DOCSLIB.ORG

The Pennsylvania State University Schreyer Honors College

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Pennsylvania State University Schreyer Honors College THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ART HISTORY WOLFGANG TILLMANS: WORLD-MAKING YIZHOU ZHANG SPRING 2020 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Art History with honors in Art History Reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Thesis Supervisor Sarah K. Rich Associate Professor of Art History Honors Adviser Nancy E. Locke Associate Professor of Art History Faculty Reader * Electronic approvals are on file. i ABSTRACT This thesis looks into the body of art works created by Wolfgang Tillmans from the early 1980s to the present, with a focus on the transforming quality of the photographic medium. The essay first investigates the early clashing of mediums in the artist’s work: the photo printer, digital camera, and film in the photograph surface. Then, the essay delves into a longer history of abstract photography that relates to modernist notions of medium specificity. The third chapter deals with the issue of body in a double fold: the body of the art work, and the body of the artist. The fourth chapter introduces a systematic view on Tillmans’ thirty-years-long oeuvre, connecting the motif of astronomy with a distinct world view hidden behind Tillmans photographs. ii TABLE OF CONTENTS Acknowledgements....................................................................................................................... iii List of Figures............................................................................................................................... iv Introduction................................................................................................................................... vi Chapter 1 Technological Utopia …................................................................................................1 Chapter 2 Photographic Abstraction and Medium Specificity .....................................................14 Chapter 3 If one body matters, everybody matters....................................................................... 28 Chapter 4 Astronomy and World-Making ................................................................................... 41 Bibliography................................................................................................................................. 47 iii ACKNOWLEDGEMENTS This paper has been a result of a three years of journey into the investigation of Wolfgang Tillmans’ work and nature of photographic medium. I would like to give my first and foremost thanks to Sarah Rich, who has been there to guide me into the discipline of Art History and my intellectual aspirations on this project from the very beginning. I would also to give thanks to Nancy Locke, to whom I own my knowledge in French impressionism and social history. I’m indebted to the St. Catherine’s College at Oxford University which provided me the chance to study in UK. I am especially grateful to Naomi Freud and Helen Alexander at office of visiting students in Catz. I own my thanks to Andre Nilsen at Hertford College for enlighten me to 20th century philosophy, and Emilia Terracciano, at the Ruskin School of Art, who provided invaluable comments on my writings and research. I would like to thank Maureen Paley Gallery at London, Galerie Buchholz at Berlin, and Tate Modern Archive for all the assistance and research material. Last, a brief set of thank you goes out to Leonard Schneider, Catherine Pavel, Mihaela Man, Daniel Purdy, David Tolley, Gervase Rosser, and last but not least Julia Woelfel. iv List of Figures 1. Figure 1: Wolfgang Tillmans, left Edinburgh Builders, A, right Edinburgh Builder B, 1987 2. Figure 2: Richard Prince, Untitled(Cowboy), 1989, Ektacolor photograph, 50x70 inches. 3. Figure 3. Wolfgang Tillmans, Concord Grid, 1997, 56 C-print photographs 4. Figure 4. Édouard Manet, Old Musician, 1862, Oil on Canvas, 73.8 in x 97.8 in. 5. Figure 5. Wolfgang Tillmans, Concorde L449-11, C-print, 320 x217 mm 6. Figure 6: Wolfgang Tillmans, Concorde, artist book 7. Figure 7: Wolfgang Tillmans, Installation view at ars Futura Galerie, Zurich, 1993 8. Figure 8. Wolfgang Tillmans, Installation view at Maureen Paley, 1994 9. Figure 9. Laszlo Moholy-Nagy, self-portrait, photogram, 1926, 10. Figure 10: Wolfgang Tillmans, JAL, 1997, C-print, Tate 11. Figure 11: Wolfgang Tillmans, Parkett Edition, #55 12. Figure 12: Wolfgang Tillmans, Alex, 1997, 51x60 cm, Tate 13. Figure 13: Wolfgang Tillmans, Parkett Edition #4, 14. Figure 14. Wolfgang Tillmans, Freischwimmer 151, 3.78 x 5.08m, 2010, Installation view at Walkers Gallery of Art 15. Figure 15. Jackson Pollock, Number 31, 2.7 x 5.31m, 1950, Installation view at MoMA 16. Figure 16. Wolfgang Tillmans, Installation view at Interim Art, 1993 17. Figure 17. Wolfgang Tillmans, Installation view at Andrea Rosen Gallery, New York, 1994 18. Figure 18. Wolfgang Tillmans, Indian Corn & Pomegranate, C-Print, 1994, 11 1/2 x 16 inches (29.2 x 40.6 cm), Guggenheim Museum. 