History of Photo
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92 terms
Terms | Definitions |
|---|---|
 Sherrie Levine | re-photographed Walker Evans' photo. Prevalence of the copy in everyday life. It can also change the context/meaning of a photo. Example of postmodernism, challenges the expectation of originality. She sidesteps the issue of copyright or stealing, because there was no enforced copyright on the picture. Making a statement in the art world. Appropriation = using found images. |
| Cindy Sherman | "Untitled Film Still #21". Makes collages of herself. Transforms herself, dresses up as characters, playing roles that you might see in a film. Brings up the topic of feminist theory, male gaze, etc. Simulacra? = looks like a copy but not actually a copy of anything. Also did the same with art history. She dresses up as old historical figures. Transforms herself into a many characters, her props are usually synthetic or fake (breasts, pets, etc). manipulates backgrounds as well. |
| Richard Prince | re-photographed scraps of images from advertisements. Blurring, enlarging. Another example of appropriation. Changes the context and original meaning of the image. Critiques these perfect models presented through advertising. A copy of a copy of a myth. Believes that we don't need any more pictures, we can use pictures that have already been taken. Masculine identities constructed through advertising. Advertising = culture is attracted to the spectacle. |
| Barbara Kruger | uses advertising to draw attention to how as a culture we are "under attack". Uses red, black, and white. Counter-ads. Comes up with her own slogans. Critiques advertising. |
| Gilbert and George | British art team. Make gigantic billboards. Not necessarily critiquing advertising, but appropriating it as a form of expression. Touches themes of religion, sexuality, race, superstitions, terrorism, etc. they always appear in their work, usually has a large grid. |
| John Baldessari | "An Eight-Sided Tale" (questions the way images are supposed to look). he burned all of his paintings in a crematorium. Put them in a box. "Cremation Project". Wanted to make work that was just about ideas. Grandfather of conceptual art. Uses to write texts to describe a painting. Frequently references DuChamp, what is art, what should it look like? "Wrong". Demonstrates all the rules of photography that you should follow, and how photography is supposed to look. (man standing in front of a palm tree). Uses all found images, never takes a picture. |
| David Hockney | "Pearblossom Highway". compilations. Similar to Robert Flick. Uses polaroids to shoot a scene, and recombines them to create a collage. Challenges the single perspective of the camera. Shouldn't be bound by the limitations of technology. Panoramic assault on perspective. Every picture taken from a different perspective. Similar to cubist paintings. "Joiners". |
| Krzysztof Wodiczko | turned physical objects (buildings) into photographs through projection, turns photographs into physical objects. Political themes. Also projected videos. Videos of people experiencing trauma, confessions. Turning public spaces into emotional spaces. |
| Mike and Doug Starn | twin brothers. Challenge how photographs should be displayed, turns them into sculptural objects. Conceptual art, printed on mulberry paper, which is likely to disintegrate. Represents how no image lasts forever. Glued, taped, stapled together. |
| Mike Mandel | trails of light that follows every gesture he makes (taking food out of the fridge). Made series of baseball cards of photographers. Art as an insider community, club. |
| Gerhard Richter | taking found images from newspapers and repainted them. Not exact copies, would distort or blur them. |
| James Welling | similar to Aaron Siskind (paint peeling). Also approaching photography in an abstract perspective. Takes photographs of aluminum foil, pastry dough, crinkled fabric. |
| Uta Barth | makes series of blurred images. Wants to photograph an environment rather than a subject. Supposed to make us aware of our own perceptions, our expectations on certain types of imagery. Wants us to draw attention to certain types of images based on background, testing our memory/habitual responses to images. (bookshelf background= school pictures). Also Hiroshi Sugimoto. |
| Adam Fuss | experiments with photogram, and color photogram. Wants to investigate processes. Uses dead rabbits to take a photogram. |
| Robert Mapplethorpe | "Calla Lily". Starts off with images with formal values.. following all rules of photography, clear, compositions, large range of tones. Then switches to homo-erotic content, yet still maintaining classic elements of formalism. Uses formal elements but switches the subject (similar to Diane Arbus). Forces us to come to terms with what we expect to see in photographs. Critiqued by religious and conservative organizations. They questions whether the government should be involved in the arts. What is too obscene and who determines what is tasteful? Raise questions of censorship and free speech. |
