July 9
Healing the Madness
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 |
Surrealism
1924 - mid 1940s
1900 Freud publishes The Interpretation of Dreams |
Proposes that dreams reveal a person's unconscious desires |
Recognizing and understanding these desires can help make sense of that person |
Supported dream analysis, free association techniques and psychotherapy as methods for delving into the unconscious mind |
Mid 1920s Surrealist movement begins in Paris |
Surrealist approaches deeply indebted to Freudian theory |
Advocated the transformation of human perception through greater contact with the imagination |
Saw irrational thought and altered states as an anecdote to the reason that brought the horrors of WWI |
Many Ray. Kiki.
1926.
20th
Century Photography: Museum Ludwig Cologne.
Koln: Taschen, 2005.
Man Ray. Ingres'
Violin. 1924.
Rosenblum,
Naomi. A World History of Photography. Abbeville Press, New York. 1989.
Jean-Auguste-Dominique Ingres. Large Odalisque. 1814.
Man Ray. Countess
Casati. c. 1928.
20th
Century Photography: Museum Ludwig Cologne.
Koln: Taschen, 2005.
George Hugnet. La septieme face du de, Poemes – decoupages. 1936.
Hans Bellmer
1902 -1975
Hans Bellmer. The Doll. c. 1934.
Hans Bellmer. La Poupee (The Doll).
c. 1934. Gelatin silver print.
http://faculty.dwc.edu/wellman/Bellmer.htm
Hans Bellmer. La Poupee (The Doll).
c. 1934. Gelatin silver print.
http://faculty.dwc.edu/wellman/Bellmer.htm
Hans Bellmer. La Poupee (The Doll).
c. 1934. Gelatin silver print.
http://faculty.dwc.edu/wellman/Bellmer.htm
Hans Bellmer. La Poupee. 1935.
Marien, Mary Warner. Photography: A Cultural History. Second edition. Upper Saddle River, NJ: Prentice Hall, 2006.
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 |
Revolutionary spirit of modern photography expressed in the 1929 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." |
||
Some of
the artists included: |
||
Berencice
Abbott |
Herbert
Bayer |
|
Imogen Cunningham |
John Heartfield |
|
Florence
Henri |
Laszlo Moholy-Nagy |
|
Paul Outerbridge |
Man Ray |
|
Albert
Renger-Patzsch |
Aleksander
Rodchenko |
|
Charles
Sheeler |
Edward
Steichen |
|
Edward Weston |
||
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.
 |
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
