Alphonse Mucha (July 24, 1860-July 14, 1939), a Czech Art Nouveau painter, illustrator, and designer was best known for his distinct style.
"Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewelry, carpets, wallpaper, and theatre sets in what was termed initially The Mucha Style but became known as Art Nouveau (French for "new art"). Mucha's works frequently featured beautiful young women in flowing, vaguely Neoclassical-looking robes, often surrounded by lush flowers which sometimes formed halos behind their heads. In contrast with contemporary poster makers he used pale pastel colors.........
The Art Nouveau style however, was one that Mucha attempted to disassociate himself from throughout his life; he always insisted that rather than maintaining any fashionable stylistic form, his paintings were entirely a product of himself and Czech art. He declared that art existed only to communicate a spiritual message, and nothing more; hence his frustration at the fame he gained by his commercial art, when he most wanted to concentrate on more artistic projects."
http://www.muchafoundation.org/gallery/browse-works
Tuesday, April 8, 2014
Sunday, April 6, 2014
Masters of Illusion; Video - notes
This video, narrated by James Burke, uses computer graphics to illustrate linear perspective and other practices used by master artists in the Renaissance period to create three-dimensional space. The Renaissance movement began in Italy and lasted from roughly 1400 to the mid-1500s.
Linear Perspective: Linear perspective is a way of creating a convincing, perfect illusion of space on a flat or two-dimensional surface.
One Point Perspective: Parallel lines appear to recede in the distance and converge at a single point, the vanishing point.
Linear perspective opened great potential for artists to create illusion and add depth to their works. This tool was not only used in drawings or paintings but sculpture in the period as well to convey a feeling of vast space.
Artists and their practices in this video include:
Filippo Brunelleschi's (re)discovery of linear perspective in about 1420.
This shifted focus to the individual, the viewer, and their observation of the artwork from a fixed viewpoint and differs greatly from the multiple viewpoints as seen in medieval art.
Masaccio was the first painter to incorporate Brunelleschi's discovery in his art; the Holy Trinity 1427, Fresco, Santa Maria Novella, Florence.
Piero della Francesaca, a mathematician and artist, introduced systematic perspective.
Albrecht Durer, a German artist, created one of the earliest known examples of multiple vanishing point perspective.
Leonardo DaVinci's fascination of how the eye perceives led him to a series of experiments with the goal to understand the physiology of the eye itself. He theorized that light enters the eye. In the Renaissance period, artists paid much attention to how light and shadow played a huge role in creating a sense of depth.
Raphael utilizes light and shadows in his paintings, with a more dramatic manner than Da Vinci's subtle style.
Da Vinci discovers the Perspective of Disappearance aka Atmospheric Perspective. Foreground colors are warmer tones while background colors are often grays, blues, or cooler tones and has less contrast as it recedes. This creates depth by emulating the 'fog' in the atmosphere.
Da Vinci drew first known anamorphic or stretched artwork.
Hans Holbein created works using this method.
Andrea Mantegna known for exploring perspective and a creative use of point of view. He considers the viewer and the angle at which the observer views the work.
In the High Renaissance, an explosion of creativity, Michelangelo and Raphael broke architectural boundaries with their large scale works.
Linear Perspective: Linear perspective is a way of creating a convincing, perfect illusion of space on a flat or two-dimensional surface.
One Point Perspective: Parallel lines appear to recede in the distance and converge at a single point, the vanishing point.
Linear perspective opened great potential for artists to create illusion and add depth to their works. This tool was not only used in drawings or paintings but sculpture in the period as well to convey a feeling of vast space.
Artists and their practices in this video include:
Filippo Brunelleschi's (re)discovery of linear perspective in about 1420.
This shifted focus to the individual, the viewer, and their observation of the artwork from a fixed viewpoint and differs greatly from the multiple viewpoints as seen in medieval art.
Masaccio was the first painter to incorporate Brunelleschi's discovery in his art; the Holy Trinity 1427, Fresco, Santa Maria Novella, Florence.