| David Wojnaroqicz | in same exhibit with Mapplethorpe. Part of most notorious censorship debate (image of bloody Jesus on the crucifix). Images were used by a group called Act Up, who were trying to change public perceptions of the gay community. (Silence=death, we're here, we're queer, get used to it). |
| Andres Serano | crucifix picture submerged in urine. Activists destroyed his image because they thought it was an attack on religion. Truly, he is an active catholic. Also photographed morgue victims. Hyper-real, vivid depictions of death. Never shows the whole body. |
| Andreas Gursky | "99 cent". Hyper-realistic style. Photographs as large objects. Distant perspective, away from the action, straightforward, objective. Social themes like consumerism. Looking for patterns in the chaos. Vast views (sense of the sublime). Anthropological (social patterns). Not interested in individuals. Photography to challenge painting. |
| Thomas Ruff | large scale portraits. Large format abstractions as well. |
| Thomas Struth | prints large images on plexi-glass. Makes images of streets. Wants to photograph fundamental structures. Idea of basic structures that shape us: family portraits. Doesn't arrange the poses. Wants to document how people interact with culture and history: photographs people in museums. |
| Candida Hofer | large format, super detail, high res. Public spaces and rooms. Many are of libraries, or places of culture/knowledge. |
| Laurie Simmons | photographs children's toys... feminist perspective. Female role models, women as an object. |
| David Levinthal | photographs toys as models of American myths. Wild West series. Wants to reconstruct ideas and cultural mythologies. Also switched to Barbie, WWII images with action figures, space culture, American baseball, blurred parts of the action to they seem to be moving. |
| James Casebrere | handmade models of towns, fields, suburbia. Wants to physically recreate places that we've learned about through synthetic, second-hand imagery. |
| Thomas Demand | made his images out of paper (temporary). Based on found images from the news and media. Only exist as photographs. He builds these scenes that only become photographs. All photographs are capturing moments that have passed, all death in a way. All places he's never visited. |
| Joel Peter Witkin | All fake, surrealism, death, body parts |
| Jeff Wall | constructing scenes. "The Destroyed Room", based on a painting. Doesn't photograph things that are happening, all reconstructed in a studio. Based on something that he witnessed. Reconstructed vs. decisive moment? "near-documentary photography". Hired a woman to live in an apartment for 8 months, documented her life, edited multiple images and days put together into one image. Constructed even though it looks like a snapshot. |
| John Coplnas | all images of his body |
| Jack Pierson | more of a sculpture, "desire & despair" |
| Wolfgang Tilmans | unconventional photos. Shows his photos in galleries in a different way. (Two people hugging, man taking splinter out of his foot) |
| Nan Goldin | female Larry Clark. Scenes of violence, documenting herself after being battered. Snapshots, fuzzy, not perfect, she's usually the subject. |
| Tina Barney | upper class, elite, New England society, interactions between family members. "Maria's room". Explore a directorial mode. Scenes that are fabricated or reconstructed. Uses large format camera. |
| Fred Wilson | not a photographer. Went into major museums and rearranges their collections to demonstrate how African Americans aren't represented. AAs aren't represented through modern art, but instead are just security guards. |
| Greg Crewdson | "Untitled, Winter". Directorial mode. Actors, props, sets up scenes, lighting. Unusual narratives, we are supposed to come up with a story. (women sitting in her kitchen with flowers growing). Quality of light is important to him. Large format, super realistic. Blending photography with cinema. "Twilight" : transition of moment between light and darkness. Critiquing suburbia, there are unusual things that aren't being shown. "Beneath the Roses", beneath the perfect surface of suburbia. Really elaborate productions and sets. Whole production crew. Also used a lot of celebrities. "Ophelia". |
| Ed Ruscha | works in Cali. Came out of an art school in Cali, which emphasized conceptual approaches > aesthetics. He photographs things in dispassionate ways. Gas Stations. Cataloging and categorizing. Also did parking lots, swimming pools. Every Building on the Sunset Strip. (30 foot long photograph). Another twist on street photography. |
| Bernd and Hilla Becher | "Typologies of Water Towers". Work is always displayed in a series. Direct, straight manner. Focused on aesthetics. Not about mood or emotion, it's about cataloging objects. Objective photography. Public interpreted their pictures as nostalgic. "New Topographics". |
