7. Choose a contemporary photographer (someone who is written about) who makes work about everyday life. Address what you understand by ‘everyday life’ by researching the phrase. Is the photographer’s work documentary or constructed? Justify your answer. What ideas is he or she working with and how do these ideas address everyday life? THESIS: Jeff Wall creates fictionalised, highly constructed “everyday life” images. Jeff Walls pictures are cibachrome transparencies presented on fluorescent illuminated light boxes. Their large almost life size scale fascinates the viewer with the deliberately constructed world which seems familiar, to the spectator resembles everyday life. Walls art draws on structured masterpieces to demonstrate …show more content…
The architecture of performance and art in Wall’s pictures, through the presentation of the transparency medium, displayed on a light box affirming another world, projected. Suggesting a privacy from within to the outside. Opposing between the self and society. “Staking an art-into-life claim as a neo-avantgarde,”7 that art be reintegrated in the praxis of life. Wall’s works critique of that spectacle. The viewer experiences the event as a record of the restaged social situations to a level of spectacularity. Discussing his work Wall explains: ‘Slowly, I have come to feel that meaning is almost completely unimportant. Because of our education in art over the last 20 or 30 years, people expect to relate to art by understanding it, by apprehending what it means. But I may have returned to an older, simpler point of view, namely that we don’t need to understand art, we need only to fully experience it. Then we will live with the consequences of that experience, or those experiences, and that will be how art affects …show more content…
Joe Moran, Reading The Everyday (New York: Routledge, 2005),19 11. Thierry de Duve, Pelenc, and Boris Groys. Jeff Wall (London: Phaidon Press Limited, 1996), 127. Bibliography Cotton, Charlotte. The Photograph As Contemporary Art. London: Thames & Hudson, 2004. De Duve, Groys, and Arielle Pelenc. Jeff Wall. London: Phaidon Press Limited, 1996. Herzog, Jacques, and Jeff Wall. Pictures of Architecture, Architecture of Pictures: A Conversation Between Jacques Herzog and Jeff Wall. New York: Springer, 2004. Martin, Stewart. “Wall’s Tableau Mort.” Oxford Art Journal 30, no.1 (2007): 117- 133. Accessed May 22, 2014. doi:10.1093/oxartj/kc1036. Michel, Regis. “White Negro: Jeff Wall’s Uncle Tom On the Obscenity of Photopantomine,” Oxford Art Journal 30, no.1 (2007): 55-68. doi 10.1093/oxartj/kc1032. Moran, Joe. Reading The Everyday. New York: Routledge, 2005. Oxford Art Online. “The Concise Oxford Dictionary of Art Terms,” http://www.oxfordartonline.com:80/subscriber/article/opr/t4/e774 Stimson, Blake. “The Artiste.” Oxford Art Journal 30, no.1 (2007): 101-115. Accessed May 22, 2014. doi:
For my museum selection I decided to attend Texas State University’s Wittliff Collection. When I arrived, there was no one else there besides me and the librarian. To be honest, I probably would have never gone to an art museum if my teacher didn’t require me to. This was my first time attending the Wittliff Collection, thus I asked the librarian, “Is there any other artwork besides Southwestern and Mexican photography?” She answered, “No, the Wittliff is known only for Southwestern and Mexican photography.” I smiled with a sense of embarrassment and continued to view the different photos. As I walked through Wittliff, I became overwhelmed with all of the different types of photography. There were so many amazing pieces that it became difficult to select which one to write about. However, I finally managed to choose three unique photography pieces by Alinka Echeverria, Geoff Winningham, and Keith Carter.
Johnson, Brooks. Photography Speaks: 150 Photographers on their Art.” New York: Aperture Foundation Inc., 2004. Print.
Susan Sontag once wrote, “To collect photographs is to collect the world.” In her article entitled “On Photography,” she overviews the nature of photography and its relation to people using it. Sontag discusses photography’s ability to realistically capture the past rather than an interpretation of it, acting as mementos that become immortal. Continuing on to argue the authenticity of photography and how its view points have shifted from art into a social rite.With the use of rhetorical devices, Sontag scrutinizes the characteristics of photography and its effects on surrounding affairs; throughout this article Sontag reiterates the social rites, immortality and authenticity of photographs, and the act of photography becoming voyeuristic. With the use of the rhetorical devices pathos, appeal of emotion, ethos, appeal to ethics and credibility, and logos, appeal to logic, Sontag successfully persuades the audience to connect and agree with her views.