19. Figure 19. Wolfgang Tillmans, Für Immer Burgen, C-Print, 1997 v 20. Figure 20. Nobuyoshi Araki, Untitled, from artist book Winter Journey, 1991 21. Figure 21. Wolfgang Tillmans, Detail of Tillmans’ paper clip technique, 2019 22. Figure 22. Zoe Leonard, Strange Fruit, 1992-1997, Philadelphia Museum of Art. 23. Figure 23. Felix Gonzalez-Torres, Untitled (Toronto), 1992, MoMA 24. Figure 24. Wolfgang Tillmans, Untitled, drawing, 2003 25. Figure 25. Wolfgang Tillmans, Totale Sonnenfinsternis / Total Solar Eclipse, Galerie Daniel Buchholz, Cologne, 1999. 26. Figure 26. Wolfgang Tillmans, Totale Sonnenfinsternis / Total Solar Eclipse, Galerie Daniel Buchholz, Cologne, 1999. vi Introduction Art historian Heinrich Wölfflin once remarked that, “not everything is possible in every period.”1 In some respects this has been true of Tillmans’ work, as his practice has progressed along with shifts in technology, and only certain images became possible under certain technological (and therefore cultural) conditions. For example, works by Tillmans from 1980 to about 2005 were mostly C-prints, however, but afterwards, as ink-jet technology flourished, he increasingly turned to that medium. Similarly, Tillmans used a 35mm film camera for most of his career until 2007, when he begin to work with a digital camera. By 2012 digital files has completely replaced film in his studio. At the same time, however, Tillmans has never relinquished obsolete technologies: the Xerox print appeared in his oeuvre in 1988, for example, and it continues to play a major role in his works today. The technological condition, it turns out, is not an absolute cause nor is it the base structure of artistic change, but, rather, it is a gathering effect of technology upon ways of knowing—for Michel Foucault, the episteme. Such ways of knowing do not progress teleologically, but rather accumulate, as well as compete. This essay explores Tillmans’ work and its attention to the relationship between changing epistemes of technology and changing notions of photography as a medium. To that end, I separate Tillmans’ work into four distinct themes. The first chapter looks at Tillmans’ concern 1 Heinrich Wölfflin, Principles of Art History, forward to the 7th German edition. Quoted by Stanley Cavell, “Aesthetic Problem of Modern Philosophy,” Aesthetics: a comprehensive anthology, (Oxford, Blackwell, 2008), 396. vii with xerox technology and the class identities that it presumes. The second chapter investigates Tillman’s attention to photography as a medium—technology turned inward. Here, I shall give an overview of Tillmans’ early medium-reflective work in the 1990s using Xerox copies, then relate those works to his later abstract prints, the paper drop series, attending in all cases to the ways in which Tillmans uses margins and framing to reinforce notions of medium specificity. The third chapter addresses Tillmans’ recurring attention to the human body, and the ways in which he conveys its sensuality and pictorial complexity even when he works within genres such as still life. The last chapter concerns itself with Tillmans’ work regarding astronomy and his approach to cosmology. 1 Chapter 1 Technological Utopia Photography, n. The process, practice, or art of taking photographs; the business of producing and printing photographs. -Oxford English Dictionary Photograph, n. A picture or image obtained by photography; (originally) a picture made using a camera in which an image is focused on too sensitive material and then made visible and permanent by chemical treatment; (later also) a picture made by focusing an image and then storing it digitally. – Oxford English Dictionary From the start of Tillmans career, technology has been a central concern, both in terms of the mediums he uses and the subject matter he addresses. A key feature of photography for Tillmans has been the competing between forms of the medium and the ways in which they affect the photograph as both image and object. In On Photography, Susan Sontag once described the heterogenous nature of photographs and the reception of photographic images under the modern technological condition: “Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out.”2 Sontag came to perceive photography not only as images, but also as physical objects too— technological objects—and it is the industrial/chemical nature of those objects that can 2 Susan Sontag, On Photography, (New
Load more

Recommended publications
  • Camera-Less Photography: Can It Be Considered Photography?
