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Realism.VL.2.Pdf
Realism Realism 1861- 1914: An artistic movement begun in 19th century France. Artists and writers strove for detailed realistic and factual description. They tried to represent events and social conditions as they actually are, without idealization. This form of literature believes in fidelity to actuality in its representation. Realism is about recreating life in literature. Realism arose as an opposing idea to Idealism and Nominalism. Idealism is the approach to literature of writing about everything in its ideal from. Nominalism believes that ideas are only names and have no practical application. Realism focused on the truthful treatment of the common, average, everyday life. Realism focuses on the immediate, the here and now, the specific actions and their verifiable consequences. Realism seeks a one-to-one relationship between representation and the subject. This form is also known as mimesis. Realists are concerned with the effect of the work on their reader and the reader's life, a pragmatic view. Pragmatism requires the reading of a work to have some verifiable outcome for the reader that will lead to a better life for the reader. This lends an ethical tendency to Realism while focusing on common actions and minor catastrophes of middle class society. Realism aims to interpret the actualities of any aspect of life, free from subjective prejudice, idealism, or romantic color. It is in direct opposition to concerns of the unusual, the basis of Romanticism. Stresses the real over the fantastic. Seeks to treat the commonplace truthfully and used characters from everyday life. This emphasis was brought on by societal changes such as the aftermath of the Civil War in the United States and the emergence of Darwin's Theory of Evolution and its effect upon biblical interpretation. -
ARTIS—NAPLES ANNOUNCES OFFICIAL SELECTIONS for the 2020 NAPLES INTERNATIONAL FILM FESTIVAL (October 22-25)
Home of The Baker Museum and the Naples Philharmonic Contact: John Wildman, Wildworks PR [email protected] | 323-600-3165 Therese McDevitt, Communications Director [email protected] | 239-254-2794 Website: artisnaples.org Facebook: facebook.com/artisnaples Twitter: @artisnaples | Instagram: artisnaples ARTIS—NAPLES ANNOUNCES OFFICIAL SELECTIONS FOR THE 2020 NAPLES INTERNATIONAL FILM FESTIVAL (October 22-25) SPECIAL OUTDOOR SCREENINGS WILL FEATURE ALICE GU’S AWARD- WINNING THE DONUT KING AS THE OPENING NIGHT SELECTION, WITH AURÉLIA ROUVIER AND SEAMUS HALEY’S FESTIVAL FAVORITE BANKSY MOST WANTED THE CLOSING NIGHT FILM The Donut King, Banksy Most Wanted Naples, FL (September 30, 2020) – Artis—Naples announced today the complete program lineup for the 12th Annual Naples International Film Festival (NIFF) to be held October 22-25, 2020 featuring both virtual and in-person events. NIFF’s in-person screenings will include two documentaries, opening on October 22 with Alice Gu’s award-winning documentary The Donut King, and closing on October 25 with Aurélia Rouvier and Seamus Haley’s festival favorite Banksy Most Wanted. Both screenings will be outdoors on a large screen in the Norris Garden on the Artis─Naples Kimberly K. Querrey and Louis A. Simpson Cultural Campus. Both evenings start with a red carpet arrival at 7pm followed by the film screening at 7:30pm. In addition to the opening and closing nights, two other in-person screenings will take place in Norris Garden: a NIFF Shorts Showcase of exciting selections from this year’s shorts programs will screen on Friday, October 23 and Casimir Nozkowski’s romantic dramedy The Outside Story, starring Star Trek: Discovery’s Sonequa Martin-Green screens on Saturday, October 24, both at 7:30PM. -
Explorations of the Painted Real
EXPLORATIONS OF THE PAINTED REAL: TECHNOLOGICAL MEDIATION IN THE WORK OF FOUR ARTISTS. By Gina Margareta Heyer Thesis presented inpartial fulfilment of the requirements for the degree of Masters of Arts in Visual Arts at the University of Stellenbosch Supervisor: Dr. Stella Viljoen (thesis) Co-supervisor: Mr. Vivian H. van der Merwe (practical) March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. 2 March 2011 Copyright © 2011 Stellenbosch University All rights reserved i Abstract This thesis is an investigation into the relationship between photorealistic painting and specific devices used to aid the artist in mediating the real. The term 'reality' is negotiated and a hybrid theoretical approach to photorealism, including mimesis and semiotics, is suggested. Through careful analysis of Vermeer's suspected use of the camera obscura, I argue that camera vision already started in the 17th century, thus signalling the dramatic shift from the classical Cartesian perspective scopic regime to the model of vision offered by the camera long before the advent of photography. I suggest that contemporary photorealist painters do not just merely and objectively copy, but use photographic source material with a sophisticated awareness in response to a rapidly changing world. Through an examination of the way in which the camera obscura and photographic camera are used in the works of four artists, I suggest that a symbiotic relationship of subtle tensions between painting and photographic technology emerges. -
