DOCSLIB.ORG

To What Extent Did the New Topographic Movement Reflect Changing Attitudes Towards Landscape Photography?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
To What Extent Did the New Topographic Movement Reflect Changing Attitudes Towards Landscape Photography? Laura Aldington To what extent did the new topographic movement reflect changing attitudes towards landscape photography? “Landscape photographs can offer us, I think, three truths- geography, if taken on its own, is sometimes boring, autobiography is frequently trivial, and metaphor can be dubious. But taken together... the three kinds of information strengthen each other and reinforce what we all work to keep in tact- an affection for life.”1 This essay will explore the genre of landscape photography, in particular focusing on the New Topographic movement. The aim of the essay is to evaluate and asses to what extent the New Topographic movement reflects the changing attitudes towards landscape photography. Within this it will therefore come across several other important questions, looking into what is perceived as a landscape, whether aspects of landscape photography may have changed and exploring to what extent the new topographic movement had a role to play in this, if at all. As the aim is to look at changing attitudes towards landscape photography, it may also be considered beneficial when answering the question, to explore political and social factors which may have an influence on landscape photography, and the changing ways people perceive it as a genre. Defining 'landscape' tends to be controversial. There is a difference between 'land' and 'landscape'. In principle the land is a natural phenomenon, although land in modern times (particularly in the developing and developed world) tends to be subject to human intervention 2. This can be seen through acts such as the industrial revolution, industrialisation, urban sprawl and deforestation. These are all actions projected by man which have a destructive impact on the natural 'land'. As a whole, land can be defined more as an objective and raw physical description of the environment we are surrounded by. The term 'landscape' is conceived as being a social construct. A landscape is something strongly influenced by culture. This is made clear when taking time to compare different locations around the globe. Although landscapes around the world have one fundamental similarity, the presence of physical 'land', the way this land is shaped to reflect individual cultures varies spatially. By this definition, a landscape either holds the presence of, or is altered by people. Between the 17th and 18th century, landscape as a genre referred to painterly practice which gathered momentum and prestige in European art history. An example of the early genre can be seen by renowned painter Claude Lorrain. Lorrain is emblematic of the early European landscape painting movement. Training in Italy, Lorrain's ability came from his 1 Quote by Robert Adams from his essay beauty in photography,1981 2 Ingrid Pollard, from Pastoral interludes, 1987 Laura Aldington ability to sketch life around Rome and Naples. Combining the best parts, he would unify them to create 'virtual' landscapes.3 Landscape painting was a key influence to the creation of landscape photography as a genre. These early landscape paintings held pictorial values, specifically the concept of the 'picturesque'. The picturesque is a word derived by the Italian which refers to the view point of the painter, and was elaborated as a theory in England between 1730 and 1830.4 With this in mind, Early landscape painters would use this concept of the picturesque to create secondary representations of the pre-existing world. This was something first established by Italian soon adapted later in the 17th to 18th century by the Dutch. This could be seen in the rise of the merchant bourgeoisie who portrayed a more seemingly natural environment which acclaimed the concept of property ownership. The painters in question would create pieces of artwork depicting land and property owned by the rich and elite. This would include huge country estates with elaborate gardens, often shown from a birds eye plan to exaggerate the sense of scale. These pieces of art work would therefore work as status symbols for the wealthy, often exaggerated and not depicting a true image. England was next to join this picturesque art movement in the 18th century, following on from the Dutch model. In contrast to this, however, English landscape painting is said to supersede the formulaic qualities of earlier landscape painting with scientific accuracy which reflected the increasing prestige and achievements of rising empirical science and technology. 5 These English landscape painting began inspiring renowned garden designers such as Capability Brown who designed country home gardens to resemble paintings. These gardens were built for the purpose of provoking feeling in contrast to the vernacular, which was present in the land previously. In both the reworked land and the landscape picture, the 'poetic garden' such as that designed by Brown, was a pictorial spectacle designed to arouse the spectator's emotional an intellectual senses.6 The word 'landscape' in English initially referred specifically to Dutch paintings and only later denoted the broader idea of view or prospect.7 The concept of the 'picturesque' is imperative to this day in contemporary discussions about 'beauty' in landscape photography images. The invention of photography created a dilemma for painting surrounding the issue of 'truth' and 'fidelity' in vision. When photography came about, around the first third of the 19th 3 David Bate from Photography – Key concepts, history of landscape photography 4 3 Ibid 5 Of mother nature and marlboro men- an inquiry into the cultural meanings of