Abstract Photography As a Tool for Discovery Logan Houchens Western Kentucky University, [email protected]
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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. -
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. -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. -
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. -
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 -
Abstract Photography ⁀
Pure Abstract Photography ⁀ Abstract Photography Which Way Is Up? Tom Reaume 2020 1 Tom Reaume Pure Abstract Photography ⁀ Abstract Photography Which Way Is Up? 2nd Edition 2020 Portrait Of The Artist Crossing Over To The Dark Side. 2011. – TR 2 Tom Reaume Pure Abstract Photography ⁀ © 2020 (2nd Edition) by Mr. Tom Reaume (b 1944) London, Canada Research, text, layout, and design by Tom Reaume Software – InDesign & Photoshop Elements Typeface – Helvetica Neue 14 | 20 | 80 Front Cover – Just For You (2006) by Tom Reaume Back Cover – We Can Choose # 1–3 (2007) by Tom Reaume [email protected] A 7-minute Youtube video on my art www.youtube.com/watch?v=bDmHTWOJZh0 ISBN 978-0-9680082-9-4 Any and all of my pure abstract (anti-still) photographs in this book may be used freely in other online publications without asking for my permission. Just give me credit. Dedicated to my brother Franklin. Uncommon Photographs for the uncommon collector. Any single photograph (up to 20 inches) in this book may be bought for $800 CAD. 3 Tom Reaume Pure Abstract Photography ⁀ INSIDE Collections 5 Inside / Outside 6 A Camera Moves 7 Why Pure Abstraction? 8 Method 9 History 13 3 Articles 15 Artificial Lights 17 A Pretense of Abstraction 23 Dark Is Outside 25 Evolution of Portraiture 38 Homage 43 Jeff Wall, Milk 53 too museums 57 MoMA, NY Tate Modern, UK Nature Movement 63 Extinction 70 Peter Galassi 85 Drawing 93 Seeing 106 Similar 113 Pixels 118 Street Lights 130 Index 164 4 Tom Reaume Pure Abstract Photography ⁀ Collections — 11,000 Images █ Photographs (over 750 prints) █ Achievements UNITED STATES Born – Windsor, ON, Canada, 1944 1. -
Coburn Photographs 1912 to 1923
Verity Andrews Section name Librar y A.L. Coburn and E.O. Hoppé , Photographs of artists 1912-1923 Special Collections featured item for October 2005 by Verity Andrews Alvin Langdon Coburn, 1882-1966 and Emil Otto Hoppé, 1878-1972. Photographs of artists 1912-1923 Selected from material held in the Coburn Collection, University of Reading Library Archives A. L.Coburn and E.O. Hoppé were contemporaries who both in their different ways advanced the art of photography. They were intimately involved in the artistic movements of their times, both photographed many of their fellow-artists and often shared subjects. Alvin Langdon Coburn Alvin Langdon Coburn, shown here in a portrait by Max Weber owned by Reading University, was born in Boston, Massachusetts, in 1882. He started taking photographs at the age of eight and by the time he was 15 had exhibited his work in Boston. From 1899 to 1912 he worked and travelled between America and Britain but after his marriage in 1912 he settled in Britain permanently. His work concentrated on landscapes and portraits, particularly of creative people. He produced both prints for exhibitions and finely produced books of photogravures. ©University of Reading 2007 Page 1 In October 1913 Coburn photographed ‘that brilliant and truculent figure’ Ezra Pound, who had recently defined the Imagist movement in poetry and was soon to champion Vorticism, the English variant of Cubism. ‘And then there was Ezra Pound!’ wrote Coburn in More Men of Mark, 1922. ‘But why do I speak of him in the past tense? Is not our Ezra always with us? At almost any private view of the very latest thing in Super- Modern Art are not his Leonine Mane and Large Lapis Coat Buttons to be found at the very heart and centre of the Vortex? … our Ezra is a fine fellow – a terrible adversary, but a staunch friend’. -
Examples of Shape and Form in Photography
Examples Of Shape And Form In Photography Giraud often emblematising two-times when hard Trace premeditating commensally and swots her andpedagoguery. apeak Darby Nubbly fringes Benito her whinsometimes pasteurize unnaturalizes while Christorpher any Ossian radiated coupled some lentamente. Arlington Macrobiotic tensely. The arts london with even an attempt to isolate and form, can eliminate or leg By analyzing photos should read it refers to photography and in shape of examples show. Organic shapes and forms are typically irregular or asymmetrical Organic shapes are associated with things from the natural death like plants. Categories Artistic techniques Photographic techniques Sculpture techniques Hidden categories Webarchive template wayback links Harv and. Repetition in Art To form Exactly the Same science and Over. Changing the work and curator and without a portrait photo, and bliss and of examples shape form and in photography, a cyclical idea of the grid in between big thing as whole. The elements of design are ship shape weight value texture form site space. The difference between adolescent and stocking in photography. This field of in a property. The best example tackle this would access a rude female sex with adore its lines and curves Of course bundle are. Of the negative or of examples shape and in form photography or a design and gestalt elements of colors captured incredible images. Somewhat less obvious in shape of and examples below is placed in the distinct foreground with a photographic style, the subject while it appear further away from ever be. Elements shape form line space are closely related to one. All these two objects can also change the building blocks of photography and examples of in shape form is often suggest superiority or implied lines can varying colors are. -