Religion and Realism in Late Nineteenth-Century American
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Religion and realism in late nineteenth-century American literature Lisa Irene Moody Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Moody, Lisa Irene, "Religion and realism in late nineteenth-century American literature" (2009). LSU Doctoral Dissertations. 134. https://digitalcommons.lsu.edu/gradschool_dissertations/134 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RELIGION AND REALISM IN LATE NINETEENTH-CENTURY AMERICAN LITERATURE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Lisa Irene Moody B.A., University of Chicago, 1986 M.A., Northwestern University, 1991 December 2009 ACKNOWLEDGEMENTS Throughout the process of writing this dissertation, I have been guided by many excellent faculty and colleagues, each of whom has added significantly to this project. First and foremost, I would like to acknowledge the mentorship of my dissertation director, J. Gerald Kennedy, for his expert guidance, close readings, and overall interest in my graduate studies. Dr. Kennedy has promoted my work and held me to a high personal and academic standard, for which he himself has proven to be an apt role model. -
Robert Bechtle Oral History Transcript
San Francisco Museum of Modern Art Regional Oral History Office 75th Anniversary The Bancroft Library Oral History Project University of California, Berkeley SFMOMA 75th Anniversary ROBERT BECHTLE Painter Professor of Art, San Francisco State University, 1978-1999 SFMOMA Board of Trustees, 2006-2009 Interview conducted by Jess Rigelhaupt in 2007 Copyright © 2008 by San Francisco Museum of Modern Art Funding for the Oral History Project provided in part by Koret Foundation. ii Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Robert Bechtle, dated October 22, 2007. This manuscript is made available for research purposes. -
Robert Bechtle: New Work
NEW WORK SAN FRANCISCO MUSEUM OF MODERN ART ROBERT BECHTLE : NEW WORK SEPTEMBER 10 - DECEMBER 1, 1991 Born in San Francisco in 1932, Robert Bechtle studied at the California College of Arts and Crafts in Oakland, and since 1968 has taught painting at San Francisco State University. In the late sixties and early seventies, when Bechtle became well-known nationally, his work was usually seen together with that of Richard Estes, Chuck Close, and Malcolm Morley, among others, as representing a new style called Photo Realism or New Realism. Although the relationship of Bechtle's work to photography was evident and much remarked upon, critical discussion generally centered on its subject matter-ordinary views of suburban streets and houses, occasionally with their inhabitants-and the artist's resolute avoidance of the heroic stance associated with Abstract Expressionism.1 Yet Bechtle, more than the other Photo Realim, chose to paint a particular kind of photograph, the ordinarysnapshot of his family, for example, posed in front of a station wagon. His choice was no accident, as he explained at the time: "When I'm photographing a car in front of a house I try to keep in mind what a real estate photographer would do if he were taking a picture of the house and try for that quality." 2 Other Photo Realists. to be sure, made paintings from photographs that could have been snapshots. But in the paintings themselves, only Bechtle's had the atmosphere of ordinary, family photographs because he purposely avoided the virtuoso effects that for the most part characterized the work of his colleagues. -
ENG 3702-001: American Realism and Naturalism: 1865-1918 Christopher Hanlon Eastern Illinois University
Eastern Illinois University The Keep Fall 2002 2002 Fall 8-15-2002 ENG 3702-001: American Realism and Naturalism: 1865-1918 Christopher Hanlon Eastern Illinois University Follow this and additional works at: http://thekeep.eiu.edu/english_syllabi_fall2002 Part of the English Language and Literature Commons Recommended Citation Hanlon, Christopher, "ENG 3702-001: American Realism and Naturalism: 1865-1918" (2002). Fall 2002. 116. http://thekeep.eiu.edu/english_syllabi_fall2002/116 This Article is brought to you for free and open access by the 2002 at The Keep. It has been accepted for inclusion in Fall 2002 by an authorized administrator of The Keep. For more information, please contact [email protected]. 