Piero della Francesaca, a mathematician and artist, introduced systematic perspective.
Albrecht Durer, a German artist, created one of the earliest known examples of multiple vanishing point perspective.
Leonardo DaVinci's fascination of how the eye perceives led him to a series of experiments with the goal to understand the physiology of the eye itself. He theorized that light enters the eye. In the Renaissance period, artists paid much attention to how light and shadow played a huge role in creating a sense of depth.
Raphael utilizes light and shadows in his paintings, with a more dramatic manner than Da Vinci's subtle style.
Da Vinci discovers the Perspective of Disappearance aka Atmospheric Perspective. Foreground colors are warmer tones while background colors are often grays, blues, or cooler tones and has less contrast as it recedes. This creates depth by emulating the 'fog' in the atmosphere.
Da Vinci drew first known anamorphic or stretched artwork.
Hans Holbein created works using this method.
Andrea Mantegna known for exploring perspective and a creative use of point of view. He considers the viewer and the angle at which the observer views the work.
In the High Renaissance, an explosion of creativity, Michelangelo and Raphael broke architectural boundaries with their large scale works.
Susan Sontag; On Photography- notes
Photographs are a reflection of humankind. Documents of history, emotion, memories, perspectives, objects, and environments.
They are used to communicate and acquire information. This enables one to gain knowledge and knowledge is power. However, it is complicated because photography can alter reality and photographs themselves can be altered.
Photographs are fragile. Images in photographs can be preserved by physical duplication of the photograph, placed/printed in books, digitally copied, etc.
They are used to communicate and acquire information. This enables one to gain knowledge and knowledge is power. However, it is complicated because photography can alter reality and photographs themselves can be altered.
Photographs are fragile. Images in photographs can be preserved by physical duplication of the photograph, placed/printed in books, digitally copied, etc.
Photography Changes Everything; Marvin Heiferman- notes
Marvin Heiferman discusses the evolution of photography and sheds light on the various avenues it is utilized in our lives. Photography is, indeed, an art medium but it is also a tool used in a broad variety of instances. With advances in technology, means of photographing and photographs/images have become very accessible. Taking photographs and sharing images have become an integral part of the human experience. Taking photos is a manner of documenting our experience, a personal memory, and also communicating those experiences, or moments, visually. The development of the digital camera, personal computer, and internet has greatly affected this practice. Nowadays, people have a camera in their phone, which is essentially on their person always. The cell or smartphone has radically altered the manner in which we take, alter, and transmit images. Heiferman states,"photographs are being made in record numbers; an estimated 1.3 billion new photographic images are made daily- close to half a trillion every year- and they can span the world in seconds." Additionally, "As photography is being transformed, so too is the implicit (but often unexamined) contract between images, reality, and it's viewers."
Photography, though it captures time, freezes a single moment/slows time to a stand still, it is also active. Photographs not only show us but they engage us- inform, evoke emotion, and stimulate us intellectually. Heiferman discusses a proposed project to advocate for a more accurate assessment of photography's utility and power. In this project, participants from various and different backgrounds were surveyed and asked how photography has transformed their personal life or field of professional interest. As they received stories or testimonies, a workable organizational structure came to be. Six categories emerged:
Photography Changes What We Want: Images confirm what we have attained and set up goal posts for what we hope to achieve
Photography Changes What We See: Photography shows us what the human eye cannot see- distance, phenomena, events that lie beyond our sight, change that is too fast or slow.
Photography Changes Who We Are: How we present ourselves, how others perceive us, how we are depicted in our own photographs or others' shapes our self-image and stereotypes.
Photography Changes What We Do: Photography does more than document what we have already done; it influences much of what we decide to do. Photo images shape how we communicate, learn, and interact.
Photography Changes Where We Go: Photographs show us worlds beyond our immediate environment. We can see places that are physically out of geographical or historical bounds.