    Camera-Less Photography: Can It Be Considered Photography? By Samara Knight 1404424 BA (Hons) Photography FPHO6004 Word count: 8,800 TABLE OF CONTENTS Description page number 1 Introduction . 1 2 Chapter 1: A Brief History of Camera-less Photography . 4 3 Chapter 2: Key Theories . 7 4 Chapter 3: Case Study 1: Garry Fabian Miller . 13 5 Chapter 4: Case Study 2: Pierre Cordier . 19 6 Conclusion . 25 Bibliography . 27 List of illustrations . 31 INTRODUCTION Fig. 1. Diagram of Forces (1939) Photography has the ability to capture from the visual world around us things that the human eye is unable to process, even when it does, technically, capture it. As Dziga Vertov describes “I am an eye, a mechanical eye. I the machine show you the world the way only I can see…Thus I explain in a new way, the world unknown to you” (Dziga Vertov, cited in Jordan Bernier, 2012). James Elkins echoes this statement, articulating that "Again and again photographs have compelled people to see the world as they had not needed or wanted to see it” (Elkins, 2009a:XI). The photograph can capture and freeze moments in time, which is what made it a popular tool within scientific discovery; these photographs are typically equated with the use of the camera. Photography is also able to record duration but to its factual demise. The art of camera-less photography is very much included in this element, it preceded the camera-made photograph which is often assumed as the first fix of light on paper. ‘Camera-less’ is the term used to describe any image made using photographic or photographically related materials without the use of the camera.
    [Show full text]
  • Cameraless & Alternative Photographic Workshops
    Cameraless & Alternative photographic workshops All workshops listed below are tailored for your requirements, suitable for a range of ages and do no require any previous experience. Hannah Fletcher @hfletch www.hannahfletcher.com [email protected] Member of London Alternative Photography Collective @londnaltphoto Cyanotypes Lumen prints Workshops can range from drop-in 30 min sessions to 1 or 2 day classes and will result in finished prints to be taken away. The Cyanotype is a cameraless photographic printing process that produces a cyan-blue print. Absorbent materials -including papers, fabrics, woods and cardboards, are coated with a light sensitive solution and dried in a darkened space. Once dry, the material is layered with Workshops can range from drop-in 40 min sessions to full day classes objects or large format negatives and and will result in finished prints to be taken away. exposed to a source of ultraviolet light (either the sun or a UV exposure unit). Lumen printing is a cameraless photographic printing process that works Exposure time will vary depending on particularly well with organic materials. It can be done with any old, out of the strength of the UV light and can be date or fogged photographic paper or film. anywhere from 2 minutes to a few hours. Once thoughrouly washed in water, areas Materials and specimens are collected and picked for the workshop. These of the material that have been touched by are then placed onto the photographic paper or photographic film and light, remain blue, while any areas that weighted down inside a frame and exposed to a source of ultraviolet light were hidden from UV light source will (either the sun or a UV exposure unit).
