The Photographic Application of Piet Mondrian's Neo-Plastic Principles
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937
“First Surrealists Were Cavemen”: The American Abstract Artists and Their Appropriation of Prehistoric Rock Pictures in 1937 Elke Seibert How electrifying it must be to discover a world of new, hitherto unseen pictures! Schol- ars and artists have described their awe at encountering the extraordinary paintings of Altamira and Lascaux in rich prose, instilling in us the desire to hunt for other such discoveries.1 But how does art affect art and how does one work of art influence another? In the following, I will argue for a causal relationship between the 1937 exhibition Prehis- toric Rock Pictures in Europe and Africa shown at the Museum of Modern Art (MoMA) and the new artistic directions evident in the work of certain New York artists immediately thereafter.2 The title for one review of this exhibition, “First Surrealists Were Cavemen,” expressed the unsettling, alien, mysterious, and provocative quality of these prehistoric paintings waiting to be discovered by American audiences (fig. ).1 3 The title moreover illustrates the extent to which American art criticism continued to misunderstand sur- realist artists and used the term surrealism in a pejorative manner. This essay traces how the group known as the American Abstract Artists (AAA) appropriated prehistoric paintings in the late 1930s. The term employed in the discourse on archaic artists and artistic concepts prior to 1937 was primitivism, a term due not least to John Graham’s System and Dialectics of Art as well as his influential essay “Primitive Art and Picasso,” both published in 1937.4 Within this discourse the art of the Ice Age was conspicuous not only on account of the previously unimagined timespan it traversed but also because of the magical discovery of incipient human creativity. -
The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism. -
Abstract! 100 Years of Abstract Photography, 1917–2017 1.11.2017–14.1.2018 Abstract! 100 Years of Abstract Photography, 1917–2017 1.11.2017–14.1.2018
ABSTRACT! 100 Years of Abstract Photography, 1917–2017 1.11.2017–14.1.2018 ABSTRACT! 100 Years of Abstract Photography, 1917–2017 1.11.2017–14.1.2018 Cover: Ea Vasko: #11, from the series Reflections of the Ever-changing (the Short History of Now), 2009 Production: the Finnish Museum of Photography, 2017 Keijo Kansonen (born 1952) 1 Reinogram, from the series Metro Ars 1987 Silver gelatin print, photogram, unique “Metro Ars was a series of five photographs that I created for an exhibition, curated by Ismo Kajander, that was on dis- play at various metro stations in Helsinki. My works were displayed on a hoarding on the wall across the track at the Rautatientori metro station. I exposed the many-metre-long photograms at a screen-printing facility in the basement of the Lepakko cultural centre, where a large glass plate was set up at a height of three metres, and acting as a light source was a small halogen bulb fitted inside a piece of ten-milli- metre copper pipe, in which a small hole was cut. A winding flue was soldered in place to let hot air escape, to prevent the bulb from burning out prematurely. I placed various objects, such as wine glasses, light bulbs, and alarm clock springs on the glass plate. The light source had a diameter of one millimetre. I achieved (found) a con- tinuous depth of field. I developed the exposed photostat papers in our photographic laboratory, in large developing dishes, formerly used by the National Land Survey of Finland to develop maps. -
Piet Mondrian, Early Neo-Plastic Compositions, and Six Principles of Neo-Plasticism
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935) Indexed by Web of Science, Scopus, DOAJ, ERIHPLUS Vol. 11, No. 3, October-December, 2019. 1-18 Full Text: http://rupkatha.com/V11/n3/v11n312.pdf DOI: https://dx.doi.org/10.21659/rupkatha.v11n3.12 Piet Mondrian, early Neo-Plastic compositions, and six principles of Neo-Plasticism Ali Fallahzadeh1 & Ghulam-Sarwar Yousof2 1Visual Art Department, Cultural Center, 50603 Kuala Lumpur, University of Malaya, Malaysia. ORCID: 0000-0002-0414-8702. Email: [email protected] 2(Corresponding author) Visual Art Department, Cultural Center, 50603 Kuala Lumpur, University of Malaya, Malaysia. ORCID: 0000-0003-3567-6812 Email: [email protected] Abstract In spite of the prominent role of Piet Mondrian (1872-1944) as a pure abstract painter and writer of his theories who developed the abstract art into what he called Neo-Plasticism, little has been written about him compared to other painters such as Picasso and Matisse. Examining the past and recent literature published about