landscape photography – Deborah Bright 6 3 Ibid 7 5 Ibid Laura Aldington century, photographers such as Henry Fox Talbot and Louis Daguerre exploited the use of early techniques such as metal-based daguerreotype process and paper- based calotype negative and salt process. These early photographs were much more formal, in the end they were capturing a more valid picture of reality, compared to the exaggerated picturesque representations created by the early European landscape painters. Early photography with its technological innovations and chemistry was seen as more of a science than an art. Landscape photographs were considered as formal, and functional rather than holding conceptual or aesthetic value. Attitudes in general towards photography as an art form were negative, in particular landscape photography, which was seen to strip the aesthetic appeal from what was considered as traditional 'landscape' art as a genre. Representations of landscape historically have served “an upper-crust cultivated taste for aestheticized nature”8. 'Exaggerating the powers of sight necessarily deprives us of the best pleasures of sight.'9 This quote by John Ruskin draws upon the concept that photography as a media of sight, shows too much reality. This links back to the notion of 'beauty in the landscape', a 'philosophy' of art which became important in the development of photographic 'landscapes' as a particular way of seeing. Eventually photographers such as Ansel Adams and Edward Weston began appealing for photography to be classed as an art, rather than a technical science. To go about this they created what was known as the F/64 club, referring to the use of the Aperture F/64 to maintain a large depth of field in their photographs. Adams in particular was known for his landscape photographs depicting the natural beauty of the American West especially in Yosemite National Park. In the 20th century, landscape photography finally gained a sense of presidency in the art world and therefore step forward as a genre. Landscape photographs by Ansel Adams helped reinforce the image of the American West as an unspoiled wilderness throughout the Cold War era; by contrast, during the post- Vietnam war era, western landscape photography by New Topographic photographers challenged the ideology of such long standing myths of nature and the West.10 The term New topographics is used to refer to the exhibition entitled "New Topographics: Photographs of a Man-Altered Landscape". Photographs of a Man-Altered landscape was an exhibition which epitomised a key moment in American landscape photography. 11 The 8 Cultural Landscapes in the 21st Century • Forum UNESCO University and Heritage Landscape and the West: Irony and Critique in New Topographic Photography Kelly Dennis 9 Ruskin's Venetian Notebooks 1849-1850 edited by Iain Bliss, The Ruskin Foundation, Lancaster University. 10 Landscape and the West: Irony and Critique in New Topographic Photography Kelly Dennis University of Connecticut 11 Jenkins, William. New Topographics: Photographs of a Man-Altered Landscape. Catalogue. Rochester, NY: International Museum of Photography at the George Eastman House, 1975 Laura Aldington exhibition curated by William Jenkins was held at the George Eastman house, New York, in January 1975. and featured the work of 8 then young American photographers: Stephen Shore; Robert Adams; Joe Deal; Frank Gohlke; Nicholas Nixon; John Scott and Henry Wessel with the addition of European couple Bernd and Hilla Becher. Each photographer was represented by 10 prints and in which were black and white with the exception of photographer Stephen Shore who worked in colour. This essay will look into the attitudes of these photographers regarding landscape photography and how these opinions may differ from previous held beliefs around landscape photography as a genre. The word 'topography' can be defined as the detailed study or mapping of the configuration and surface
Load more

Recommended publications
  • Friedlander Dog's Best Friend PR March 2019
    Andrew Smith Gallery Arizona, LLC. Masterpieces of Photography LEE FRIEDLANDER SHOW TITLE: Dog’s Best Friend Dates: April 27 - June 15, 2019 Artist’s Reception: DATE/TIME: Saturday April 27, 2019 2-4 p.m. “I think dogs are happy because people feed them fancy food, treat them nicely, pedicure and wash them, take them into their homes.” Lee Friedlander Andrew Smith Gallery, in its new location at 439 N. 6th Ave., Suite 179, Tucson, Arizona 85705, opens an exhibit by the eminent American photographer Lee Friedlander. The exhibit, Dog’s Best Friend, contains 18 prints of dogs and their owners, one of Friedlander’s ongoing “pet projects.” Lee and Maria Friedlander will attend the opening on Saturday, April 27, 2019 from 2 to 4 p.m., where the public is invited to visit with America’s most celebrated photographer and view “the dogs.” The exhibit continues through June 15, 2019. Lee Friedlander is one of America’s legendary photographers. Now in his eighties, he still photographs and makes his own prints in the darkroom as he has been doing for 60 years. In the 1950s he began documenting what he called “the American social landscape,” making pictures that showed how the camera sees reality (different from how the eye sees). In his layered compositions, what are normally understood to be separate objects; buildings, window displays, people, cars, etc., are perpetually interacting with reflective, opaque and transparent surfaces that distort, fragment and bring about surprising, often humorous conjunctions. Friedlander has been photographing virtually non-stop these many decades, expanding the vocabulary of such traditional artistic themes as family, nudes, gardens, trees, self-portraits, landscapes, cityscapes, laborers, artists, jazz musicians, cars, graffiti, statues, parks, advertising signs, and animals.