Photography Changes What We Remember: Photography is a medium to keep track of what has happened to us. Photographs are not simply vessels of memory but have the capacity to create, interfere with, and trouble the memories we hold as individuals and as a culture.
Photography is an ever changing medium as technology advances. Photography's meaning and significance will continually change; evolving as we change because of it.
Photography, though it captures time, freezes a single moment/slows time to a stand still, it is also active. Photographs not only show us but they engage us- inform, evoke emotion, and stimulate us intellectually. Heiferman discusses a proposed project to advocate for a more accurate assessment of photography's utility and power. In this project, participants from various and different backgrounds were surveyed and asked how photography has transformed their personal life or field of professional interest. As they received stories or testimonies, a workable organizational structure came to be. Six categories emerged:
Photography Changes What We Want: Images confirm what we have attained and set up goal posts for what we hope to achieve
Photography Changes What We See: Photography shows us what the human eye cannot see- distance, phenomena, events that lie beyond our sight, change that is too fast or slow.
Photography Changes Who We Are: How we present ourselves, how others perceive us, how we are depicted in our own photographs or others' shapes our self-image and stereotypes.
Photography Changes What We Do: Photography does more than document what we have already done; it influences much of what we decide to do. Photo images shape how we communicate, learn, and interact.
Photography Changes Where We Go: Photographs show us worlds beyond our immediate environment. We can see places that are physically out of geographical or historical bounds.
Photography Changes What We Remember: Photography is a medium to keep track of what has happened to us. Photographs are not simply vessels of memory but have the capacity to create, interfere with, and trouble the memories we hold as individuals and as a culture.
Photography is an ever changing medium as technology advances. Photography's meaning and significance will continually change; evolving as we change because of it.
Saturday, April 5, 2014
A Viewer's Guide to Looking at Photographs; James T. Brooke- notes
To understand a photograph one must take time to observe and analyse. It is recommended that the photograph be revisited for full appreciation. One must free their mind of prejudices of the subject matter, printing, color, lighting, and other aspects of the photograph. This is likely the most difficult.
Analysis is broken into four steps; Description, Formal Analysis, Interpretation, and Evaluation.
Description
Account for all physical, pictorial, historical, psychological, and miscellaneous aspects of what is shown. Do not over look the title is one is present. These are not value standards, rather, devises frequently used.
-the lines, planes, forms, volumes- in the abstract. Ignore subject matter.
-the tonal structure of the photo, as well as the location of dominant tones or colors and the relationship among tones.
-shape of the photo; square, rectangle, skinny, vertical, etc.
-textures
-picture-plane perspective (camera angle), distance of picture-plane from subjects
-motion (if any) of subjects
-mood and features contributing to mood; tense, mysterious, calm
-space and planes in which subjects are located; look for fluctuating space, disquieting space, reflections; note negative space
-lights and shadows; soft, pervading, dark, non-existent, as well as the direction and distance of light
-sharp, blurred, fogged, grainy quality
-reality or non-reality imparted by photo, including what is hidden or blurred
-exotic or common-place nature of subject
-time, place, locale- definite or indefinite
-if color, what harmonies used, the intensities displayed and effect of colors
-route eye travels through photo
Formal Analysis
The description should be wholly factual. This is an interpretive tying of facts, still, without prejudices.
-geometric shapes employed; in over all composition or parts? any forms repeated?
-what parallels or repetitions are present? physically or conceptually parallel or repeated?
-what variations on theme are present
-what is the overall composition of the photo
-is it balanced? what kind of balance employed? is it appropriate?
-is it too unified? what features are unifying?
Interpretation
Imagination and real thinking is now required. Any valid thoughts can be added. Ask 'why?' to anything you may think of.
-is the statement specific or universal
-are the objects pictured symbols?
-is the statement subtle, obvious, ambiguous?
-what feelings are involved? humor, tactile, mystery etc
-what are you reminded of visually, emotionally, intellectually?