Mondrian, some scholars examined the aesthetic evolution of Mondrian’s vision toward his Neo-Plastic art and theory within a historical context by depending on the influences he received from circle of thinkers, artists, and friends during his life. While other scholars analyzed the components of Neo- Plastic theory through formal tenets of De Stijl or a metaphysical lens through premises of western philosophies such as Theosophy, Hegel, and Platonism. Nevertheless, despite the emphasis of the majority of scholars on close relation between Mondrian’s paintings and writings, researchers showed little tendency to examine the development of core formal theories of Neo-Plasticism through a parallel analysis of his Neo-Plastic paintings and his theoretical writings. -
Photography and Communication: a Study of Interrelationship
International Journal of English Learning and Teaching Skills; Vol. 1, No. 3; ISSN : 2639-7412 (Print) ISSN : 2638-5546 (Online) PHOTOGRAPHY AND COMMUNICATION: A STUDY OF INTERRELATIONSHIP Debashish Ghosh Scientific Officer, Department of Electrical Engineering, Aruni Maji, Debapriya Palai B.Tech,Forth year, Department of Electrical Engineering, Niloy Chakravorty B.Tech,Second year, Department of Electronics & Communication Engineering, Institute of Engineering & Management, Kolkata Abstract: Photography has arguably become one of the most potent instruments of communication for a contemporary artist. Its versatility, suggested truthfulness and the way in which artists distort or interpret ''reality'' has been a part of photography since the advent of the daguerreotype in 1839. Taking photographs today are no longer primarily an act of memory intended to safeguard a family's pictorial heritage, but is increasingly becoming a tool for an individual's identity formation and communication. Digital cameras, camera-phones, photo-blogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users. The aim of this article is to explore how photography has developed through time in itself and at the same time went on reshaping ideas of communication. Photography has touched and influenced almost all the major aspects of communication; the conclusion calls for a broader consideration of the links between the history of photography and media. Keywords: Photography, Media, Communication, Culture, Art history. Introduction: “The first thing to observe about the world of the 1780s is that it was at once much smaller and much larger than ours. It was smaller geographically …Yet if the world was in many respects smaller, the sheer difficulty or uncertainty of communications made it in practice much vaster than it is today.” This is how eminent Marxist historian Eric Hobsbawm starts the first pages of his seminal work on world history in four volumes. -
Piet Mondrian
Piet Mondrian “Always further” Vica Hicks "I wish to approach truth as closely as is possible, and therefore I abstract everything until I arrive at the fundamental quality of objects." -Piet Mondrian Avond (Evening): The Red Tree [1908] Oil on canvas 70 x 99 cm (27 1/2 x 39 in) Mill in Sunlight: The Winkel Mill [1908] Oil on canvas 114 x 87 cm (44 7/8 x 30 1/4 in) The Red Mill [1911] Oil on canvas 150 x 86 cm The Gray Tree [1912] Oil on canvas 78.5 × 107.5 cm. Still Life with Gingerpot 2 [1912] Oil on canvas 37 1/2 x 47 1/4 inches (91.5 x 120 cm) Amaryllis [1910] Watercolour 49.2 x 31.5 cm Composition in Color A [1917] Oil on canvas. 50 x 44 cm Composition: Light Color Planes with Grey Contours [1919] Oil on canvas 49 x 49 cm Composition A [1923] Oil on canvas. Composition with Red, Yellow and Blue [1937] Oil on canvas. 23 3/4 x 21 7/8" (60.3 x 55.4 cm) Broadway Boogie Woogie [1942] Oil on canvas. 50 x 50" (127 x 127 cm) “To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual.” - Piet Mondrian Bibliography Slide number - Citation 1. "15 Things You Should Know About Piet Mondrian." Mental Floss. N.p., n.d. Web. http://mentalfloss.com/article/66842/15-things-you-should-know-about-piet-mondrian 2. "Piet Mondrian. Pier and Ocean 5 (Sea and Starry Sky). -
Light Painting Slikanje Svjetlom