| Lewis Baltz | "Southwest Wall". generic images of places. Artificial structures in Urbine, California. Images reflect control and power. Represents crises of technology. Anti-aesthetic. Technological sites. |
| Robert Adams | another member of the "New Topographics" exhibit. Anti-Ansel Adams. About how man and the landscape interact. Also has phD in English. Showing dynamic between man and nature. Garry Winogrand shows how people interact in public --- he shows how people interact with nature. Sometimes political. Not heroic images of the west. Not always man being negative, sometimes nature has a bad side. |
| Robert Flick | tiny squares of a thousand pictures. Updating street photography. Similar to Ruscha, like a compound eye... how an insect might see the world. The Arena Series, hundreds of pictures of a parking lot in Santa Monica. Formal studies of light and shadow. How parking lots and structures are pervasive in the new world, parking lots as landscapes. |
| William Eggleston | "Greenwood, Mississippi" (red room with light bulb). Used color images. First color photography exhibit in the Museum of Modern Art. Images are critiqued for being ordinary. They are generic scenes that show ordinary life. Guide. Plays with scale and perspective. Don't really have a meaning, work against the grain of what art is supposed to look like. Really about showcasing color (tricycle, bags of garbage, his freezer). An announcement of color as a new medium. |
| Stephen Shore | "Beverly Boulevard and La Brea Avenue, Los Angeles, CA". studies in color and composition. Similar to Walker Evans approach but with color. Really ordinary. Uncommon Places. |
| Joel Meyerowitz | used huge camera. Not pre-visualized. Casual moments that he comes upon. Also does street photography (in color)* |
| Joel Stemfeld | also making large format color images. Also travelling around the country documenting scenes he comes upon (just like Eggleston-Meyerowitz). Usual irony and unusual juxtapositions, but uses a lot of color. American Prospects. |
| Robert W. Fichter | part of the group of people who pursue alternative methods. Other ways that they can approach photography. Photo print fusion: combining photography, lithography and drawing. Example of postmodernism while blurring mediums. No message, unusual elements and processes mixed together. |
| Naomi Savage | Man Ray's niece. Creates photographic engravings. Prints her images on a plate, etched in with acid. Exploring other methods of photography. |
| Thomas Barrow | comes out of Institute of Design. Wanted to be an authentic witness. Uses stencils, spray paint, cuts up images and pastes them back together. The Cancellation Series (scratches an X into all of his photos). |
| William Larson | also experiments with new technologies. Electrostatic print. Split scan images. Other ways to create images. Manipulates technologies. Photograph isn't just a rectangle. Makes collages including texts. |
| Les Krim | Strange Scenes |
| Lucas Samaras | "Photo-Transformation, #39". Student at Rutgers. Questioning what the object of art should be. The use of your body, theatre, physical activity used to make this. His work is about performance, usually has actor or key figure in his photographs. Postmodern photographer= Sculptures, films, performances, and photography. Early use of colored polaroid film. Tries to break out of the 2 dimensional frame. Lots of photos show him in conflict with himself (self-portraits). Themes of the body, distortions. |
| Ruth Thorne Thomsen | philosophy, myths, dreams. Polaroid camera, tightly cropped. Cutting up the negatives and rearranging them. (outline of a face that's covered with another image). |
| Duane Michaels | worked for Vogue, Esquire, Mademoiselle. Wants to make images that go beyond the way things look, and capture how they feel. Puts a collage/sequence of images together. (bathroom with giant foot, photo in the background that shows him in the bathroom). Disorient the flow of space, time and perspective. Trying to communicate something other than appearances. Also interested in metaphysical issues like death, love, rejection. (death comes to an old lady sequence). Often adds blur in his images to create a sense of mystery. Photographs should show what we can't see : emotions. Hes frustrated with photography because it can't show feelings, it only shows one moment in time. |
| Jerry Uelsmann | "Untitled". Sets, scenes, props. Made extremely difficult images in the darkroom, projecting ten different negatives onto one piece of paper. Unusual juxtapositions, no narratives, just alternate realities. Interested in reality that transcends physical reality. Fits in with the surrealists. Images made from multiple negatives, can be unrealistic, not like transparency. (combines tree and house, face and fist, tree and leaf) |