She has been giving her expertise in the form of photography and the art of installation and multi-media for fourteen years now, and she doesn’t plan on giving it up anytime soon. As Skoglund began to see that the sky was the limit, along with teaching, she decided to experiment with illustration and commercial images. The advancement in these areas had been a lifelong dream. Merely overnight, Skoglund’s career blossomed and her sole purpose in all of this was to make people see and feel her brilliant expression in a way that they could easily relate to. Over the years Ms. Skoglund has created an art that seems to bash modern day reality as we know it.
Arresting images from the everyday and making a “commentary on contemporary society using the very images that helped to create that society”
5 Light, Ken. Tremain, Kerry. Witness in our Time: Working Lives of Documentary Photographers. Washington and London: Smithsonian Institution Press, 2000.
John Mahtesian's photography offers a visual poetry of the human condition. It is a direct expression of his warmth, depth of spirit, and humanity. A true gentleman, extremely humble and unfailingly polite, he achieves an invisibility that is the success of his art. His patience and commitment to his vision allow him to capture moments others could not. If his subjects are aware of his presence, his gentle nature so enchants them that they are unguarded and their essence is revealed. So compelling are his images that we are truly convinced his insights are our own. They make us rejoice in the world around us, and in the nature of human existence.
Modernist paintings are many times described as being universal because ‘they’re just a bunch of pretty shapes and colors and everyone likes pretty shapes and colors.’ What most people don’t realize is that Modernist art conveys a sense of otherworldly reality through the ‘pretty shapes and colors.’
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
As seen in paintings of battle scenes and portraits of wealthy Renaissance aristocracy, people have always strived to preserve and document their existence. The creation of photography was merely the logical continuum of human nature’s innate desire to preserve the past, as well as a necessary reaction to a world in a stage of dramatic and irreversible change. It is not a coincidence that photography arose in major industrial cities towards the end of the nineteenth century.
Photojournalism is a specific form of journalism that employs the use of images to form a news story that meaningfully contributes to the media. This allows a photographer to capture stills that tell the story of a moment in time. Photojournalism creates a transparency between the media and the people as it depicts an accurate representation where meaning can be misinterpreted through text. Photojournalism largely contributes to the way we understand the reality of a moment. Becker (1982) supports this concept as he compares photography to paintings. He says that paintings get their meaning from the painters, collectors, critics, and curators; therefore photographs get their meaning from the way people understand them and use them. Photojournalist’s
In Sontag’s On Photography, she claims photography limits our understanding of the world. Though Sontag acknowledges “photographs fill in blanks in our mental pictures”, she believes “the camera’s rendering of reality must always hide more than it discloses.” She argues photographs offer merely “a semblance of knowledge” on the real world.
What do you consider art? Paintings, sculptures, drawings, or maybe something else. I know, when I think of art, I think of photography. Photography Is used for business, science, manufacturing, art, recreational purposes, mass communication, and more. Photography is using light to do amazing things, and some people think of photography as a story that just needs to be told. Ansel Adams probably believed this. He said, “You don’t take a photograph, you make it.” Photography has a long interesting history, like the fact that the word photography is made up of two greek words, photos meaning ‘light’ and graphein which is ‘to draw’ ! Photography also has some complicated techniques to get a hang of taking good photos. Have you heard of the rule of thirds? Or do you know how a camera works? Well, that will all be explained. Maybe, by the end you will take up photography too. This essay will explore the history and types of cameras and the basic rules for taking photographs.
When dealing with reality, I think a photograph may represent an actual physical recollection of a person or object, but a painting created from scratch adds the reality of perception to the equation. Reality is always open to a different observation and interpretation.
Photography as a profession has developed along with the advancements of camera technology. Photographers can be seen everywhere, whether they are highly advanced or a just a mere amatuer. Many people find a living in this business by taking professional photographs for families, sports events, and even the traditional senior pictures.