3/0). - 00( ENG 3702: American Realism & Naturalism: 1865-1918 Dr. Christopher Hanlon Fall, 2002 Office: Coleman 3811 Phone: 581.6302 Office hours: MWF 12-1, 2-3 (and by appoint.) [email protected] Required Texts: Kate Chopin, The Awakening Pauline Hopkins, Contending Forces Frank Norris, McTeague Edith Wharton, The House of Mirth The Norton Anthology of American Literature, vol. 2, 5th edition (eds. Nina Baym et al.) American Realism and Naturalism (coursepack available at Campus Copy Center in MLK StudentUnion) COURSE TRAJECTORIES: The Civil War, which claimed the lives of over half a million Americans, had a seismic effect on America's self-image. Prior to 1860, Americans had been taught to think of themselves as exceptional in many ways, and they had grown used to viewing the North American continent as a great blank canvas it was their manifest destiny to inscribe. But after 1865, with the end of the Civil War and the first assassination of an American president, Americans required a new narrative to tell themselves about themselves. -
Two Tendencies Beyond Realism in Arthur Miller's Dramatic Works
Inês Evangelista Marques 2º Ciclo de Estudos em Estudos Anglo-Americanos, variante de Literaturas e Culturas The Intimate and the Epic: Two Tendencies beyond Realism in Arthur Miller’s Dramatic Works A critical study of Death of a Salesman, A View from the Bridge, After the Fall and The American Clock 2013 Orientador: Professor Doutor Rui Carvalho Homem Coorientador: Professor Doutor Carlos Azevedo Classificação: Ciclo de estudos: Dissertação/relatório/Projeto/IPP: Versão definitiva 2 Abstract Almost 65 years after the successful Broadway run of Death of a Salesman, Arthur Miller is still deemed one of the most consistent and influential playwrights of the American dramatic canon. Even if his later plays proved less popular than the early classics, Miller’s dramatic output has received regular critical attention, while his long and eventful life keeps arousing the biographers’ curiosity. However, most of the academic works on Miller’s dramatic texts are much too anchored on a thematic perspective: they study the plays as deconstructions of the American Dream, as a rebuke of McCarthyism or any kind of political persecution, as reflections on the concepts of collective guilt and denial in relation to traumatizing events, such as the Great Depression or the Holocaust. Especially within the Anglo-American critical tradition, Miller’s plays are rarely studied as dramatic objects whose performative nature implies a certain range of formal specificities. Neither are they seen as part of the 20th century dramatic and theatrical attempts to overcome the canons of Realism. In this dissertation, I intend, first of all, to frame Miller’s dramatic output within the American dramatic tradition. -
Hold Still: Looking at Photorealism RICHARD KALINA
Hold Still: Looking at Photorealism RICHARD KALINA 11 From Lens to Eye to Hand: Photorealism 1969 to Today presents nearly fifty years of paintings and watercolors by key Photorealist taken care of by projecting and tracing a photograph on the canvas, and the actual painting consists of varying degrees (depending artists, and provides an opportunity to reexamine the movement’s methodology and underlying structure. Although Photorealism on the artist) of standard under- and overpainting, using the photograph as a color reference. The abundance of detail and incident, can certainly be seen in connection to the history, style, and semiotics of modern representational painting (and to a lesser extent while reinforcing the impression of demanding skill, actually makes things easier for the artist. Lots of small things yield interesting late-twentieth-century art photography), it is worth noting that those ties are scarcely referred to in the work itself. Photorealism is textures—details reinforce neighboring details and cancel out technical problems. It is the larger, less inflected areas (like skies) that contained, compressed, and seamless, intent on the creation of an ostensibly logical, self-evident reality, a visual text that relates are more trouble, and where the most skilled practitioners shine. almost entirely to its own premises: the stressed interplay between the depiction of a slice of unremarkable three-dimensional reality While the majority of Photorealist paintings look extremely dense and seem similarly constructed from the ground up, that similarity is and the meticulous hand-painted reproduction of a two-dimensional photograph. Each Photorealist painting is a single, unambiguous, most evident either at a normal viewing distance, where the image snaps together, or in the reducing glass of photographic reproduction. -
Janice Mason Art Museum LESSON PLANS for WIER EXHIBIT Background Information