| Ray Metzker | also combines multiple images (staircases, street lamp in a parking lot). Another experimental photographer. "photomosaics". Formal exercises of cropping and cutting, abstractions. |
| Robert Heinecken | Appropriation (combining found images). Primary subject matter is female imagery and pornography. Uses images from magazines and advertisements. Socially critical of the dominance of media and advertising. Rarely used a camera, all in the darkroom, used found footage. |
| Chuck Close | photorealistic paintings. Part of the photorealism movement. Wanted to challenge photography's authority as the most realistic image making system. The paintings were really large, hyper-detailed, and based on photographs. Painters challenging photography. |
| Diane Arbus | focuses on what makes us different. Influenced by Weegee. Interesting and unique people. They normalize difference, opposite of Steichen's "sameness". Emphasized the strangeness of "sameness" (pictures of twins and triplets). Found differences in all parts of society, high class and low class. Undermines myth of childhood innocence. (picture of kid with a grenade in his hand). She never hid behind the camera, had a very personal approach, interacted with her subjects. Always showing people that were very comfortable with themselves (nudists, drag queens, circus performers, interracial couples, unhappy socialites). Makes us aware of our own biases, who's a winner, who's a loser. She ends up killing herself, perhaps she became too closely involved with her subjects. (opposite of Cartier-Bresson or Robert Frank) |
| Bruce Davidson | "Two Youths, Coney Island". New subjective documentary style. Gets involved with a group of teenagers called "The Jokers". He's not a reporter he's actually a part of their experience and story. Emotional connection with this 'gang'. Feelings of loneliness, abandonment. He related to the people in the pictures. His photos were more humanizing than objectifying. Insight into their struggles. Overturning Victorian ideas of youth as innocent, but instead they are corruptible and capable of bad behavior. He also became involved in the Civil Rights movement. Took same subjective documentary approach, becoming involved with the people he was photographing. More about mood and emotional qualities. Also made a series of images from a circus. Photographed a specific performer named Jimmy Armstrong. Not a conventional narrative. More about his interest in Jimmy as a person, not the circus itself. |
| Danny Lyon | "Cal, Bikeriders". begins his career during the Civil Rights Movement. The Movement. Capture the peaceful nature of the protest. The Bikeriders. Becomes a member of the bikers, 'Chicago Outlaws'. Lived their lifestyle, pictures of friends, wanted to record and glorify the life of the American biker. Attempt to destroy Life magazine, which was an attempt to sanitize people's views. Also wanted to photograph people who were typically unseen or unwanted. Conversations with the Dead. Photographed people in prisons, shows daily routines and rituals. He wanted to bring a truth to viewers about the conditions of prison life. |
| Larry Clark | "Dead 1970". showing his own experiences, with drug use, sex, etc. more autobiographical approach. Graphic depictions. Shows dysfunctional relationships, whether personal or with family. Investigates the link between masculinity and violence, and mass imagery with social behaviors. Teenage Lust. Autobiography of Larry Clark. Also directs a movie called "Kids". |
| Emmet Gowin | many of his images focus on his wife Edith. Reflect every day life living in rural Virginia. Simpler contrast to Larry Clark. |
| Garry Winogrand | "American Legion Convention". street photographer. Works for commercial magazines. Photographs in the 60s, more relaxed like Kennedy, and then to war and violence in Vietnam. Also Civil Rights protesting, and women fighting for their own rights. Social transformations and social issues. Shows how people interact with each other in public*. Also how people and animals interact, "The Animals". No posing, always used natural lighting. Took thousands of pictures and left many undeveloped. Women are Beautiful. |
| Lee Friedlander | "New Orleans". social landscape. Detached images. Similar to pop art. Shows TVs, reflections, abstract approaches. Doesn't want to provide interpretations for his images. Central theme= reflections. Conceptual approach. Wants to think of other ways to create pictures. Also made self-portraits, but in an oblique way. Distorts perspective and space. Also shot monuments*. |
| Bill Owens | self-taught photographer, in the Peace Core, worked for independent newspaper in Cali suburbs. Updating the idea of street photography, except now in the suburbs. He photographed neighbors and friends, who provided texts along with their photographs. 'American dream' and post-war age. Focuses on perfection in the suburbs, consumerism, boredom, appearances, culture, isolation. |
