Download - The Camera: transformations and challenges
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The Camera:transformations and
challenges
Oct. 19
FA/AK 2100
After Nadar: Painting offering Photography a Place at the Expo of Fine ArtsTournachon: Felix (Nadar) 1820 1910
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Robert Frank, Parade, Hoboken, New Jersey, 1955-1956, from the series The Americans
Self conscious art photography, 1940s-50s
Photography and Modernism
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Otto Steinert, Pont Neuf, Paris: 1949
Photography and Modernism
Self conscious art photography, 1940s-50s
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Andy Warhol, Lenin
Andy Warhol, Beethoven
Photography and Modernism
Art embraces mass media
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Joseph Kosuth, One and Three Chairs, 1965
Photography and Modernism
The Rise of Conceptualism
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Keith Arnatt: "Trouser-Word
Piece" (1972)
Photography and Modernism
Language was conceptualism’s ideal medium. Put ideas centre stage
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Chris Burden SHOOT, F-Space, Santa Ana, CaliforniaNovember 19, 1971
Photography and Modernism
Language was conceptualism’s ideal medium. Put ideas centre stage
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Gordon Matta-Clark Pier In/Out 1973 Color photograph
Camera extended the idea of the object into performance
Photography and Modernism
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Barbara Kruger, 1996
Photography and Modernism
Aesthetic conservatism vs radical vanguardism: art as politics
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Untitled 1981
Untitled 1981
Art and Theory - Postmodernism
Photography and Modernism
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Gerhard Richter - Atlas 1962 - Panel 1: Album photographs, 1962-66
28 b/w photographsOverall 51.7 x 66.7 cm
Memories and Archives
Photography and the logic of the archive
Art could be a space to examine the meanings and implications of the archival rather than simply turning images into art works
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Allan McCollum, Each and Every One of You, 2004
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Yinka Shonibare 'Diary of a Victorian Dandy 14:00 hours', Photograph, 1998
Images can both aid and disable the continuities of history, memory and identity
Memories and Archives
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Gardner, Alexander American (b. Scotland, 1821-1882) Lewis Payne
Objectivity and the Camera
Photographs as special objects
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Mel BochnerActual Size (Hand),
Objectivity and the Camera
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Allan Sekula, Two, three, many...(terrorism), 1972, s/w
Objectivity and the Camera
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John Hilliard. Cause of Death? (1974)
Objectivity and the Camera
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Bernd and Hilla Becher
Water Towers, 1980. Black-and-white photographs mounted on board, 61 7/8 x 49 7/8 inches overall.
Objectivity and the Camera
Extended commitment to objectivity
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Andreas GurskyChicago Board of Trade II, 1999
Objectivity and the Camera
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Christian Boltanski
France, born 1944Monument Odessa, 1991Mixed media
Objectivity and the Camera
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Fischli & WeissFrom the series Quiet Afternoon, 2003
Objectivity and the Camera
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Richard WentworthMaking Do and Getting By, Munich 2000, 2000
Traces and Time
Art and data collection
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Gabriel Orozco Until You Find Another Yellow Schwalbe 1995 photograph on paper55 x 71 cms
Traces and Time
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Man RayDust Breeding (Elevage de poussiere), 192024 x 30.5 cm, Black and white photographTraces and Time
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Edward Ruscha
Royal Roads Test, 1971
Traces and Time
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Chris Burden
Shoot, 1971
F Space, Santa Ana, California
Traces and Time
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Eleanor Antin. Carving: A Traditional Sculpture (detail). 1973. 148 photographs; overall length 20'.Instalation of photographs depicting a 5-week diet resulting in a weight loss of 11 1/2 pounds.
Traces and Time
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HENRI CARTIER - BRESSON, (Behind the Gare Saint Lazare), 1932
HENRI CARTIER - BRESSON (Brussels), 1932
The Everyday
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Martha RoslerThe Bowery in Two Inadequate Descriptive Systems1974-75(detail)
Moving beyond merely aesthetic images
The Everyday
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the bowery in two inadequate descriptive systems, (1974 - 1975)
The Everyday
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Jeff Wall . The Destroyed Room, 1978
The Everyday
Combining descriptive character of photography with the theatrical possibilities of staging and awareness of genres from visual art and cinema
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"Insomnia” by Jeff Wall (1994)
The Everyday
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Jeff Wall Untitled (overpass), 2001
The Everyday
Combining descriptive character of photography with the theatrical possibilities of staging and awareness of genres from visual art and cinema
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Jeff Wall Mimic, 1982
The Everyday
Combining descriptive character of photography with the theatrical possibilities of staging and awareness of genres from visual art and cinema
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Jeff WallPicture for Women
1979
Edouard Manet.