    [Show full text]
  • A Road Trip Journal by Stephen Shore
    Steven Shore: A Road Trip Journal by Stephen Shore Ebook Steven Shore: A Road Trip Journal currently available for review only, if you need complete ebook Steven Shore: A Road Trip Journal please fill out registration form to access in our databases Download here >> Hardcover:::: 256 pages+++Publisher:::: Phaidon Press Inc.; Limited Collectors Ed edition (June 25, 2008)+++Language:::: English+++ISBN-10:::: 0714848018+++ISBN-13:::: 978-0714848013+++Product Dimensions::::12 x 2.1 x 17.2 inches++++++ ISBN10 0714848018 ISBN13 978-0714848 Download here >> Description: Stephen Shore is one of the most influential photographers of the twentieth century, best known for his photographs of vernacular America taken in the early 1970s two bodies of work entitled American Surfaces and Uncommon Places. These projects paved the way for future photographers of the ordinary and everyday such as Martin Parr, Thomas Struth, and Nan Goldin. Shore is one of the most important artists working today, and his prints are included in collections of eminent museums and galleries around the world.On July 3, 1973, Stephen Shore set out on the road again. This road trip marked an important point in his career, as he was coming to the tail end of American Surfaces and embarking on a body of work that is known as Uncommon Places. While traveling, in addition to taking photographs, Shore also distributed a set of postcards that he had made and printed himself. While passing through Amarillo, Texas, Shore selected ten of his own photographs of places of note, such as Dougs Barb-B- Que and the Potter County Court House, and designed the back of the cards to look like a typical generic postcard.
    [Show full text]
  • Faltblatt Retrospective.Indd
    Mexico, 1963 London, England, 1966 New York City, 1963 Paris, France, 1967 JOEL New Yok City, 1975 Five more found, New York City, 2001 MEYEROWITZ RETROSPECTIVE curated by Ralph Goertz Sarah, Cape Cod, Cape Sarah, 1981 Roseville Cottages, Truro, Massachusetts, 1976 Bay.Sky, Provincetown, Massachusetts, 1985 1978 City, York New Dancer, Young JOEL MEYEROWITZ RETROSPECTIVE Joel Meyerowitz, born and grown up in New York, belongs to a generation of photographers - together with William Eggleston, Diane Arbus, Lee Friedlander, Stephen Shore, Tony Ray-Jones and Garry Winogrand - who are equipped with a unique sensitivity towards the daily, bright, hustle and bustle on the streets, who are able to grasp a human being as an individual as well as in their social context. Starting in the early 1960s, Joel Meyerowitz went out on the streets, day in, and day out, powered by his passion and devotion to photography, in order to study people and see how photographs described what they were doing. In order to catch the vibes he ranges over the streets of New York, together with Tony Ray-Jones and later with his friend Garry Winogrand. Different from Tony Ray-Jones and Garry Winogrand, Meyerowitz loaded his camera with color film in order to capture life realistically, which meant shooting in color for him. While his first photographs are often determined in a situational way, he starts, early on, putting the subject not only in the centre, but consciously leaving the centre of the picture space free and extending the picture-immanent parts over the whole frame. His dealing with picture space and composition, which consciously differ from those of his idols like Robert Frank and Cartier-Besson, create a unique style.
