DOCSLIB.ORG

Photo 1 Alfred Stieglitz Self Portrait 1907 Born in Hoboken, NJ in 1894 German – American Parents Raised in New York City

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Photo 1 Alfred Stieglitz Self Portrait 1907 Born in Hoboken, NJ in 1894 German – American Parents Raised in New York City Photo 1 Alfred Stieglitz Self Portrait 1907 Born in Hoboken, NJ in 1894 German – American Parents Raised in New York City Avid Outdoorsman and by 1994 walked more than 500 hundred miles in the Austrian and Swiss Alps, this inspired him to take photography very seriously. Alfred Stieglitz wanted to bring attention to photography as a serious art form. Notice that this is a self-portrait. He is the SUBJECT. Do you think he is standing or sitting? How would you describe his expression? ! Photo 2 Self Portrait in Germany - vertical Went to Europe to study engineering Stieglitz was in school in Germany and noticed a small showcase containing photographic material in a Berlin show window, and “I decided I must try to photograph” Lens in a cubic box – which was called a camera – the simplest kind of camera – this is called a Graflex camera. Compare this self-portrait to the last. Whole body included here. Trees in BACKGROUND. Photo 3 A Snapshot in Paris - 1902 Emphasized spontaneity, simplify form and subject What do you see in the FOREGROUND (front of the picture) and what do you see in the BACKGROUND (back of the picture)? The word FOCUS means center of attention. When a photo’s in focus, the image is crisp, detailed. When it’s not focused, image is blurry. What can you see clearly in the picture - what’s in focus? What is unclear or blurry? VANTAGE POINT refers to where the photographer stands when taking the photo. This is one of the most important choices a photographer makes. This choice shows that the photographer has the power and creativity to make the most interesting photo. (Is he close-up or far away? Is he taking a worm’s eye view from below, or is he taking a bird’s eye view from above or is he taking the photo straight on?) Where do you think Stieglitz was when he took this photo? Photo 4 Steerage 1915 One of Stieglitz’s most famous photographs, taken 25 years after starting in photography The Steerage marked a turning point for Alfred Stieglitz. In it, he abandoned the idea that photographs should bear some likeness to paintings, and embarked on a new path to explore photos as photos in their own right. From what VANTAGE POINT did Stieglitz take this photograph? “The scene fascinated me, a round straw hat, the funnel leaning left, the stairway leaning right, the white drawbridge, railings made of chain, white suspenders crossed on the back of the man below, the mast cut into the sky, completing a triangle.” He stood spellbound. Stieglitz marveled in the shapes and how they related to one another Worked to capture what he saw and felt Photos 5 and 6 1919 Stieglitz photographed close ups of hands to capture mood and personality Describe what they are doing with their hands. Georgia O’Keefe hands, her hands had been admired all her life Stieglitz photographs hands; one with skull and one with a thimble Hands with skull conveys the message that all tings have a beginning and an end Stieglitz used a blue/green filter to darken the skin tones to make the contrast with the white skull Would you say the SUBJECT is the skull or hands? Would you say the SUBJECT is the hands or the thimble? Photos 7 and 8 Dorothy Norman and Georgia O’Keefe 1918-1923 Everyday we observe people and from their expressions, gestures and actions, we interpret who they are and how they are feeling. Describe the people you see here – their expressions, clothing, mood. From what VANTAGE POINT do you think Stieglitz took these photos? Shows the angle of photographs and how this paints a mood, is Dorothy, happy or sad? Are you drawn to her eyes, nose or mouth? Where is Georgia O’Keefe? Can you tell she is in a car? What’s included in the frame, and what’s not? (photo is framed in the car window) Where is your eye drawn - her face or hands? Why? (LIGHTING!) What do you see in the background? What does that