    [Show full text]
  • Wolfgang Tillmans Hamburger Bahnhof—(Museum Fur Gegenwart, Berlin) TOP PICK in BOTH ARTFORUM and FRIEZE “BEST of 2008”
    Lighter Wolfgang Tillmans Hamburger Bahnhof—(Museum fur Gegenwart, Berlin) TOP PICK IN BOTH ARTFORUM AND FRIEZE “BEST OF 2008” As seen in Frieze, January 2009 Gigiotto Del Vicchio Beatrix Ruf Wolfgang Tillmans’ solo show, which made Wolfgang Tillmans solo show at the Ham- use of the Riek Hallen of Berlin’s Hamburger burger Bahnhof in Berlin was great. A long Bahnhof, was an absolute highlight of 2008, sequence of emotions and a great number as was the accompanying catalogue, which, of works of unflinching intensity, this was the like most of Tillmans’ books, was designed total vision of a total artist - the last of the by the artist himself. Tillmans is known for Romantics. The show confirmed almost de- his outstanding ability to use space, and he finitively who it is, today, that uses and under- managed to energize this endless sequence stands images in all their possible nuances, of rooms with a survey of works spanning his citing poetry, reality, imagination, knowledge entire career, from wall pieces comprised of and background. Tillmans is not just a pho- groups of multi-sized images to large-scale tographer: he is a complete artist. ‘Lighter’ abstracts, from archives in vitrines to politi- proved this, creating a unique and excel- cally and sociologically activated sets of lently constructed itinerary, confirming his images. status not only as a major artist but a cultural beacon. Other shows: Tris Vonna-Michell at Kunsthalle Zurich: Alexander Rodchenko at Martin-Gropius-Bau, Berlin: R. Buckminster Fuller at the Whitney Museum of American Art, New York; Marc Camille Chaimowicz (in collaboration with Alexis Vaillant) at de Ap- Wolfgang Tillmans’ Bob Nickas pel, Amsterdam; Rivane Neuenschwander at 3”Wolfgang Tillmans: Lighter” (Ham- the South London Gallery.
    [Show full text]
  • Notable Photographers Updated 3/12/19
    Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius
    [Show full text]
  • Ohno, Mari. 2021. Composing with Matter: Interdisciplinary Explorations Between the Natural and the Artificial
    Ohno, Mari. 2021. Composing with Matter: Interdisciplinary Explorations Between the Natural and the Artificial. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/29971/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Composing with Matter Interdisciplinary Explorations Between the Natural and the Artificial Mari Ohno Music Goldsmiths, University of London Thesis submitted for the degree of Doctor of Philosophy 2020 1 Declaration I hereby declare that the work in this dissertation and the work presented in the accompanying portfolio have been carried out by myself except as otherwise specified. Signed, Mari Ohno January 2020 2 Acknowledgements I would like to thank my supervisors Professor John Levack Drever and Dr Freida Abtan, and my external supervisor Dr Patricia Alessandrini at Stanford University for their support, knowledge, and guidance throughout the pathway of this research at Goldsmiths, University of London. I would like to acknowledge and thank the scientists and artists, Oron Catts and Dr Ionat Zurr at SymbioticA, the Centre of Excellence in Biological Arts at the University of Western Australia, Professor Anatoly Zayats and Dr Manasi Nandi at King’s College London, who all supported and collaborated with me for the practice in this research.
    [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]
  • This PDF Is Part of the Catalogue of the Exhibition Wolfgang Tillmans
    This PDF is part of the catalogue of the exhibitionWolfgang Tillmans. Moderna Museet, Stockholm, 06.10.2012 – 20.01.2013 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 02.03.2013 – 07.07.2013 2 – 17 Tom Holert The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans 18 – 116 Installation views Moderna Museet 117 – 125 Captions Moderna Museet 126 – 131 List of works Moderna Museet 132 – 133 Biography 134 Colophon Tom Holert The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans Prelude: How a visitor may be led Warsaw, January 2012. Ascending the majestic staircase of the classicist art palace built between 1890 and 1900 for the Towarzystwo Zachęty Sztuk Pięknych, the then Society for the Encouragement of the Fine Arts, and now home to the Zachęta Naradowa Galeria Sztuki, Poland’s National Gallery, I make my way up to Wolfgang Tillmans’ exhibition Zachęta. Ermutigung (Zachęta. Encouragement). En route I see large paper-drop pictures hanging in niches that must originally have been intended for paintings. These close-ups of sheets of curling, curving photographic paper with shimmering and gleaming polychrome surfaces are unframed, held in position by the foldback clips that Tillmans uses to present his works on paper. With the three-dimensionality of the images and the three-dimensionality of the physical objects, the paper-drop pictures perform a dance of gravity, materials, reflections and shadows. They show what they are, even if not completely. For the difference between the materiality of the photographic paper ‘in’ the pictures and the archival sheets exhibited here (207 × 138 centi- metres) that have absorbed the ink-jet prints, prevents any over-hasty identification.