    [Show full text]
  • Ansel Adams by Ross Loeser February 2010
    Ansel Adams By Ross Loeser February 2010 Ansel Adams is one of the most fascinating people of the 20th Century… a photography pioneer whose art captured the imagination of millions of ordinary people. Most of the information in this paper is from his autobiography – written in the last five years of his life. I found the book a joy to read. Adams (1902-1984) was born in San Francisco and lived most of his life in that area. For his last 22 years he lived in Carmel Highlands. Some key formative events in his early life were: In 1916, when he was 14, he influenced his family to go on vacation in Yosemite after reading the book, In the Heart of the Sierras by J.M. Hutchens. During that trip, he received his first camera – a Kodak Box Brownie. He returned to Yosemite every year of his life thereafter.1 He was hired as a “darkroom monkey” by a neighbor who operated a photo finishing business in 1917, which enabled him to learn about making photographic prints. As he grew up, one major focus was music – the piano. “By 1923 I was a budding professional pianist…”2 On a bright spring Yosemite day in 1927, Adams made a photograph that was to “change my understanding of the medium.” The picture was of Half Dome, and titled “Monolith, The Face of Half Dome.” The full story is included later in this paper, but, in a nutshell, he captured how he felt about the scene, not how it actually appeared (e.g.
    [Show full text]
  • A Photography of Belonging
    Dominican Scholar Collected Faculty and Staff Scholarship Faculty and Staff Scholarship 2014 Gelang: A Photography of Belonging Chase Clow Department of Humanities and Cultural Studies, Dominican University of California, [email protected] Survey: Let us know how this paper benefits you. Recommended Citation Clow, Chase, "Gelang: A Photography of Belonging" (2014). Collected Faculty and Staff Scholarship. 125. https://scholar.dominican.edu/all-faculty/125 This Dissertation is brought to you for free and open access by the Faculty and Staff Scholarship at Dominican Scholar. It has been accepted for inclusion in Collected Faculty and Staff Scholarship by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. GELANG: A PHOTOGRAPHY OF BELONGING by Chase M. Clow A Dissertation Submitted to the Faculty of California Institute of Integral Studies in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Transformative Studies California Institute of Integral Studies San Francisco, CA 2014 UMI Number: 3680156 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3680156 Published by ProQuest LLC (2015). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O.
    [Show full text]
  • Silver Eye 2018 Auction Catalog
    Silver Eye Benefit Auction Guide 18A Contents Welcome 3 Committees & Sponsors 4 Acknowledgments 5 A Note About the Lab 6 Lot Notations 7 Conditions of Sale 8 Auction Lots 10 Glossary 93 Auction Calendar 94 B Cover image: Gregory Halpern, Untitled 1 Welcome Silver Eye 5.19.18 11–2pm Benefit Auction 4808 Penn Ave Pittsburgh, PA AUCTIONEER Welcome to Silver Eye Center for Photography’s 2018 Alison Brand Oehler biennial Auction, one of our largest and most important Director of Concept Art fundraisers. Proceeds from the Auction support Gallery, Pittsburgh exhibitions and artists, and keep our gallery and program admission free. When you place a bid at the Auction, TICKETS: $75 you are helping to create a future for Silver Eye that Admission can be keeps compelling, thoughtful, beautiful, and challenging purchased online: art in our community. silvereye.org/auction2018 The photographs in this catalog represent the most talented, ABSENTEE BIDS generous, and creative artists working in photography today. Available on our website: They have been gathered together over a period of years silvereye.org/auction2018 and represent one of the most exciting exhibitions held on the premises of Silver Eye. As an organization, we are dedicated to the understanding, appreciation, education, and promotion of photography as art. No exhibition allows us to share the breadth and depth of our program as well as the Auction Preview Exhibition. We are profoundly grateful to those who believe in us and support what we bring to the field of photography. Silver Eye is generously supported by the Allegheny Regional Asset District, Pennsylvania Council on the Arts, The Heinz Endowments, The Pittsburgh Foundation, The Fine Foundation, The Jack Buncher Foundation, The Joy of Giving Something Foundation, The Hillman Foundation, an anonymous donor, other foundations, and our members.