tell you? Photo 9 Equivalents 1930 Stieglitz photographed clouds to capture emotion and ideas From what VANTAGE POINT did Stieglitz take this photo? The clouds captured feelings of people and changing expression Photographing moving clouds showed Stieglitz’s work to “hold a moment” in time Notice the LIGHTING. Is it bright or dark? Soft or contrasty? What shapes, patterns or lines do you see? Does this cloud photo feel happy or sad? Photo 10 and 11 Dorothy Norman series 1928 Compare these two photographs. Study of different views of the same subject, focusing on lighting, framing, composition From what VANTAGE POINT did Stieglitz take these photos? What did he decide to include and not include in these photos? Stieglitz experimented with photographing different body parts of the same subject, focusing on eyes, hands, noses to capture different emotions. Stieglitz used different lighting, shadows, shades of black and white to convey different moods in the portraits. Where is your eye drawn first in each photo? Does the lady look happy or sad in photo 13 and photo 14? Photo 12 and 13 New York Series 1935 Late works in Stieglitz’s life Talk about the importance of LIGHTING in these photos. Light rays reflect off surfaces and into camera where film or a digital disc records the image. The use of light can make photos look and feel very different. Is the light coming from above, below or the side? Are there any shadows? Can you guess where these photographs were taken from? (Stieglitz’s window in New York City) Focused his art on the blurring of nature and abstraction How would you describe the difference between the photos based on the time of day and the lighting? Are you more drawn to the building to the right or left? What elements of nature do you see in these photos? (the clouds) How would you compare the SUBJECT of these photos to the earlier city scene from Paris? ***Conclusion: The important thing to remember is that photographers make many different kinds of choices when they take photographs. Can anybody remember some of these choices? They need to choose a SUBJECT. They need to decide what’s going to be in the FOREGROUND and what’s going to be in the BACKGROUND. They need to choose what’s going to be in FOCUS and what’s going to be blurry. They need to decide from what VANTAGE POINT they’re going to take the photo. They need to decide what kind of LIGHTING to use in the photo. Now it’s your turn to become photographers and make some of your own choices about how you’re going to “photograph” today… .
Load more

Recommended publications
  • The Street—Design for a Poster
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz (editor/publisher) after Various Artists Alfred Stieglitz American, 1864 - 1946 The Street—Design for a Poster 1900/1901, printed 1903 photogravure image: 17.6 × 13.2 cm (6 15/16 × 5 3/16 in.) Alfred Stieglitz Collection 1949.3.1270.34 Key Set Number 266 Image courtesy of the Philadelphia Museum of Art KEY SET ENTRY Related Key Set Photographs The Street—Design for a Poster 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Alfred Stieglitz Key Set Alfred Stieglitz Alfred Stieglitz The Street, Fifth Avenue Fifth Avenue—30th Street 1900/1901, printed 1903/1904 1900/1901, printed 1929/1937 photogravure gelatin silver print Key Set Number 267 Key Set Number 268 same negative same negative Remarks The date is based on stylistic similarities to Spring Showers—The Street Cleaner (Key Set number 269) and Spring Showers—The Coach (Camera Notes 5:3 [January 1902], pl. A). This photograph was made at Fifth Avenue and 30th Street with a Bausch & Lomb Extra Rapid Universal lens, and won a grand prize of $300 in the 1903 “Bausch & Lomb Quarter-Century Competition”(see Camera Work 5 [January 1904], 53; and The American Amateur Photographer 16 [February 1904], 92). Lifetime Exhibitions A print from the same negative—perhaps a photograph from the Gallery’s collection—appeared in the following exhibition(s) during Alfred Stieglitz’s lifetime: 1903, Hamburg (no. 424, as The Street, photogravure) 1903, San Francisco (no. 34a, as The Street—Winter) 1904, Washington (no.