Light painting slikanje svjetlom Dr. sc. Maja Strgar Kurečić Sadržaj predavanja 1. Slikanje svjetlom - što je to? 2. Kratka povijest 3. Komercijalna primjena 4. Tehnike slikanja svjetlom 5. Oprema 6. Primjeri Primjena digitalne fotografije u reprodukcijskim medijima - Ak. god. 2014/15 Slikanje svjetlom - što je to? Slikanje svjetlom je tehnika fotografiranja u kojoj se sa izvorom svjetlosti (lampe, baterije, prskalice ili sl.), uz duže vrijeme ekspozicije, crtaju određeni oblici kako bi se dobili zanimljivi efekti. Light Painting Freezelight Light Graffiti Light Art Primjena digitalne fotografije u reprodukcijskim medijima - Ak. god. 2014/15 Slikanje svjetlom - što je to? Kratka povijest 1889. Étienne-Jules Marey i Georges Demeny Prva poznata fotografija nastala tehnikom slikanja svjetlom. Dvoje psihologa, u sklopu istraživanja pokreta, došli na ideju snimanja pokreta - na zglobove pričvrstili žarulje i snimili sa produženim vremenom ekspozicije. Primjena digitalne fotografije u reprodukcijskim medijima - Ak. god. 2014/15 Kratka povijest 1914. Frank Gilbreth i Lillian Moller Gilbreth U želji za povećanjem produktivnosti svojih radnika i pojednostavljenjem posla, koristili male svjetiljke pričvršćene na ruke radnika i fotografirali ih uz produženu ekspoziciju, koja je zabilježila sve pokrete u određenom vremenu. Primjena digitalne fotografije u reprodukcijskim medijima - Ak. god. 2014/15 Kratka povijest 1935. Man Ray Prvi fotograf koji je koristio ovu tehniku u umjetničke svrhe. Napravio seriju autoportreta tehnikom slikanja svjetlom (ciklus “Space Writing”). Primjena digitalne fotografije u reprodukcijskim medijima - Ak. god. 2014/15 Kratka povijest 1930. - 1940. Gjon Mili Albanski fotograf, živio i radio u Americi, velik doprinos razvoju tehnike slikanja svjetlom. Fotoflash tehnika, upotreba stroboskopskog svjetla za snimanje kretanja u jednoj ekspoziciji. Izvor svjetla postavljen na klizaljke klizačice Carol Lynne. -
Troy Paiva's Lost (And Found) America
Late Delivery: One of Paiva’s workshop students brought this doll to a junkyard shoot and Paiva says he “fell in love with it” and ended up carrying her around as a prop all night. This was shot just after 2AM with a Canon 60D and a Tokina 12-14mm zoom (at 12mm). The exposure (at ISO 200 with the white balance set for 3800K) was 178 sec at f/8. The overall lighting was from the full moon and the warm white, lime and red set lighting was from a ProtoMachines flashlight. with the ecstasy of creation.” While the technique of light painting has been around since the beginnings of photography, Paiva uses a skillful and experimental combination of moonlight (he works exclusively by the light of the full moon) and handheld lighting tools to reimagine and expand the parameters of light painting and night photography. He has published two books of his work: Lost America: Night Photography of the Abandoned Roadside West (Motorbook International, 2003) and Night Vision: The Art of Urban Exploration (Chronicle Books, 2008). His images have been used to illustrate countless magazine articles and dozens of book and CD covers— perhaps most notably the iconic images on the cover of Stephen King’s books Boxy But Safe: A Volvo station wagon hangs in the jaws of a massive junkyard-shearing machine. Paiva shot the scene in a California auto graveyard with a Canon 60D and Christine and From a Buick 8. a Tokina 12-24mm zoom (at 12mm). He exposed the scene for 167 sec at f/8 (at ISO 200, with the white balance set at 3800K). -
ROMAN ROAD PRESS RELEASE PHOTO LONDON Stand G23
ROMAN ROAD PRESS RELEASE PHOTO LONDON Stand G23 Thursday 17 May – Sunday 20 May 2018 Opening Hours: Thursday 17 May: 12 PM – 8 PM Somerset House Friday 18 May: 12 PM – 7.30 PM Strand Saturday 19 May: 12 PM – 7.30 PM London, WC2R 1LA Sunday 20 May: 12 PM – 6.30 PM Exhibited Artists: Antony Cairns, Gita Lenz, Natalia LL, George Platt Lynes, Aaron Siskind, Daisuke Yokota Roman Road is very pleased to be participating in the fourth edition of Photo London, hosted at Somerset House from 17 – 20 May 2018. Featuring both 20th-century and contemporary photographic works, our stand brings together pieces by international artists who have engaged with experimental printing methods and the aesthetics of abstraction. The display considers the definitions of abstract photography, looking at the originality and process of artists who have abstracted subject and composition, or experimented with techniques that manipulate forms and impart new meaning. The stand features experimental works by contemporary artists Antony Cairns and Daisuke Yokota. Employing unlikely supports and radical techniques, Cairns’ work engages deeply with technological developments and he transforms machines and recycled materials into art objects. The display includes selected works from two of his most recent series – E.I. and IBM – through which he presents his images of cities petrified in e-reader screens and printed on tinted IBM computer punch cards. Yokota’s works on the stand are taken from his Matter/Burn Out (2016), a series whereby he documented the process of setting fire to installation prints in a vacant construction site in Xiamen, China. -
PHYSIOGRAM / Light Painting