Janice Mason Art Museum LESSON PLANS FOR WIER EXHIBIT Background Information ARTIST NAME : Richard Estes ART PIECE ON DISPLAY: “Untitled (Chinese Lady)” About the Artist Richard Estes was born on May 14, 1936, in Kewanee, Illinois, but his family actually lived in Sheffield, a very small town 20 miles from his birthplace. He always liked to draw and still has a drawing he did when he was about four years old and signed it “Dick Estes”. When he was eight years old, he received an oil painting set for Christmas. His family moved to Chicago when Estes was a teenager, and he studied at the Art Institute of Chicago in the 1950’s, where his training centered on figure drawing and traditional academic painting. Estes said, “ I never really thought I’d wind up as a painter, rather, I thought I would probably do commercial art or design or something like that. I didn’t think I’d be successful as a painter although I always wanted to do it.” After graduation from the Art Institute, Estes moved to New York, working in the graphic design field as a freelance illustrator and for various magazine publishers and advertising agencies. He continued to paint at night, and his first one-person show opened in New York in 1968. Most of Estes’s paintings from the early 1960’s are scenes of New Yorkers engaged in urban activities. Around 1967 his paintings of city street scenes changed to images of glass storefronts, reflecting distorted images of buildings and cars. The artist works from photographs to create his free-hand paintings. -
Visions of the Davis Art Center
Lost and Found: Visions of the Davis Art Center Permanent Collection 1967-1992 October 8 – November 19, 2010 This page is intentionally blank 2 Lost and Found: Visions of the Davis Art Center In the fall of 2008, as the Davis Art Center began preparing for its 50th anniversary, a few curious board members began to research the history of a permanent collection dating back to the founding of the Davis Art Center in the 1960s. They quickly recognized that this collection, which had been hidden away for decades, was a veritable treasure trove of late 20th century Northern California art. It’s been 27 years since the permanent collection was last exhibited to the public. Lost and Found: Visions of the Davis Art Center brings these treasures to light. Between 1967 and 1992 the Davis Art Center assembled a collection of 148 artworks by 92 artists. Included in the collection are ceramics, paintings, drawings, lithographs, photographs, mixed media, woodblocks, and textiles. Many of the artists represented in the collection were on the cutting edge of their time and several have become legends of the art world. Lost and Found: Visions of the Davis Art Center consists of 54 works by 34 artists ranging from the funky and figurative to the quiet and conceptual. This exhibit showcases the artistic legacy of Northern California and the prescient vision of the Davis Art Center’s original permanent collection committee, a group of volunteers who shared a passion for art and a sharp eye for artistic talent. Through their tireless efforts acquiring works by artists who were relatively unknown at the time, the committee created what would become an impressive collection that reveals Davis’ role as a major player in a significant art historical period. -
Nature in American Realism and Romanticism and the Problem with Genre
Nature in American Realism and Romanticism and the Problem with Genre BY MARTIN GROFF Early literature in the United States, written during a time when the vast North American landscape remained largely unexplored by European settlers, reflects a profound connection to nature and the centrality of the wilderness to the young nation’s culture and consciousness. But as the romantic and transcendentalist movements began to fade in the United States by the mid-nineteenth century, the portrayal of nature began to change as well, shifting away from the sublime and overtly spiritual and towards a so-called realist style. Ecocritics have long given attention to romantic representations of nature given the prominence of this aesthetic in both eighteenth and nineteenth century US and British literature. Though earlier scholarship tended to view nature predominantly as a spiritual metaphor for romantics, recent ecocritics “tend to place a new emphasis on the romantics’ engagement with the materiality of nature and their acute sense of the deterioration of wild and rural landscapes during processes of enclosure and industrialization.”1 Despite such shifts in critical emphasis, contemporary ecocriticism nonetheless frequently continues to rely on canonical assumptions. For instance, Ashton Nichols’s recent Beyond Romantic Ecocriticism: Toward Urbanatural Roosting (2011), even in its rethinking of certain traditional canonical models, reinforces the category of romanticism as a basis for analyses of historical ecologies. Confining ecocritical studies to the 1U. K. Heise, “Environment and Poetry,” in The Princeton Encyclopedia of Poetry and Poetics, ed. Roland Greene, et al. (Princeton: Princeton University Press, 2012), 437. Valley Humanities Review Spring 2015 1 borders of genres and movements such as “romanticism” and “realism,” however, presents certain risks.