-**what is the picture really about?
-is the photo important because of the treatment of the subject
-what is the photographer's relationship to the subject?
Evaluation
Only now can judgement be passed on the photograph.
-by what standards should the photo be evaluated?
-how deep is the feeling that has been triggered by the photo?
-how suitable/acceptable is the manner in which the statement is made?
-is the statement valid? do you agree?
-where does the photo fit between Most Trivial and Most Important?
-how original is the statement and the manner its made?
-will the photo live?
If the description of a photo is stated thoroughly, you can get by without the other three stages, as Description is the most important of the four stages. This is because the description of a photograph causes one to consciously or subconsciously come to conclusions.
Analysis is broken into four steps; Description, Formal Analysis, Interpretation, and Evaluation.
Description
Account for all physical, pictorial, historical, psychological, and miscellaneous aspects of what is shown. Do not over look the title is one is present. These are not value standards, rather, devises frequently used.
-the lines, planes, forms, volumes- in the abstract. Ignore subject matter.
-the tonal structure of the photo, as well as the location of dominant tones or colors and the relationship among tones.
-shape of the photo; square, rectangle, skinny, vertical, etc.
-textures
-picture-plane perspective (camera angle), distance of picture-plane from subjects
-motion (if any) of subjects
-mood and features contributing to mood; tense, mysterious, calm
-space and planes in which subjects are located; look for fluctuating space, disquieting space, reflections; note negative space
-lights and shadows; soft, pervading, dark, non-existent, as well as the direction and distance of light
-sharp, blurred, fogged, grainy quality
-reality or non-reality imparted by photo, including what is hidden or blurred
-exotic or common-place nature of subject
-time, place, locale- definite or indefinite
-if color, what harmonies used, the intensities displayed and effect of colors
-route eye travels through photo
Formal Analysis
The description should be wholly factual. This is an interpretive tying of facts, still, without prejudices.
-geometric shapes employed; in over all composition or parts? any forms repeated?
-what parallels or repetitions are present? physically or conceptually parallel or repeated?
-what variations on theme are present
-what is the overall composition of the photo
-is it balanced? what kind of balance employed? is it appropriate?
-is it too unified? what features are unifying?
Interpretation
Imagination and real thinking is now required. Any valid thoughts can be added. Ask 'why?' to anything you may think of.
-is the statement specific or universal
-are the objects pictured symbols?
-is the statement subtle, obvious, ambiguous?
-what feelings are involved? humor, tactile, mystery etc
-what are you reminded of visually, emotionally, intellectually?
-**what is the picture really about?
-is the photo important because of the treatment of the subject
-what is the photographer's relationship to the subject?
Evaluation
Only now can judgement be passed on the photograph.
-by what standards should the photo be evaluated?
-how deep is the feeling that has been triggered by the photo?
-how suitable/acceptable is the manner in which the statement is made?
-is the statement valid? do you agree?
-where does the photo fit between Most Trivial and Most Important?
-how original is the statement and the manner its made?
-will the photo live?
If the description of a photo is stated thoroughly, you can get by without the other three stages, as Description is the most important of the four stages. This is because the description of a photograph causes one to consciously or subconsciously come to conclusions.
Spencer Art; Print Room Visit
Our class had the privilege of viewing some photographs in the Spencer Museum of Art's Print Room. These photographs were presented and a dialogue was facilitated by Assistant Curator, Kate Meyer.
We looked at the various methods in which these photos were taken. We discussed the style, purposes of the photos, and their subject matter and context as well. We also picked photographs or a series of photographs that best related to our Photography as Documentation project.
Observers will project associations to an image. Potentially, loaded associations though a simple visual subject. This can also be specific or non specific to the space in which the photo resides or is presented. Jeff Brouws' Twelve Drive-Ins I, utilizes a grid format for presenting his images of twelve different drive-ins. We discussed the subject and what sentiments or associations there are to drive-ins. Also, looking at the photographs, what the composition can say about time or the passing of time, or eras, even.