    [Show full text]
  • Artist Resources – Alfred Stieglitz (American, 1864-1946)
    Artist Resources – Alfred Stieglitz (American, 1864-1946) Alfred Stieglitz Collection and Archive, Art Institute of Chicago The Key Set Stieglitz Collection, National Gallery of Art Stieglitz at The Getty Stieglitz and Camera Work collection, Princeton University Art Museum Explore The National Gallery’s timeline of all known Stieglitz exhibitions, spanning from 1888 to 1946. View archival documents from MoMA’s 1947 exhibition, which comprised two floors and paired Stieglitz’s photography with his private art collection. The following year, MoMA introduced Photo-Secession (American Photography 1902-1910), organized by surviving co-founder Edward Steichen and featuring photography from the the journal Camera Work. The 1999 PBS American Master’s documentary, Alfred Stieglitz: The Eloquent Eye, charts the photographer’s immense influence and innovation, featuring intimate interviews with his widow, the painter Georgia O’Keefe, museum curators, and scholars. “What is of greatest importance is to hold a moment, to record something so completely that those who see it will relive an equivalent of what has been expressed,“ Stieglitz reflects in recorded audio of his writing, which is threaded throughout the film. Stieglitz, 1934 Photographer: Imogen Cunningham Smithsonian Magazine profiled Stieglitz in 2002 in honor of The National Gallery’s retrospective. Stieglitz was the subject of the NGA’s first exhibition dedicated exclusively to photography, in 1958. In 2011, The Metropolitan Museum of Art debuted the first large-scale exhibition of Stieglitz’s personal collection, acquired by the museum in 1949. Over 200 works display the photographer’s influence with his contemporaries and successive generations, including, among others, works by: Georgia O'Keeffe, Pablo Picasso, Henri Matisse, Constantin Brancusi, Vasily Kandinsky, and Francis Picabia.
    [Show full text]
  • Cubism in America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop­ most important revolution in the history of ment of what came to be called Cubism­ art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance.
    [Show full text]
  • HARD FACTS and SOFT SPECULATION Thierry De Duve
    THE STORY OF FOUNTAIN: HARD FACTS AND SOFT SPECULATION Thierry de Duve ABSTRACT Thierry de Duve’s essay is anchored to the one and perhaps only hard fact that we possess regarding the story of Fountain: its photo in The Blind Man No. 2, triply captioned “Fountain by R. Mutt,” “Photograph by Alfred Stieglitz,” and “THE EXHIBIT REFUSED BY THE INDEPENDENTS,” and the editorial on the facing page, titled “The Richard Mutt Case.” He examines what kind of agency is involved in that triple “by,” and revisits Duchamp’s intentions and motivations when he created the fictitious R. Mutt, manipulated Stieglitz, and set a trap to the Independents. De Duve concludes with an invitation to art historians to abandon the “by” questions (attribution, etc.) and to focus on the “from” questions that arise when Fountain is not seen as a work of art so much as the bearer of the news that the art world has radically changed. KEYWORDS, Readymade, Fountain, Independents, Stieglitz, Sanitary pottery Then the smell of wet glue! Mentally I was not spelling art with a capital A. — Beatrice Wood1 No doubt, Marcel Duchamp’s best known and most controversial readymade is a men’s urinal tipped on its side, signed R. Mutt, dated 1917, and titled Fountain. The 2017 centennial of Fountain brought us a harvest of new books and articles on the famous or infamous urinal. I read most of them in the hope of gleaning enough newly verified facts to curtail my natural tendency to speculate. But newly verified facts are few and far between.
    [Show full text]
  • Before Zen: the Nothing of American Dada
    Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada.