    [Show full text]
  • Mindful Photographer
    Operating Manual for the Mindful Photographer Ed Heckerman Copyright © 2017 Cerritos College and Ed Heckerman 11110 Alondra Blvd., Norwalk, CA 90650 Second Edition, 2018 This interactive PDF was made in partial fulfillment for a sabbatical during the academic year 2016 - 2017. No part of the text of this book may be reporduced without permission from Cerritos College. All photographs were taken by Ed Heckerman and produced independently from sabbat- ical contract. Ed Heckerman maintains the copyright for all the photographs and edition changes. No images may be copied from this manual for any use without his consent. Contents Part 1 — Insights and Aspirations 1 contents page Introduction 1 What is Photography? 2 What is a Photograph? Motivations — Why Make Photographs? Photography and Mindfulness 6 Thoughts On Tradition ��������������������������������������������������������������������������12 Part 2 — Navigating Choices ������������������������������������������������������������� 14 Cameras Loading Your Camera Unloading Your Camera Manual Focus Autofocus Sensitivity and Resolution — ISO Controlling Exposure — Setting the Aperture and Shutter Speed Shutter Speed Coordinating Apertures and Shutter Speeds Exposure Metering Systems ��������������������������������������������������������������� 25 Full-frame Average Metering Center Weighted Metering Spot Metering Multi-Zone Metering Incident Metering
    [Show full text]
  • Educator Guide: Tom Schiff: Surrounded By
    EDUCATOR GUIDE Tom Schiff: Surrounded by Art Panoramic Views of America’s Landmark Museums November 22 – March 01, 2020 1 | P a g e Welcome! Dear Educators, We are delighted to have you join us at the Contemporary Arts Center (CAC) for Tom Schiff’s first solo exhibition, Surrounded by Art Panoramic Views of America’s Landmark Museums . The exhibition is on view from November 22, 2019 – March 1, 2020. For years, Schiff has traveled the country taking dynamic exterior and interior photographs of different arts institutions, and, as a result, created a visual catalogue of museums. Through artistic license and deliberate framing, Schiff turns the architecture of landmark American museums into a medium. We are encouraged to define panorama, symmetry, asymmetry, abstraction, cirkut, and composition as we explore the way Schiff utilizes his photographic panorama technique. We invite you to explore, create, immerse yourselves, and discover what stories, connections and lessons can be found within this exhibition. Enjoy your visit! 2 | P a g e CONTENTS 4 – 5 Introduction to Tom Schiff: Surrounded by Art - About the artist - About the work - Quotes - About the exhibition 5 - 6 Vocabulary and Themes 7 – 8 Pre-visit Discussions - About the CAC - About the building - Rules and Guidelines 8 - 9 Accessibility Information 9 Artwork Discussions 9 – 10 Lesson Plan Ideas 11 – 17 Artwork and information 18 Resources and Learning standards 3 | P a g e ABOUT THE ARTIST Tom Schiff 1. Cincinnati-based photographer 2. Earned a BBA degree (Bachelors in Business Administration) from Ohio University in 1970, during which time he studied photography under Clarence White, Jr.
    [Show full text]
  • Nagatani Press Release
    Andrew Smith Gallery, Inc. Masterpieces of Photography PRESS RELEASE FOR IMMEDIATE RELEASE January 25, 2014 ANDREW SMITH GALLERY ANNEX Patrick Nagatani "Outer and Inner: Contemplations on the Physical and the Spiritual" The Race A Photo-Novel The Buddhist Tape-esteries 200 - 2013 Recent Novellas Opening and artist's reception at Annex Gallery 203 W. San Francisco St., Santa Fe (between the Plaza and the Eldorado Hotel) Exhibition Dates: Friday, January 31 through March 14, 2014 Artist Reception: 4 to 6 p.m. Friday, January 31, 2014 Andrew Smith Gallery has (re-)opened a Gallery Annex in our historic storefront location at 203 W. San Francisco St., in downtown Santa Fe, with an exhibit by Patrick Nagatani titled "Outer and Inner: Contemplations on the Physical and the Spiritual." The location is familiar as it was our primary gallery location from 1994 to 2009. There will be an opening reception attended by Patrick Nagatani on Friday, January 31, 2014 from 5 to 8 p.m., including a reading from his new novel "The Race." A SPECIAL NOTE FROM PATRICK NAGATANI "This exhibition comes at a crazy time for me. In dealing with metastatic cancer stage 4 for the 5 months (radiation and now heavy duty chemotherapy) I have been dealing with the realization of impermanence and have been introspective of the spiritual and the physical aspect of my life as it is. I have tried to be in the moment and totally enjoy what life has to offer. I have chemo brain (good for writing and playing blackjack) and chemo emo (cry and cuss a lot and mostly happy).