Mark Klett's Canyon del Muerto, Canyon de Chelly Nation Monument, Arizona 1978 in color as a dye transfer print, and as a gelatin silver print differ greatly in tone and observer's association of time. We see black and white and usually assume that the photograph is from a pre-color era. The color print of the same site, we assume is a (more) current photograph. Though, both images are the same age.
We discussed perspective and the eye's ability to see one view point at a time. Photography and collage work creates an image with multiple perspectives and view points that when assembled to a single image, that information can be visible to the naked eye. Gordon Matt-Clark's Splitting and Barbara Morgan's Use Litter Basket are examples of this type of fragmented style. Matt-Clark's, particularly, had an Escher quality; spontaneous perspectives, dizziness in an architectural space, almost like a twisted panorama which enables the eye to take in full range of vision that it could not otherwise in one literal moment.
Jerry Norman Uelsmann's Room #1 depicted three viewpoints simultaneously in one image, this is not in a fragmented style to the likes of Escher but the composition still presents more information in a single image than what is seen with a snaked eye's capability. In this photo, there is a clearer narrative.
Dr. Harold Eugene Edgerton and Eadweard Muybridge's stereoscopic photography work has provided groundbreaking information and understanding of movement. By rapid fire, use of flash, and precision, he was able to capture movement in such a way that had not been seen before. This new information and understanding of movement enabled artists, such as Degas, to depict movement in a more realistic manner. A specific example is Degas' horses. There is a distinct shift in the gate and how it became depicted more accurately in artworks than before.
We looked at Henry Wessel's untitled. This photo is striking and eerie and evokes a reaction. It is black and white and captures a moment when a group of birds are flying from a bush as a man is standing near by. This moment is captured, freezing the subjects in time. The birds are permanently suspended in air. We discussed the Hitchcock characteristics of this image, and again, noted what black and white versus color can do to the tone of an image.
I very much enjoy visits to the Print Room. Stimulating dialogues are always generated and I come away with a head full of thoughts and excitement. The visits are both educational and inspirational. I feel fortunate to have access to the Spencer Museum and it's Print Room. They are two of the many great resources that KU provides.
We looked at the various methods in which these photos were taken. We discussed the style, purposes of the photos, and their subject matter and context as well. We also picked photographs or a series of photographs that best related to our Photography as Documentation project.
Observers will project associations to an image. Potentially, loaded associations though a simple visual subject. This can also be specific or non specific to the space in which the photo resides or is presented. Jeff Brouws' Twelve Drive-Ins I, utilizes a grid format for presenting his images of twelve different drive-ins. We discussed the subject and what sentiments or associations there are to drive-ins. Also, looking at the photographs, what the composition can say about time or the passing of time, or eras, even.
Mark Klett's Canyon del Muerto, Canyon de Chelly Nation Monument, Arizona 1978 in color as a dye transfer print, and as a gelatin silver print differ greatly in tone and observer's association of time. We see black and white and usually assume that the photograph is from a pre-color era. The color print of the same site, we assume is a (more) current photograph. Though, both images are the same age.
We discussed perspective and the eye's ability to see one view point at a time. Photography and collage work creates an image with multiple perspectives and view points that when assembled to a single image, that information can be visible to the naked eye. Gordon Matt-Clark's Splitting and Barbara Morgan's Use Litter Basket are examples of this type of fragmented style. Matt-Clark's, particularly, had an Escher quality; spontaneous perspectives, dizziness in an architectural space, almost like a twisted panorama which enables the eye to take in full range of vision that it could not otherwise in one literal moment.
Jerry Norman Uelsmann's Room #1 depicted three viewpoints simultaneously in one image, this is not in a fragmented style to the likes of Escher but the composition still presents more information in a single image than what is seen with a snaked eye's capability. In this photo, there is a clearer narrative.