    [Show full text]
  • The Stieglitz Revolution the Art Show February 28-March 5, 2018 / Booth B12
    THE STIEGLITZ REVOLUTION THE ART SHOW FEBRUARY 28-MARCH 5, 2018 / BOOTH B12 Artist, Rebel, Publisher, Philosopher, Promoter and pioneering Gallerist, Alfred Stieglitz (1864- 1946) played the starring role in the emergence and development of American Modernism. In the early years, Stieglitz fostered the pictorialist photography movement, while bringing the most important European avant-garde artists to American shores and the attention of collectors and artists (names such as Cézanne, Rodin, Matisse, Braque, Picasso, Brancusi, Picabia and Severini). Later, he established and promoted the central canonical group of American modernists, including Bluemner, Lachaise, Maurer, Nadelman and Walkowitz. Stieglitz used every imaginable resource to showcase the foundational artists of modernism, and allow the artists he gathered around him to develop a singularly American response to the avant-garde ideas of the early STIEGLITZ’S GALLERIES THE LITTLE GALLERIES OF THE PHOTO-SECESSION 20th century. (“291”) 1905-1917 After 1915, he principally championed American 291 Fifth Avenue (moves to 293 Fifth Avenue in 1908) modernists and the “7 Americans”, formalized ANDERSON GALLERIES 1921-1925 in a 1925 exhibition presenting the work of 489 Park Avenue Demuth, Dove, Hartley, Marin, O’Keeffe, THE INTIMATE GALLERY Strand and Stieglitz himself. His publications, 1925-1929 489 Park Avenue, Room 303 including the influential Camera Work, were instrumental in disseminating his ideas about AN AMERICAN PLACE 1929-1946 photography and modern art to a general public. 509 Madison Avenue, Room 1710 Through his succession of galleries from 1905- 1946, the artists Stieglitz exhibited and the ideas he promoted changed the course of 20th century art in America.
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:May 15, 2007 I, Katie Esther Landrigan, hereby submit this work as part of the requirements for the degree of: Master of Arts in: Art History It is entitled: The Photographic Vision of John O. Bowman, “The Undisputed Box-Camera Champion of the Universe” This work and its defense approved by: Chair: Theresa Leininger-Miller, Ph.D. Mikiko Hirayama, Ph.D. Jane Alden Stevens The Photographic Vision of John O. Bowman (1884-1977), “The Undisputed Box-Camera Champion of the Universe” A thesis submitted to the Art History Faculty of the School of Art/College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Master of Arts in Art History Katie Esther Landrigan B.A., Ohio State University April 2006 Thesis Chair: Dr. Theresa Leininger-Miller Abstract In 1936, John Oliver Bowman (1884-1977) purchased his first box camera with seventy- five cents and six coffee coupons. In his hometown of Jamestown, New York, located in the Chautauqua Lake Region, Bowman spent his free time photographing a wide range of subjects, including farmers plowing the fields or the sun setting over Chautauqua Lake from the 1930s until the end of his life. He displayed a Pictorialist sensibility in his photographs of small town living and received worldwide recognition with a solo exhibition of ninety-nine prints at the New York World’s Fair of 1939-1940, as well as nationwide praise in the popular press. Within forty years, Bowman produced an estimated 8,000 gelatin silver prints. This thesis marks the first in- depth, scholarly study of Bowman’s life and work.
    [Show full text]
  • BEA NETTLES Nettles’ First Book
    BEA NETTLES Nettles’ first book. A surreal group that share a common element - some mysteri- An innovator in photomechanical ous event or organic form against a sky with clouds. $300.00 printmaking, Bea Nettles (b. 1946, Gainesville, Florida) uses photographic 586. Nettles, Bea. FLAMINGO IN THE imagery with a variety of processes, DARK. Rochester: Inky Press, 1979. First some of which she introduced to the ed. Square 4to., 66 photographically pro- lexicon. She obtained her B.F.A. from duced images in color, illustrated endpa- the University of Florida, Gainesville pers. Gilt-embossed cloth, issued without (1968), and her M.F.A. from the Uni- dw. Fine. Housed in cloth slipcase. versity of Illinois, Chicago (1970). Limited to 200 SIGNED copies, with Nettles has produced some of the most an additional portfolio of six prints laid in. Nettles used the Kwik Print method to pro- visually exciting work since the early duce the original multiple negative color 590. Nettles, Bea. KNIGHTS OF ASSISI: A 70’s. prints, which are reproduced here by offset JOURNEY THROUGH THE TAROT. (Urbana, screened lithography. $250.00 IL: Inky Press Productions, 1990). First ed. 582. Nettles, Bea. A IS FOR APPLEBITING Square 8vo., (22) pp., color photos. Plain ALLIGATORS: AN ALPHABET BOOK. N.p.: 587. Nettles, Bea. FLAMINGO IN THE stiff wrappers in illustrated dw. Fine. Self-published, 1974. First ed. 24mo., (29) DARK. Rochester: Inky Press, 1979. First $45.00 pp., b&w photo-illustrations. Stiff wrappers. ed. Square 4to., 66 photographically pro- Fine. Housed in faux alligator skin stitched duced images in color, illustrated endpa- 591.
