July 8
Healing the Madness
Claude Cahun
1893-1954
Claude Cahun. Self-portrait.
c. 1928.
Girls,
Guerrilla. The Guerilla Girls' Bedside Companion to the History of
Western Art. New York: Penguin Books, 1998.
"Beneath
this mask, another mask. I will never be finished lifting off all
these faces." -Calude Cahun |
Claude Cahun. Self-portrait.
c. 1929.
http://farm1.static.flickr.com/117/290731106_02bb35f8cc.jpg?v=0
Claude Cahun. Self-Portrait.
http://pep-web.org/document.php?id=sgs.002.0029.fig002.jpg
Joan Riviere's Womanliness as Masquerade 1929 |
Claude Cahun. Self-Portrait.
http://photo.box.sk/img/cahun005.jpg
Claude Cahun. Self-Portrait.
http://www.vinland.org/scamp/Cahun/pix/sailor2.deb.jpg
Eugene Atget
1857-1927
Eugene Atget. Prostitute.
1921.
20th Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
Eugene Atget. Fete du Trone de Geant. 1925.
Eugene Atget. Corsets, Boulevard
de Strasbourg, Paris. c. 1905.
20th Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
Common theme in Atget's work - confrontation between two opposing ideas |
Past and present |
Elegant and commonplace |
Static and moving |
Light and dark |
Eugene
Atget. Avenue des Gobelins. 1925.
http://www.moma.org/images/collection/FullSizes/50023072.jpg
punctum
= that which unexpectedly reaches out and pierces the viewer, thereby
giving new meaning to the image |
Film und Foto Exhibition
1929
Film und Foto International Exhibition
poster. 1929. |
|
Revolutionary spirit of modern photography expressed in the Film Und Foto exhibition: |
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Photographs declared the greatest of contemporary technological wonders because of its capacity to "be one of the most effective weapons against the mechanization of the spirit." |
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Some of
the artists exhibited at Film und Foto exhibition: |
Imogen Cunningham |
Paul Outerbridge |
Berencice
Abbott |
Edward
Steichen |
Charles
Sheeler |
Edward Weston |
Laszlo Moholy-Nagy |
Albert
Renger-Patzsch |
Herbert
Bayer |
John Heartfield |
Florence
Henri |
Man Ray |
Aleksander
Rodchenko |
Hitler viewing the Degenerate Art Exhibit. 1937.
http://stevenlehrer.com/images/degenart.jpg
New Vision in America
Alfred Stieglitz. Equivalent. 1930.
Alfred Stieglitz. Equivalent. 1930.
Marien, Mary Warner. Photography: A Cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
Alfred Stieglitz. Georgia O'Keefe. 1918.
http://jossefordart.typepad.com/art_journeys_and_conversa/images/georgia.jpg
Alfred Stieglitz. Georgia O'Keefe. 1918.
Alfred Stieglitz. Georgia O'
Keefe. 1918.
Drohojowska-Philp,
Hunter. Full Bloom: The Art and Life of Georgia O' Keefe. New York: W.W.
Norton & Company, 2004.
Alfred Stieglitz. Georgia O'Keefe. 1918.
Edward Steichen. Gloria
Swanson. 1926.
20th Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
Eward Steichen. Shoes. c. 1929.
Paul Strand. The Lathe. 1923.
 |
 |
Charles
Sheeler. The Upper Deck. c. 1928. Silver print. |
Charles
Sheeler. The Upper Deck. 1929. Oil on canvas. |
Richard
G. Tansey & Fred S. Kleiner. Gardner's Art Through the Ages.
Tenth ed. Fort Worth: Harcourt Brace College Publishers, 1996. |
|
Charles Sheeler. Industry. 1932.
Marien, Mary Warner. Photography: A Cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
Group f/64
1932 - 1935
Edward Weston. Solano
Country, California. 1937.
20th Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
View camera
http://upload.wikimedia.org/wikipedia/en/4/47/View_camera.png
Imogen Cunningham. Banana Plant. c. 1929.
Marien, Mary Warner. Photography: A Cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
 |
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Group f/64
approach: |
|
Sought
greatest depth of field with smallest
lens aperture |
|
Sharp focus |
|
Close-up views |
|
Large-view
format camera |
|
Contact printing
rather than enlarging
|
|
Ansel
Adams. Rose on Driftwood. 1933. 20th Century Photography Museum Ludwig Cologne. Taschen, Koln, 2005. |
Edward Weston
1886 -1958
Edward Weston. Nude.
1936.
20th Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
Edward Weston. Excusado. 1925.
Weston described
this photo as revealing "the very substance and quintessence of
the thing itself" |
Edward Weston. Pepper #30. 1930.
"I could wait no longer to print them- my new peppers, so I put aside several orders, and yesterday afternoon had an exciting time with seven new negatives. First I printed my favorite, the one made last Saturday, just as the light was failing - quickly made, but with a week's previous effort back of my immediate, unhesitating decision. A week? Yes, on this certain pepper, but twenty-eight years of effort, starting with a youth on a farm in Michigan, armed with a no. 2 Bull's Eye [Kodak] have gone into the making of this pepper, which I consider a peak of acheivement. It is a classic,
completely satisfying - a pepper - but more than a pepper: abstract,
in that it is completely outside subject matter... this new pepper takes
one beyond the world we know in the conscious mind." |
Edward Weston. Cabbage
Leaf. 1931.
http://cs.nga.gov.au/IMAGES/LRG/111392.JPG
previsualiztion
= ability to see one's finished print before exposure |
Edward Weston. Nude. 1926.
Edward Weston. Torso of Neil. 1925.
http://www.masters-of-photography.com/W/weston/weston_torso_of_neil_full.html
Ansel Adams
1902 -1984
Ansel Adams. Valley View, Yosemite. c. 1933.
Marien, Mary Warner. Photography: A Cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
Ansel Adams. Monolith, the Face of Half Dome. 1926.
http://www.valpo.edu/artmuseum/adams.jpg
Ansel Adams.
http://jeffbean.files.wordpress.com/2008/04/ansel_adams_mountains.jpg
Ansel Adams. Mono Lake, Reflections, CA. c. 1947.
Zone System
= aide for determining correct exposure and development times |
11 different
zones |
Zone O = maximum
black |
Zone X = pure
white |
Ansel
Adams. Zabriskie Point, Death Valley National Monument, California. 1948.
20th
Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
Ansel Adams. Canyon
de Chelly National Monument, Arizona. 1942.
20th Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