    [Show full text]
  • Shore, King & Street Fashion
    Alec Soth's Archived Blog August 9, 2007 Shore, King & Street Fashion Filed under: vernacular & Flickr — alecsothblog @ 10:30 am I appreciate the flurry of Flickr commentary. I’ve learned a lot. But I’m worried that Stephen Shore has been unfairly criticized. If your read the full context of his comments, he is simply making a case for raw documentation: There has to be on the web a treasure trove of brilliant untutored pictures. I’d seen the photographs that were made at the time of the London Underground bombing by people with cell phones in the Underground cars. And they have an energy to them, and an immediacy, that was pretty extraordinary. They weren’t structurally fine pictures, but, you know, this is a new world. This is people in a subway car that has just been bombed – they flip out their phones and start taking pictures. This is pretty amazing. So I thought, okay, I’m going to find a lot of great stuff and I went onto Flickr and it was just thousands of pieces of shit. I couldn’t believe it. It is just all conventional. It’s all clichés. It is one visual convention after another. Just this week a friend of mine sent me some pictures he’s been collecting on eBay. And they were fabulous. It is just stuff for sale. The difference is that on eBay the people are not trying to make art. They are just trying to show something. ‘This is what this bottle looked like. It is not silhouetted.
    [Show full text]
  • Exegesis. Christopher Shawne Brown East Tennessee State University
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2008 Exegesis. Christopher Shawne Brown East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Art Practice Commons, Fine Arts Commons, and the Photography Commons Recommended Citation Brown, Christopher Shawne, "Exegesis." (2008). Electronic Theses and Dissertations. Paper 1903. https://dc.etsu.edu/etd/1903 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. EXEGESIS A thesis presented to the faculty of the Department of Art & Design East Tennessee State University in partial fulfillment of the requirements for the degree Master of Fine Arts ________________________ by Christopher Shawne Brown May 2008 ___________________ Mike Smith, Committee Chair Dr. Scott Contreras-Koterbay Catherine Murray M. Wayne Dyer Keywords: photography, family album, color, influence, landscape, home, collector A B S TRACT Exegesis by Christopher Shawne Brown The photographer discusses the work in Exegesis, his Master of Fine Arts exhibition held at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee from October 29 through November 2, 2007. The exhibition consists of 19 large format color photographs representing and edited from a body of work that visually negotiates the photographer’s home in East Tennessee. The formulation of a web of influence is explored with a focus on artists who continue to pertain to Brown’s work formally and conceptually.
    [Show full text]
  • (2013) Petrochemical America by Richard Misrach and Kate Orff, New York, Aperture, 2012
    This is a peer-reviewed, final published version of the following document: Peck, Julia ORCID: 0000-0001-5134-2471 (2013) Petrochemical America by Richard Misrach and Kate Orff, New York, Aperture, 2012. Dandelion Journal, 4 (2). Official URL: http://dandelionjournal.org/index.php/dandelion/article/viewFile/129/145 EPrint URI: http://eprints.glos.ac.uk/id/eprint/3310 Disclaimer The University of Gloucestershire has obtained warranties from all depositors as to their title in the material deposited and as to their right to deposit such material. The University of Gloucestershire makes no representation or warranties of commercial utility, title, or fitness for a particular purpose or any other warranty, express or implied in respect of any material deposited. The University of Gloucestershire makes no representation that the use of the materials will not infringe any patent, copyright, trademark or other property or proprietary rights. The University of Gloucestershire accepts no liability for any infringement of intellectual property rights in any material deposited but will remove such material from public view pending investigation in the event of an allegation of any such infringement. PLEASE SCROLL DOWN FOR TEXT. This is a copy of the following published document, uploaded here with the author’s permission: Peck, Julia (2013). Book review Petrochemical America by Richard Misrach and Kate Orff. Dandelion Journal, 4 (2) Published in Dandelion Journal, and available online at: http://dandelionjournal.org/index.php/dandelion/ar... We recommend you cite the published (post-print) version. The URL for the published version is http://dandelionjournal.org/index.php/dandelion/ar... Disclaimer The University of Gloucestershire has obtained warranties from all depositors as to their title in the material deposited and as to their right to deposit such material.