A Bar at the Folies-Bergère. 1882. Oil on
canvas
Combining descriptive character of photography with the theatrical possibilities of staging and awareness of genres from visual art and cinema
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KRZYSZTOF WODICZKOEdinburgh Projections
August 1988
Onto six of the columns of the unfinished copy of the Parthenon at Carlton Hill in Edinburgh, Wodiczko projected images that represented the disenfranchised of the city. Personifications of homelessness, single parenthood, unemployment, alcoholism and drug addiction loomed over the city. The text “Morituri te Salutant” (those who are about to die salute you) was projected onto the lintel above. Across the hill the face of Margaret Thatcher and the words “Pax Brittanica” were projected onto the dome of the observatory.
The Everyday
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Gillian WearingSigns that say what you want them to say and not signs that say what someone else wants you to sayInterim Art, London 1997
The Everyday
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Rudolph Burckhard, Jackson Pollock painting in his studio
Self Portraits
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Jo Spence, 1990
Self Portraits
The self as something performed rather than revealed
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Jo Spence, 1990
Self Portraits
The self as something performed rather than revealed
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Cindy Sherman, Untitled # 96The self as something performed rather than revealed
Self Portraits
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"Untitled Film Still #58"
"Untitled Film Still #33"
Self Portraits
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Francesca Woodman, 1958-1981
Self Portraits
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Allan McCollum, 1982Perpetual Photo
Mediation
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Andrew Grassie, Spaceman, from the series 'Why Paint Spacemen', 1997
Mediation
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John Baldessari, Hanging Man With Sunglasses, 1984
Mediation
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Yve Lomax “The observer affects the observed,” 1994
Mediation
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Keith Piper, “Club Mix” 1999
Surveillance: about looking
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Sofie CalleSuite vénitienne, 1980
Surveillance: about looking
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Claude Cahun. “What Do You Want of Me, 1928
Surveillance: about looking
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Philip Lorca, “Heads” (2001)
Surveillance: about looking
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Robert Smithson. Spiral Jetty, 1970
Nature/Culture
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Hamish Fulton Boulder Shadows, Wyoming, 1995, 1995
Nature/Culture
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Richard MisrachOutdoor Dining, Bonneville Salt Flats, Utah, 1992
Nature/Culture
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GABRIEL OROZCO
Cats and Watermelons1992
Cibachrome, 16 x 20 inches
Nature/Culture
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• Avant-garde cinema vs commercial cinema: To understand avant-garde film and its reasons for being we must related it contextually to mainstream or commercial cinema
• Mainstream cinema is basically hegemonic
• The emphasis on realism was established during the early years of film through an increasingly standardized language of film (Classic Hollywood Narrative Form)
– Characters were displayed realistically and with a progressive character arc.
– The story was told linearly with clear dramatic arc.
– Every effort was made to preserve a sense of spatial and temporal continuity.
Counter Cinema: reactions and revolutions
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• We can also understand the difference and tension between commercial and avant-garde film by this following dichotomy set up by Peter Wollen
Classic Cinema Counter Cinema
Narrative Transitivity Narrative Intransitivity
Identification Estrangement
Transparency Foregrounding
Single Diegesis Multiple Diegesis
Closure Aperture
Pleasure Unpleasure
Fiction Reality
Counter Cinema: reactions and revolutions
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• Avant-garde film directly challenges mainstream conventions.
• The surrealist approach to cinema was to directly challenge the logic and coherence of narrative approaches to cinema.
• Man Ray once said that the point of this type of cinema is to deliberately try the patience of the audience
• The avant-garde was not necessarily against narrative but rather wanted to approach it differently.
Counter Cinema: reactions and revolutions