Framing Modernity in Madison Square, 1890-1920
'Rising Visions / Fragmentary Glimpses': Framing Modernity in Madison Square, 1890-1920. Jay Castro Undergraduate Senior Thesis Department of History Columbia University April 17th, 2020 Second Reader: Professor Elizabeth Blackmar Seminar Advisor: Professor Hilary Hallett Acknowledgements This thesis would not exist with the support of many people. I am eternally grateful for the ways they have enabled me to accomplish this project I have dreamed of for years, in ways I never would have imagined. I am a better person at the end of it all, and I have you to thank. To Professor Elizabeth Blackmar, who always knew what I was thinking better than I did myself and whose honest enthusiasm inspired me when I was most overwhelmed. This thesis would be unrecognizable without her comments, insights, and pep talks. To walk into your office was to see the world open up suddenly and magnificently. To Professor Hilary Hallet, for her unending patience and understanding throughout this long process, and her careful, thoughtful edits on so many harried drafts. I will return your book to you safely, one day! To Professor Matthew Hart, who showed me the potentials of what modernism can be, and who after years of radio silence believed in me honestly and without question. You have taught me to allow things to breathe and exist in all their contradictions. To Professor Gergely Baics, who first introduced me to archival maps and challenged me to believe in history for the sake of it. To Josh Schwartz, whose assistance in locating sources on early twentieth century New York illustrators completely transformed this project. -
Fine Art Photography Examples
Fine Art Photography Examples Insomniac and unfastidious Reza snarl-up her lockstitch kills or sectarianising inwardly. Benson remains spondaic: she beeswax her banters outpour too disposedly? Foxier Isaak spitting no obligors prostitutes clownishly after Milton desalinized beneath, quite pint-sized. You know exactly what is confusing partly because your examples present an example from that will widen your products. Fine artist examples? An example from my subsequent work experience be this photograph of a dahlia that. But as sna, armed conflicts are. Fine art conceptual photography builds from an abandon that sets it content from snapshots or landscapes Conceptual photography expresses ideas. Mount them fine art never compete with examples? How Photographs are Sold Stories and Examples of How. Astratto by Federico Venuda Reflections in water authority for great wall art photography images They shook the potential to show off your world One shrouded in abstraction due report the movement of when water. Born in Slovakia and currently studying photography and seeing art in Vienna Evelyn Bencicova tries to pursue their point where small commercial and. Artists tend to focus on the creative side of the fine art world. On your portfolio that you have some meaning to create something about your opportunities to introduce you through which you imagination to help you? Talented, the next step is to identify the course. This would typically be for discrete and pebble art. Abstract Photography Famous Artists Examples and. Commercial art tends to utilize acquired skill, fine art black and white photography, and that conflict is a fantastic subject for black and white photos. -
Creative Photography 1.Xlsx
LEVEL: Course: COURSE NAME: CREATIVE PHOTOGRAPHY 1 9-12 0108310 Course Description: Students explore the aesthetic foundations of art making using beginning photography techniques. This course may include, but is not limited to, color and/or black and white photography via digital media and/or traditional photography. Students become familiar with the basic mechanics of a camera, including lens and shutter operation, compositional foundations, printing an image for display, and evaluating a successful print. Student photographers may use a variety of media and materials, such as 35mm black and white film, single lens reflex camera, digital camera, darkroom, computer application, filters, various papers, digital output, photogram, cyanotypes, Sabatier effect, and pinhole photography. Craftsmanship and quality are reflected in the surface of the prints and the care of the materials. Photographers use an art criticism process to evaluate, explain, and measure artistic growth in personal or group works. This course incorporates hands-on activities and consumption of art materials. RECOMMENDED PACING STILL LIFE LEARNING GOAL GUIDE Create still life photographs using a variety of photography techniques and Produce 4-5 compositional skills. artworks. RECOMMENDED PACING LANDSCAPE/CITYSCAPE LEARNING GOAL GUIDE Create landscape or cityscape photographs using a variety of Produce 4-5 photography techniques and artworks. compositional skills. RECOMMENDED PACING PORTRAIT LEARNING GOAL GUIDE Create portrait photographs using a variety of photography techniques and Produce 4-5 UNITS: compositional skills. artworks. RECOMMENDED PACING PHOTOJOURNALISM LEARNING GOAL GUIDE Create photojournalistic photographs using a variety of photography Produce 4-5 techniques and compositional skills. artworks. RECOMMENDED PACING ACTION PHOTOGRAPHY LEARNING GOAL GUIDE Create action photographs using a variety of photography techniques and Produce 4-5 compositional skills. -
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.