| Ralph Meatyard | "Romance (N) From Ambrose Bierce, No. 3". Optometrist. Makes bizarre pictures using people in his town in Kentucky, wearing large creepy masks. Focuses on world beneath the surface rather than appearances, influenced by zen philosophy. Alternative realities, creepy and mysterious, experimenting with double exposures. Outside of the art establishment, not participating in anything conceptual. |
| Milton Rogovin | also an optometrist. Voter registrations for African Americans, active and involved. Photographed people in the neighborhood of Buffalo by his practice. Ethnically diverse neighborhood, over 30 years (Hector and Sugar). The Forgotten Ones. Used the same camera as Diane Arbus, where you hold the camera at your chest so that you can look up at your subjects, and creates square images. Also photographed coal miners at work and at home. Working People. |
| Clarence John Laughlin | Southern Surrealist photographer. Dream-like, mysterious allegories. Used multiple exposures, ghost-like, shows inner meaning, work was a protest to realities. Freelance photographer, worked for Vogue and the government. Creates staged scenarios using abandoned buildings. Used models, props, etc. First American surrealist? Humble origins, drops out of HS, self taught photographer. |
| Harry Callahan | Self taught photographer. From Detroit, attends lecture by Ansel Adams and then starts taking photography more seriously. Travels to NY, invited to go to New Bauhaus and teach. Photographs his wife Eleanor. Many are distorted, experimental, multiple prints and exposures. |
| Wynn Bullock | From West VA, joins Art Center in LA. Images are surrealist, unusual compositions and staged scenes. (picture of baby on bed) |
| Henry Holmes Smith | alternatives to straight photography. Experiments with high speed flash, early color work. Becomes involved in Photography education. |
| Val Telberg | bleached his negatives, double exposures, burning them. Expressionist. Wanted to reflect a stream of consciousness (surrealism). Meant to show fragments of relationships, fantasies, feelings and memories. Example of a photographer who challenges pre-visualization... did everything in the darkroom after the image was taken. |
| Aaron Siskind | photographs of peeling paint. Focuses on abstract qualities that he finds in nature and architecture. Wants to eliminate a narrative. Doesn't want depth, wants flat pictures. Not social, straightforward documentary work. Meant to be seem as metaphors for time, permanence, decay. |
| Fredrick Sommer | "Arizona Landscape". Images focus on surfaces, landscapes, textures. Compliments to Jackson Pollock (the painter who threw paint onto the canvas). Framing, flattening the space, turning straight photography "on its head". Uses a straight style, but doesn't necessarily represent straight photography. Challenges appearances. Blends surrealism and abstraction (corpses he found in the desert= grotesque, nightmarish images). Uses formalism to produce beautiful images of ugly subjects. Used discarded materials found in junkyards and dumps. Also experimented with superimposing images on top of each other. |
| Robert Frank | "Trolley, New Orleans"- made the year of the Rosa Parks scandal. Outsiders view of American culture, he grew up in Switzerland. Originally did commercial photography, but hated it. Applies for a Gugenheim grant, gets it, and travels all across America to take photographs (took over 27,000 images, and narrows it down to 83)= The Americans. He viewed America as materialistic, lonely, alienating, bleak, discontentment, in contrast to happy media images. He had blurry images, unconventional framing, and refused to follow conventions of journalistic photography. Distant observer, didn't really react with the subjects. People saw him as anti-American, showing the negative portrayals of American life. |
| William Klein | had an openly critical view of American society. Experimented with unusual techniques, wide angle, motion blur, etc. Brought these strategies into fashion photography, redefined this type of photography. |
| Mario Giacomelli | inspired by Italian-neorealist cinema (usually set among working class, poor, untrained actors, with themes of poverty, desperation) |
| Richard Hamilton | Just What is it that Makes Today's Homes So Different, So Appealing?" = First work of Pop Art. Hamilton is the first pop artist. They celebrate and critique consumer culture at the same time. Adaptation of Dada, collage technique. |
| Andy Warhol | pop artist, celebration and critique of consumer culture. Unlike situationists, they accept pop culture as a part of our world. Shows loss of individual by repeating images. Individual becomes a symbol or an icon. People become symbols or icons through repeated exposure in the media. Does repetition of images like death (electric chair) desensitize us? |
