March 24
Imaging America
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. Fete du Trone de Geant. 1925.
Eugene Atget. Corsets, Boulevard
de Strasbourg, Paris. c. 1905.
20th Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
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 |
Aleksander Rodchenko
1891 - 1956
Aleksander Rodchenko. Woman
at the Telephone. 1928. |
Russian Constructivism = movement in art, architecture and design in Russia from 1919 to the mid 1930s that rejected the idea of "art for arts sake" in favor of art "for the people" with a clear social purpose. |
Aleksander Rodchenko. Portrait
of My Mother. 1924.
Rosenblum, Naomi. A World History of
Photography. Abbeville Press, New York. 1989.
Alexander Rodchenko. Chauffeur.
1933.
Newhall, Beaumont. The History of Photography.
The Museum of Modern Art, New York. 1982.
Alexander Rodchenko. Untitled (Walking Figure). 1928.
Marien, Mary Warner. Photography: A cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
"One
has to take several different shots of a subject, from different
points of view and in different situations, as if one examined it
in the round rather than looked through the same key-hole again
and again." - Rodchenko |
Film und Foto Exhibition
1929
Revolutionary spirit of modern photography expressed in the Film Und Foto exhibition: |
Film und Foto International Exhibition
poster. 1929. |
||
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 |
Aleksander
Rodchenko |
Herbert
Bayer |
|
Paul Outerbridge |
Edward Weston |
John Heartfield |
|
Berencice
Abbott |
Laszlo Moholy-Nagy |
Florence
Henri |
|
Edward
Steichen |
Albert
Renger-Patzsch |
Man Ray |
|
Hitler viewing the Degenerate Art Exhibit. 1937.
http://stevenlehrer.com/images/degenart.jpg
New Vision in America
Paul Strand. The Lathe. 1923.
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.
Edward Steichen. Gloria
Swanson. 1926.
20th Century Photography Museum Ludwig Cologne.
Taschen, Koln, 2005.
Eward Steichen. Shoes. c. 1929.
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
Weston with camera. 1937.
http://latimesblogs.latimes.com/thedailymirror/images/2008/01/02/edward_weston_1937_0329_lat.jpg
Imogen Cunningham. Banana Plant. c. 1929. |
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 |
|
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" |
"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. Pepper #30. 1930. |
Edward Weston. Shell. c. 1930.
http://www.daytonartinstitute.org/images/collection/WestonShell.jpg
Edward Weston. Nude. 1926.
previsualiztion
= ability to see one's finished print before exposure |
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
Zone System
= aide for determining correct exposure and development times |
11 different
zones |
Zone O = maximum
black |
Zone X = pure
white |
Ansel Adams. Oak Tree, Snow Storm, Yosemite. 1948.
http://www.dailyinfo.co.uk/images/exhibitions/ansel-adams.jpg