PHYSIOGRAM / Light painting Light painting, or light drawing, is a photographic technique in which exposures are made by moving a hand-held light source while taking a long exposure photograph, either to illuminate a subject or to shine a point of light directly at the camera. Light painting / PHYSIOGRAM Light painting (also called light drawing) dates back to 1889 when Étienne-Jules Marey and Georges Demeny traced human motion in the first known light painting “Pathological Walk From in Front”. Light painting / PHYSIOGRAM A variety of light sources can be used, ranging from simple flashlights to dedicated devices. Fiber optic light pen, candles, fireworks, lighter flints, glow sticks, and Poi are also popular. Light painting / PHYSIOGRAM A tripod is usually necessary due to the long exposure times involved. Alternatively, the camera may be placed on or braced against a table or other solid support. Light painting / PHYSIOGRAM A shutter release cable or self timer is generally employed in order to minimize camera shake. Color gels can also be used to color the light sources. Light painting / PHYSIOGRAM OLYMPIA,Light paintingMARC ROMEO / PHYSIOGRAM LLORENTE, JONESSA MARIE 85.8″ f/22 160 Physiograms are patterns created by a light source and a fixed swinging motion. 1 . A small light source (like a mini mag light) , 2 . A length of string, 3 . An overhead support (Put a cup hook in my ceiling) The Set Up: All you need to do is attach the string to the light source, (the pattern really depends on the length of string) and attach the string to a hook on your support. -
Photography Techniques Intermediate Skills
Photography Techniques Intermediate Skills PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Wed, 21 Aug 2013 16:20:56 UTC Contents Articles Bokeh 1 Macro photography 5 Fill flash 12 Light painting 12 Panning (camera) 15 Star trail 17 Time-lapse photography 19 Panoramic photography 27 Cross processing 33 Tilted plane focus 34 Harris shutter 37 References Article Sources and Contributors 38 Image Sources, Licenses and Contributors 39 Article Licenses License 41 Bokeh 1 Bokeh In photography, bokeh (Originally /ˈboʊkɛ/,[1] /ˈboʊkeɪ/ BOH-kay — [] also sometimes heard as /ˈboʊkə/ BOH-kə, Japanese: [boke]) is the blur,[2][3] or the aesthetic quality of the blur,[][4][5] in out-of-focus areas of an image. Bokeh has been defined as "the way the lens renders out-of-focus points of light".[6] However, differences in lens aberrations and aperture shape cause some lens designs to blur the image in a way that is pleasing to the eye, while others produce blurring that is unpleasant or distracting—"good" and "bad" bokeh, respectively.[2] Bokeh occurs for parts of the scene that lie outside the Coarse bokeh on a photo shot with an 85 mm lens and 70 mm entrance pupil diameter, which depth of field. Photographers sometimes deliberately use a shallow corresponds to f/1.2 focus technique to create images with prominent out-of-focus regions. Bokeh is often most visible around small background highlights, such as specular reflections and light sources, which is why it is often associated with such areas.[2] However, bokeh is not limited to highlights; blur occurs in all out-of-focus regions of the image. -
The Politics of Photographic Representation in Postsocialist China
Staging the Future: The Politics of Photographic Representation in Postsocialist China by James David Poborsa A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of East Asian Studies University of Toronto © Copyright by James David Poborsa 2018 Staging the Future - The Politics of Photographic Representation in Postsocialist China James David Poborsa Doctor of Philosophy Department of East Asian Studies University of Toronto 2018 Abstract This dissertation examines the changing nature of photographic representation in China from 1976 until the late 1990s, and argues that photography and photo criticism self-reflexively embodied the cultural politics of social and political liberalisation during this seminal period in Chinese history. Through a detailed examination of debates surrounding the limits of representation and intellectual liberalisation, this dissertation explores the history of social documentary, realist, and conceptual photography as a form of social critique. As a contribution to scholarly appraisals of the cultural politics of contemporary China, this dissertation aims to shed insight into the fraught and often contested politics of visuality which has characterized the evolution of photographic representation in the post-Mao period. The first chapter examines the politics of photographic representation in China from 1976 until 1982, and explores the politicisation of documentary realism as a means of promoting modernisation and reform. Chapter two traces the internationalisation