Man Ray’s Violin D’Ingres is a perfect example of a modernist photograph. Man Ray pushes both how photography is perceived and what is possible within a photograph in this example. Man Ray himself was an American, born as Emmanuel Rudnitsky, but moved to Paris and engaged in very non-American photography. Europe lacked the American ideals about what “strait photography” should be. While American schools of photography believed that an art photograph should only be made with a large negative with maximum depth of field, Europeans were busy experimenting with new uses of the medium as well as experimenting with altering the image in serious ways to change the meaning.
Man Ray was born the son of Jewish immigrants in Philadelphia. He moved to Brooklyn where he was able to learn a broad scope of the arts and have access to all of New York’s resources. There he met Steiglitz and became interested in the 291-gallery crowd, but it was when he became acquainted with New York City’s Dadaists that exploration of his self such as this became possible.
The time this photograph was taken explains much about why it was taken. The period between the world wars was arguably the most prolific period in photography’s history in terms of quantity produced and variety. Modernism in Europe was busy tackling new subject matter and expressing itself in every way possible. Images were manipulated in ways foretelling of much of photography’s future, including what is so possible digitally. However, the most important thing is perhaps that this movement was embodied by the belief that expressing yourself in anyway is possible. In other photography movements previously, large groups of people tended to represent similar ideas.
Technically, Man Ray has been known to take use of many formats available to him. He practiced a form of art similar to Photogenic Drawings as well as collage and montage. Determining the technique used in construction of this photograph is difficult, the book makes no mention of it and the photograph is reproduced most likely scaled. It looks as if the negative could have been medium format roll film or large format with the violin’s f-holes burnt into the final image by placing a large sheet of opaque material over the image with the f-holes cut out.
Man Ray’s intentions are not altogether clear in the photograph as it operates on so many levels. Unless that was his main intent, he points out the irony of the shape of the women’s body in comparison to a violin.
Sam Gilliam is was born in Tupelo, Mississippi on November 30, 1933. He served in the United States Army for two years. He received his education from University of Louisville and is a world renowned color artist. Morris Louis and Ken Noland’s works of art had a huge impact on Sam Gilliam and his works. Gilliam taught in Louisville publics schools and many art colleges. He is known for his colorful and unique art. He was one of the first artists to not frame his art work instead he would just paint on a bare canvas or drapes. His art style is very modern and loud. When someone looks at his works of art they have instant imagination and questions. Gilliam leaves his works of art up for interpretation, there is no solid meaning to them. Anyone can make see whatever they want, his art allows for freedom and Ray II is no different.
Ivan Le Lorraine Albright was born in Chicago in 1897; he was the son of a painter that had previously studied under Thomas Eakins at the Pennsylvania Academy of the Fine Arts. Albright’s father trained him form an early age to draw in the academic tradition, studying models and plaster casts. This along with his later enrollment in art schools provided Albright with the foundation for his finely crafted paintings.
I think the reason so many people wanted to own this image is due to the fact that it is a mix of nature and the beauty that we would all like to remember each and every day. Living the fast-paced lives of work and family, humans do not get to experience this beauty of nature often enough. Peter Lik uses contextual art in most of his photographs in order to capture the natural Earth that most people are not lucky enough to see in person.
Peanut butter and jelly, a common combination of two separate entities, most people have heard of this duo, many enjoy it, but only one manufacturer packaged them together in a handy snack. Much like the tasty treat that is Goobers is the tasty duo of Adam Fuss and Roland Barthes. Two separate men, Adam Fuss and Roland Barthes put together in one reading, complementing and accentuating each other. Fuss and Barthes, they share an interest in photography, they share an interest in the foundation and principles of photography, more over they share an interest in photography that is deeply personal. Fuss takes the camera out of photography. Barthes takes photography out of art. Both men want to get to the essence of what a photograph is, one by thinking and writing about it and one by doing it. In this paper I will show how Adam Fuss’ work matches up with and demonstrates the ideas of Barthes’ in Camera Lucida. I will look at one body of work at a time and show which parts of Barthes’ ideas are present in the work, in its creation and its theory. I will start with his first professional body of work, move through to his most recent work and then look back to some of his childhood pictures. Whether Barthes' ideas actually influenced Fuss’ work I am not sure of, I have not found any text or interview that leads me to believe that it is, however I would not be surprised if it has.
"History of Art: History of Photography." History of Art: History of Photography. N.p., n.d. Web. 24 May 2014. .
The trip Bowman (a blank Keir Dullea), work of the great Douglas Trumbull, was a result of using the slit-Can camera, an optical printer, photographing a cylinder moved slowly, decorated with pop-art designs and architecture . Actually, it recalcitrant than those who are never interested in forms of abstract expression feel deluded (in both directions), these images that today do not impress, and become unbearably
Traditional analysis of Beethoven's use of Sonata Allegro form tends to focus on harmonic or melodic movement and key relationships. This study stretches such investigations to include questions of historical context and philosophic motivations that drive a composer to structure music in a certain way. Ultimately this leads to an inquiry about how these traditions affect us as listeners, and more specifically how they relate to gender issues in a musical tradition primarily made up of male composers.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Raeburn, John. A Staggering Revolution: A Cultural History of Thirties Photography. Chicago: University of Illinois, 2006. Print.
Strand was one of the first photographers to take up the visual problems and approaches which he saw in modern art. By 1915 this was showing clearly in his work, with an interest in geometrical forms, patterns, rhythm, space and the division of the frame; the pictures were like a knife cutting through the butter of Pictorialism . Stieglitz greeted this with enthusiasm, showing it in the gallery and making it the feature of the final issues of Camerawork. (Web Galleries)
...f the pristine photographic print and polished sculptural surface. The photographs are in color but with this sort of visual trickery Muniz subverts photography by employing it to reveal its own unreliability. Coplans with his black and white self-portraits of his aging hands man is mere representation of the celebration of his present in anticipation of his future.
Newhall, B. (1982). The history of photography. 1st ed. New York: Museum of Modern Art.
Man Ray was an American filmmaker, painter and photographer. As a young child, he indulged himself in the life of expression of emotion through various forms of art. Ray’s interests had lead him to create some of the World’s most memorable pieces, such as Black and White; a photograph taken in 1926.
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.
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology