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.
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.
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.
Arresting images from the everyday and making a “commentary on contemporary society using the very images that helped to create that society”
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.
Video art and cinema are often grouped together, but it does not utilize the traditional aspects of film making such as concrete narration or plot-line. The artform is broken down into two different methodologies of presentations: single channel and installation techniques. Single-channell presentations are shown to the vieweer similar to a television broadcast, in which the art is simply broadcast. The installation technique employs video as a much more involved facet to the overall piece. The video becomes a part of the entire work, which may employ other artistic media as well.
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.
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.
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.
Photographs of the street are as photography itself is old. Cameras were set on balconies or aimed them out of windows by the earliest practitioners, which took advantage of natural light in capturing the life in the streets below (Paul McDonough, 2010). As camera became more portable and smaller, the photographers took them into the streets and created a photography type. Casually spontaneous or carefully staged by turns, in nature documentary or seemingly without subject as diverse as the streets themselves. In this sense, the term ‘street photography,’ that being used now in the description of photographs taken in any space that is public, is as much as broad as the landscape categories or portrait photography.
Photography is generally basic in contrast with painting, which is a considerably more mind boggling errand. With photography, the structure is as of now totally organized, however with a composition the goal is substantially more open to elucidation by the craftsman. The craftsman can catch a great deal more feeling, comprehension, and importance in an occasion and apply this searing drive to his paintbrush while making his own particular magnum opus.
Photography is relatively simple in comparison to painting, which is a much more complex task. With photography, the composition is already completely arranged, but with a painting the objective is much more open to interpretation by the artist. The artist has the ability to capture much more emotion, understanding, and significance in an event and apply this fiery drive to his paintbrush when creating his own masterpiece.