    [Show full text]
  • The Curriculum
    Intergenerational Digital Photography Workshop Curriculum About this Curriculum With funding from The Brookdale Foundation, Generations United worked with professional photographer, Annie Levy to pilot the intergenerational photography workshop during the summer of 2007 with two organizations in New York – the Carter Burden Center for the Aging and DOROT. This curriculum is based on the lessons learned from the two pilot projects. About Generations United Generations United (GU) is the national membership organization focused solely on improving the lives of children, youth, and older people through intergenerational strategies, programs, and public policies. GU represents more than 100 national, state, and local organization and individuals. Since 1986, GU has served as a resource for educating policymakers and the public about the economic, social, and personal imperatives of intergenerational cooperation. GU acts as a catalyst for stimulating collaboration between aging, children, and youth organizations providing a forum to explore areas of common ground while celebration the richness of each generations. For more information, visit www.gu.org. About Annie Levy Annie Levy is a photographer and creative director who documents, and brings to life, the experience and stories of ordinary people through the art of portraiture in its variety of forms – image/text, exhibit/installation, presentation/performance. With a special focus on the lives of older and young people, she is committed to creating works for both innovative and traditional venues that inspire, educate and influence public opinion and perception. Examples of Ms. Levy’s work have been featured at the United Nations and The Frick Collection for their “Art of Observation” program.
    [Show full text]
  • The Museum of Modern Art Dedicates Erna and Victor Hasselblad Photography Study Center
    )** The Museum of Modern Art For Immediate Release THE MUSEUM OF MODERN ART DEDICATES ERNA AND VICTOR HASSELBLAD PHOTOGRAPHY STUDY CENTER October 21, 1985, New York King Carl XVI Gustaf of Sweden, Officers of the Museum and of the Erna and Victor Hasselblad Foundation, and members of the Museum's Trustee Committee for Photography today were among the guests at the formal dedication of the Erna and Victor Hasselblad Photography Study Center. "Today...is an important day for Sweden and for the Hasselblad Foundation," said Alf Akerman, chairman of the Board of the Hasselblad Foundation. "A new channel has been formed for contacts and a cultural gate has been opened which we hope will be of importance for further development of good relations between our countries." William S. Paley, chairman of the Board of Trustees, The Museum of Modern Art, stated, "We are both grateful and proud that the Hasselblad Foundation has made this extraordinary gift. We are grateful for what it enables our Study Center to do. We are proud of the international recognition it represents. And we are also proud that our Study Center now bears so distinguished a name." Although the Department of Photography has maintained a study center since 1964, its greatly expanded new facility is named in honor of the Hasselblads, as a gesture of gratitude to the Foundation that bears their names. An unprecedented gift from the Foundation will enable the Department of Photography to sustain and expand its capacity for sharing its rare resources and research materials with the larger photography community. John Szarkowski, director of the Department of Photography, has described this community as "an international audience, transcending national or regional perspectives." Since the Department of Photography first made its collection, library, and supporting archives available to the public for study, it has devoted an increasing amount of thought and attention to its study center.
    [Show full text]
  • Historic Photogs Presentation 4.Key
    & Weegee (Arthur Fellig) A photographer and photojournalist, known for his stark black and white street photography. Weegee worked in Manhattan, New York City's Lower East Side as a press photographer during the 1930s and '40s, and he developed his signature style by following the city's emergency services and documenting their activity. Weegee (Arthur Fellig) Gary Winogrand Gary Winograd was a street photographer from the Bronx, New York, known for his portrayal of American life, and its social issues, in the mid-20th century. Though he photographed in Los Angeles and elsewhere, Winogrand was essentially a New York photographer Gary Winogrand Gordon Parks Parks, born in 1912, was the first African-American photographer hired at Life and Vogue magazines. Focusing on race relations, civil rights, poverty and urban life, his body of work documented controversial aspects of American culture from the early 1940s until his death in 2006. He was a self- taught artist who purchased his first camera at the age of 25. Ansel Adams American photographer and environmentalist. His black-and-white landscape photographs of the American West, especially Yosemite National Park Ansel Adams Manuel Álvarez Bravo Often cited as Mexico's most celebrated fine art photographer, Manuel Álvarez Bravo, whose life almost spanned the entire 20th century, relentlessly captured the history of the country's evolving social and geopolitical atmosphere. His early work was based on European influences, but he was soon influenced by the Mexican muralism movement and the general cultural and political push at the time to redefine Mexican identity. Lola Álvarez Bravo Lola Álvarez Bravo was one of Mexico’s most important photographers.
    [Show full text]