Dr. Harold Eugene Edgerton and Eadweard Muybridge's stereoscopic photography work has provided groundbreaking information and understanding of movement. By rapid fire, use of flash, and precision, he was able to capture movement in such a way that had not been seen before. This new information and understanding of movement enabled artists, such as Degas, to depict movement in a more realistic manner. A specific example is Degas' horses. There is a distinct shift in the gate and how it became depicted more accurately in artworks than before.
We looked at Henry Wessel's untitled. This photo is striking and eerie and evokes a reaction. It is black and white and captures a moment when a group of birds are flying from a bush as a man is standing near by. This moment is captured, freezing the subjects in time. The birds are permanently suspended in air. We discussed the Hitchcock characteristics of this image, and again, noted what black and white versus color can do to the tone of an image.
I very much enjoy visits to the Print Room. Stimulating dialogues are always generated and I come away with a head full of thoughts and excitement. The visits are both educational and inspirational. I feel fortunate to have access to the Spencer Museum and it's Print Room. They are two of the many great resources that KU provides.
Ways of Seeing; Psychological Aspects
John Berger discusses Art, it's value, context, meaning, and the ways reproduction abilities/technologies have affected those aspects, in the video Ways of Seeing; Psychological Aspects.
The habit and conventions used by master artists, convention of perspective, centers everything on the eye of the beholder. This is having the beholder in mind observing by being physically in the space because, of course, at the time of these works' production, this was the only way of seeing them.
The invention and advances in technology of the camera has changed not only what we see, but how we see it. This has changed what see of art that was created even before the camera- artworks of the Renaissance era, particularly.
Alters, places in churches, chapels- the paintings in these sites are specific to the space they are in. They are the memory of the place in which they reside. Everything around the image is part of its meaning and purpose. An extreme example, is the icon. The context is indicative of the space it resides.
Now, with reproduction capabilities and technology, these art works or details of them, can be viewed anywhere and everywhere- simultaneously- but with different surroundings and contexts. This greatly effects the way in which these images are perceived and observed. Now the images come to you, you do not need to go to them. As John Berger states in the video, "the days of pilgrimage are over."
Paintings have become transmittable- information of a sort.
Berger looks to a DaVinci drawing. He discusses the preservation and attitude towards this work because of its market value. The drawing's market value depends upon it's authenticity. Reproductions are sold by these museums that house the original artwork and great measures are taken to stake claim on original works by master artists.
What meaning does the same image represent when hung or pinned to a wall? How are these meanings or sentiments different from DaVinci's when he produced it?
How has art lost and how has it gained from reproduction being possible?
A gain is that the images created can now reach a much wider audience than ever before. Images of the works are transmittable, changed, transformed, manipulated.
When reproduced, the artworks become a form of information- which has to compete with it's environment, however. Also, the reproduction makes the original's meaning ambiguous.
If the reproductions can be used by anyone for any purpose, it should make it easier to connect our experience with art with other experiences. We can illustrate our words easier. Reproductions can be used for describing or recreating an experience. Scholars give much critical analysis as well as mystification to master artworks. This can create a barrier between the work and the common observer.
We look for contexts and additional information often when we experience art. This affects our understanding and does interpreting for us, leaving out possible associations or ideas that we could conclude ourselves. Berger illustrates many examples of presented context dictating an observer's impression of a given artwork.
He suggests we take some lead from children. Look to how children interpret images. Observe pictures like words rather than holy relics
Berger acknowledges, he too, uses these reproductive and technological means to communicate his ideas, questions, and images. However, he asks the viewer to consider his presentation but be skeptical, as it is not a dialogue, rather, a presentation of information, audio, and visuals.
http://www.ubu.com/film/berger_seeing1.html
The habit and conventions used by master artists, convention of perspective, centers everything on the eye of the beholder. This is having the beholder in mind observing by being physically in the space because, of course, at the time of these works' production, this was the only way of seeing them.