    [Show full text]
  • Chromogenic Characterization: a Study of Kodak Color Prints, 1942-2008
    CHROMOGENIC CHARACTERIZATION: A STUDY OF KODAK COLOR PRINTS, 1942-2008 GAWAIN WEAVER AND ZACH LONG Presented at the 2009 PMG Winter Meeting in Tucson, Arizona ABSTRACT The Eastman Kodak Co. and their coupler-incorporated chromogenic print process, were nearly synonymous with the 20th century color snapshot. Introduced in 1942 and still manufactured today, samples of these prints from intervals across the manufacturing history were studied in detail in order to gain a fuller understanding of the material characteristics of this photographic process. The following aspects of the prints were examined: support, dye cloud structure, layer order, backprinting and stamps, dye and coupler stability, and fluorescence. The prints were documented overall and in cross-section under both visible and UV radiation, using an Olympus AX-70 compound microscope, and a Canon EOS 5D digital SLR. Changes in the print characteristics over time were documented and when possible, correlated to known technological developments. The documentation of these changes over time made it possible to date nearly any print to within a few years. Subsequent findings from this inquiry significantly add to the knowledge about these ubiquitous yet rarely studied photographic prints. INTRODUCTION The era of the color snapshot began in January 1942 when Kodak introduced Kodacolor--the first consumer-oriented mass production negative/positive color print process. The process, which produced fiber base color prints from color negatives, was dramatically simpler and cheaper than previous alternatives. One of the innovations of this new process was the use of coupler- incorporated negative film and print materials. Issues with color rendition and extremely poor dye stability plagued the process in its early years, though technological innovations led to gradual improvements in print quality and stability.
    [Show full text]
  • Lexicon * Cf. Lexicon ** Neologism by Pierre Cordier Auto-Chemigram
    Lexicon * Cf. Lexicon ** neologism by Pierre Cordier auto-chemigram ** (1979) Imprint of the face, the body, or a part of the body made with a localizing* product on a photosensitive emulsion*. Bayard Hippolyte (1801-1887) In 1839, invented a photographic technique using negative paper. His talent as an inventor was overshadowed because of the success of the daguerreotype. Bissectrix ** (1972-1979) The lines formed by the " magic varnish*" create clearer areas in the angles which underline the bissectrices. In a square, they form an « X ». From this observation came the idea to create the Bissectrix alphabet. Each letter can be read by following the virtual image formed by the changing directions of the parallel lines. cameraless photography Photography without the use of a camera. Cf. Photogram*, cliché-verre*, lensless* photography. camera obscura In which an image is formed by the light rays passing through a small hole or a lens. CHazard ** (1975) Chemigram whose forms are organized according to random numbers. chemigram ** The chemigram , invented in 1956 by Pierre Cordier, combines the physics of painting (varnish, wax, oil) and the chemistry of photography (photosensitive emulsion*, developer*, fixer*); without the use of a camera, an enlarger, and in full light. In 1958, to describe his technique, Pierre Cordier coined the words, today used worldwide: chimigramme in French; chemigram in English, in Dutch & Flemish; Chemigramm in German; chimigramma in Italian; quimigrama in Spanish & Portuguese. ( The word « chimigramme » was patented in March 1963 & the word « chemigram » in 1979 ) chemigrammer ** or chemigramist ** or chemigrapher One who utilizes the chemigram technique. chemigram negative ** (1956) Chemigram on negative material (film, plate).
    [Show full text]