| Syl Labrot | blends mediums together. Explore territory that wasn't available to photography on its own. Interested in picturing his inner world, emotional states, rather than the exterior world. Wanted to get rid of bias against color in photography. Used dye-transfer process. |
| Eliot Porter | started as a landscape photographer. Used color images. Wanted to get rid of notion that color was low-class. His images were widely distributed. They were visual arguments for the conservation movements for environmental causes. His color images increased membership in the Sierra club by promoting nature in this aesthetic way. Interesting color images of birds. Published several books of nature photography. |
| Wallace Berman | experimenting with different forms of photography, other technologies. Becomes involved in Farris (?) gallery in LA, which exhibits Andy Warhol. Beat generation of artist. Made collages and assemblages. He was arrested for obscenity in LA for exhibited a naked picture including in one of his assemblages. He makes a magazine called "Semina". He works in weird places, and makes verifacts images/collages. Verifact- precursor to photocopier. Makes photographic reproductions. Wanted his pictures to have spiritual and sociological meaning. |
| Jacques-Henri Lartique | started making images at 6. Documented his life. Perspective of a seven year old. New camera technologies gave everyone the chance to take pictures. Autochromes early forms of color photography. Came from upper class exocentric family. His images are often times just him in his friends at play. Images were pure and innocent. |
| Erich Salomon | - Inside trials, german news photographer. Innovative methods. Hid his camera in his hat. Strategic in talking himself into situations. Opening in gallery in berlin. Really involved in Germany. Travels to the US a couple times. Took pictures in supreme court and white house. |
| Brassai | Wanders the streets of paris and produces forbidden images into a book. The underworld are the subjects of his images in Paris by night. |
| WeeGee | Got name for knowing where crimes are taking place. Usually got there before police arrived. First ambulance chaser, got an "itch in his elbow" profited from his photos. Used paid informance and had a police radio, his trick. Took really interesting photos great composition. Humor and clever titles made his images stand out. Wrote a book about exposing modern photographers, trying to show us new perspective. Used framing and flash. |
| Henri Cartier-Bresson | Started off as painter, influenced by surrealists. Freeze a moment in time for eternity. The decisive moment- moment of truth. Never used flash, thought it was impolite. Shy/ hated to be photographed. Composition expert. Capturing the moment not editing. Pre-visualization. Stopped thinking of himself as surrealist and changed to photo journalist- could get more work. Captured by Nazis and forced into labor camp- escaped and joined French resistance. Forms agency called magnum (with Robert Cappa). Photographers get together and promote images. Publishes book with his theory of capturing moments. |
| Robert Cappa | Partner of Magnum. Made public believe that photos aren't truthful. Got close to action. |
| Bill Brandt | strongly influenced by surrealists. Worked as Man-Ray's assistant. Made images about distorting perspective and exaggerating forms. Have a dreamlike quality about them. Witnessed social divisions during depression. Recreates images of social class. |
| Manuel Alvarez Bravo | Creates eerie and mysterious scenes. Related to Mexican folklore rather than photography. Surrealists really liked his work because of how it was staged. Strange sexuality, unusual parings. |
| Lisette Model | Trained as a musician. Took up photography during rise of Nazi germany. Got tricked at a magazine. Interested in unconventional. Taught. Focused on freaks. |
| Helen Levitt | Interested in capturing moments on the streets of NY. Wanted images to have a sense of fantasy. Neighborhood children playing on the streets. Shot using a prism so people didn't know she was taking pictures. Wanted images to capture chance and real life. Subjects were poverty and violence not despair. Rejected any intellectual framework- just way she saw life. |
| Wright Morris | No people in the images. Vacant streets. Images were in books accompanied with fictional stories. Meant to project them into scenes. You need lots of moments together to accurately portray portrait. |
| Harold E Edgerton | Manufacturing electric flash. Would expose plate and register plate. Second type of motion was to capture really brief moments in time. REALLY fast flashed. His images were wildly reproduced. Modified cameras. Looked to solve problems- not be an artist. Discovery and analysis. Becomes professor at MIT. Photography is secondary to information he is seeking. Scientific images. |
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