The invention and advances in technology of the camera has changed not only what we see, but how we see it. This has changed what see of art that was created even before the camera- artworks of the Renaissance era, particularly.
Alters, places in churches, chapels- the paintings in these sites are specific to the space they are in. They are the memory of the place in which they reside. Everything around the image is part of its meaning and purpose. An extreme example, is the icon. The context is indicative of the space it resides.
Now, with reproduction capabilities and technology, these art works or details of them, can be viewed anywhere and everywhere- simultaneously- but with different surroundings and contexts. This greatly effects the way in which these images are perceived and observed. Now the images come to you, you do not need to go to them. As John Berger states in the video, "the days of pilgrimage are over."
Paintings have become transmittable- information of a sort.
Berger looks to a DaVinci drawing. He discusses the preservation and attitude towards this work because of its market value. The drawing's market value depends upon it's authenticity. Reproductions are sold by these museums that house the original artwork and great measures are taken to stake claim on original works by master artists.
What meaning does the same image represent when hung or pinned to a wall? How are these meanings or sentiments different from DaVinci's when he produced it?
How has art lost and how has it gained from reproduction being possible?
A gain is that the images created can now reach a much wider audience than ever before. Images of the works are transmittable, changed, transformed, manipulated.
When reproduced, the artworks become a form of information- which has to compete with it's environment, however. Also, the reproduction makes the original's meaning ambiguous.
If the reproductions can be used by anyone for any purpose, it should make it easier to connect our experience with art with other experiences. We can illustrate our words easier. Reproductions can be used for describing or recreating an experience. Scholars give much critical analysis as well as mystification to master artworks. This can create a barrier between the work and the common observer.
We look for contexts and additional information often when we experience art. This affects our understanding and does interpreting for us, leaving out possible associations or ideas that we could conclude ourselves. Berger illustrates many examples of presented context dictating an observer's impression of a given artwork.
He suggests we take some lead from children. Look to how children interpret images. Observe pictures like words rather than holy relics
Berger acknowledges, he too, uses these reproductive and technological means to communicate his ideas, questions, and images. However, he asks the viewer to consider his presentation but be skeptical, as it is not a dialogue, rather, a presentation of information, audio, and visuals.
http://www.ubu.com/film/berger_seeing1.html
Tuesday, April 1, 2014
Errol Morris; Photographs and Their Connection to the Physical World, Video
"What we have forgotten is that photographs are connected to a physical world..... I've tried to recover that connection between a photograph and the world." - Errol Morris
Errol Morris discusses photography and the matter of whether or not photographs are posed. There are differing opinions on this topic. Some individuals believe that photographs tell the truth, while others believe there are no photographs that aren't posed (in some manner or another).
This reminds me of my grandfather (whose hobby was photography) telling me, "Pictures don't lie."
However, recently in a Hallmark lecture, given by KU photography professor Daniel Coburn, Coburn addressed this very topic and shared an essay in which he states his opinion that photographs do indeed lie. He showed examples of his work, which seem very candid and images appear to be spontaneously captured, but revealed that an extremely high percentage were 'staged'.
Morris' view on the topic is that photographs are neither true nor false. Truths and falsities are to be left to language; how we use words in respect to the world. He adds, however, he believes all photographs are posed. A photograph can be posed because it always is excluding something.
Morris explains how photographs show a two dimensional reality and that what is excluded from the photograph decontextualizes the scene. The only way to know what the actual reality of the photograph is to perform a true investigation by which the photograph was taken and learn what was excluded.
Photographs can evoke strong emotions and many associations or connotations are attached to images by the viewer. This occurs without context or an explanation. There is an automatic response. Is it the correct response? Would the response change when more information is given? Photographs throughout history have become iconic without the truth of the scene investigated. The image, out of it's original context, can become a symbol regardless. We create contexts for the photographs.
I feel a great example of this is a photograph by Alfred Eisenstaedt, V-J Day in Times Square; also known as The Kiss. This photograph was published in Life magazine in 1945.
