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.
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