    [Show full text]
  • The History of Photography: the Research Library of the Mack Lee
    THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography.
    [Show full text]
  • "Equivalents": Spirituality in the 1920S Work of Stieglitz
    The Intimate Gallery and the Equivalents: Spirituality in the 1920s Work of Stieglitz Kristina Wilson With a mixture of bitterness and yearning, Alfred Stieglitz Galleries of the Photo-Secession, where he had shown work wrote to Sherwood Anderson in December 1925 describing by both American and European modernists), the Intimate the gallery he had just opened in a small room in New York Gallery was Stieglitz's first venture dedicated solely to the City. The Intimate Gallery, as he called it, was to be devoted promotion of a national art.3 It operated in room 303 of the to the work of a select group of contemporary American Anderson Galleries Building on Park Avenue for four sea- artists. And although it was a mere 20 by 26 feet, he discussed sons, from when Stieglitz was sixty-one years of age until he the space as if it were enormous-perhaps limitless: was sixty-five; after the Intimate Gallery closed, he opened An American Place on Madison Avenue, which he ran until his There is no artiness-Just a throbbing pulsating.... I told death in 1946. It is at the Intimate Gallery, where he primarily a dealer who seemed surprised that I should be making showed the work of Arthur Dove, John Marin, Georgia this new "experiment"-[that] I had no choice-that O'Keeffe, Marsden Hartley, and Paul Strand, that the ideals there were things called fish and things called birds. That and aspirations motivating his late-life quest for a unique, fish seemed happiest in water-&8 birds seemed happy in homegrown school of art can be found in their clearest and the air.
    [Show full text]
  • Gertrude Kasebier: Her Photographic Career, 1894-1929
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 1985 Gertrude Kasebier: Her Photographic Career, 1894-1929 Barbara L. Michaels Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1848 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • Performing the New Face of Modernism: Anti-Mimetic Portraiture and the American Avant-Garde, 1912–1927
    ABSTRACT Title of Document: PERFORMING THE NEW FACE OF MODERNISM: ANTI-MIMETIC PORTRAITURE AND THE AMERICAN AVANT-GARDE, 1912–1927 Jonathan Frederick Walz, Doctor of Philosophy, 2010 Directed By: Dr. Sally M. Promey Department of Art History and Archaeology At the Little Galleries of the Photo-Secession in 1912, Alfred Stieglitz received the final proofs for Gertrude Stein’s experimental text portraits “Henri Matisse” and “Pablo Picasso” and subsequently published these poems in the journal Camera Work . Soon afterward a number of visual artists working in the United States began grappling with the implications of such hermetic depictions. Entering into a trans-Atlantic conversation, this fledgling modernist community created radical images that bear witness to the evolving nature of subjectivity and to an extensive culture of experimentation in portraying the individual in the first quarter of the twentieth century. One of the most salient aspects of the modernist worldview was the desire to break with the past. Earlier styles, exhibition standards, subject matter, and teaching methods all came under attack, but none more basic—and symbolic—than the ancient Greek (via the Renaissance) idea of mimesis. Freed from the expectation to replicate reality “impartially,” painters and sculptors began instead to emphasize more and more their own subjective experiences through expressive color choices or formal exaggerations. Portraiture, previously so closely linked to flattering transcription and bourgeois values, became the genre par excellence for testing modernist ideals and practices. This doctoral thesis examines the small group of artists working in the United States who advanced an extreme, anti-mimetic approach to portraiture through the dissociation of the sitter from his or her likeness.
    [Show full text]