At the time, Eisenstaedt was unable to get the names of the man and woman pictured, leaving them unidentified. Several men and women have since claimed to be in the photo. Mostly, the image is viewed as an expression of joy, celebration, romantic spontaneity. However, the two were strangers. It was not a consensual kiss. In many opinions, sexual contact without consent is considered sexual assault. This changes the context of the image. At first glance, a viewer's immediate associations could be romantic. Then, once given the context that the act captured in the photograph was actually something as serious as sexual assault, the viewer would certainly see the image differently. As Morris stated, photographs must be investigated to learn the truth of what we are actually looking at. This can be very difficult. The Kiss is an example, as the investigation and attempt to discover truths about the photograph have been a challenge. Many have claimed to be in the photo and recalled the scene with varying perspectives. Who do you believe?
Morris encourages individuals to explore, scrutinize, and inquire about information of
images shared through photography. He proposes the question, "Aren't you curious about the photograph and what is really going on there?"
Errol Morris discusses photography and the matter of whether or not photographs are posed. There are differing opinions on this topic. Some individuals believe that photographs tell the truth, while others believe there are no photographs that aren't posed (in some manner or another).
This reminds me of my grandfather (whose hobby was photography) telling me, "Pictures don't lie."
However, recently in a Hallmark lecture, given by KU photography professor Daniel Coburn, Coburn addressed this very topic and shared an essay in which he states his opinion that photographs do indeed lie. He showed examples of his work, which seem very candid and images appear to be spontaneously captured, but revealed that an extremely high percentage were 'staged'.
Morris' view on the topic is that photographs are neither true nor false. Truths and falsities are to be left to language; how we use words in respect to the world. He adds, however, he believes all photographs are posed. A photograph can be posed because it always is excluding something.
Morris explains how photographs show a two dimensional reality and that what is excluded from the photograph decontextualizes the scene. The only way to know what the actual reality of the photograph is to perform a true investigation by which the photograph was taken and learn what was excluded.
Photographs can evoke strong emotions and many associations or connotations are attached to images by the viewer. This occurs without context or an explanation. There is an automatic response. Is it the correct response? Would the response change when more information is given? Photographs throughout history have become iconic without the truth of the scene investigated. The image, out of it's original context, can become a symbol regardless. We create contexts for the photographs.
I feel a great example of this is a photograph by Alfred Eisenstaedt, V-J Day in Times Square; also known as The Kiss. This photograph was published in Life magazine in 1945.
Morris encourages individuals to explore, scrutinize, and inquire about information of
images shared through photography. He proposes the question, "Aren't you curious about the photograph and what is really going on there?"
Photography as Documentation; David Hockney
During this Photo Media project we looked to the photo collage work of David Hockney. In the early eighties, the artist explored capturing spaces with multiple photos grouped together to form a larger image.
The eyes can only view one perspective at a time. With this method of photo collage, Hockney can capture multiple perspectives and combine them. This practice enables the viewer to see more at once than what could be seen with the naked eye.
This collage is my favorite; Prehistoric Museum Near Palm Springs, 1982. I like the tone and very much get feeling that I am in the space and it is believable that I could be the person taking the photo. That the shadow casted could be my own.
The eyes can only view one perspective at a time. With this method of photo collage, Hockney can capture multiple perspectives and combine them. This practice enables the viewer to see more at once than what could be seen with the naked eye.
A great example is David Hockney's Telephone Pole, 1982. This collage in particular, illustrates capturing multiple perspectives within one composition.
Another example of Hockney's photo work that allows the viewer to engross themselves into an entire space is Merced River, Yosemite Valley, Sept. 1982. This scene is created, details are featured, and characteristics are included that could not in a simple panoramic shot.
I find some similarity between this composition and my own for this project. Not only because my photographs are black and white, but also the directional perspective it shares. There is more detail and 'weight' at the bottom of the collage and elements at the top are depicted as further away.
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