewers, curators and community.
Wild Bread is predominantly photographed on the stolen lands of the Kulin nation. It's authors recognise that the sovereignity of this land is unceeded, always was and always will be Aboriginal Land.