let the image speak for itself
TRANSCRIPT
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Let the Image Speak for Itself
Alfred Stieglitz impact on the poetry of William Carlos Williams
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Alfred Stieglitz Born in Hoboken, NJ. 1864 Moved to Germany for school 1884 started interest in photography First article in 1887 about amature photography In Germany
- lead to more writing/more photos Moved to New York 1891 Formed The Camera Club of New York- merger of SAP and
NYCC 1897 Camera Notes 1902 Photo Secession- exhibition judged only by
Photographers put on by National Arts club- positive feedback
Lead to Camera work same year- journal of developing photography as an individual art form
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Photography as an Art form Unlike painting –
photography is instantaneous
Must be a seer Clear sharp
representation- maximum detail with maximum simplification
Snap shots of New York (1901)
Old and New York 1901
Reflections of Night
1902
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291 The Original Modern Art Gallery Gallery 291 (1908)-
goal was to showcase different mediums side by side
Rodin, Matisse Rousseau, Cezanne, Picasso (European) Minerva date
unknown
Tiger in a Tropical Storm
1891
Girl with a Mandolin
1910
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Alfred Maurer, John Marin, Marsden Hartley, Arthur Dove, Max Weber (American)
Painting No. 48, 1913
Brooklyn Bridge 1912
Cow 1914
Interior Fourth Dimension 1914
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Armory show (1913) VP, first official exhibition
of modern art in America Most famous and
polarizing: Matisse’s “Blue Nude (Souvenir de Biskra)” and “Madras Rouge (Red Madras Headdress),”and Duchamp’s “Nude Descending a Staircase, No. 2”
Impressionist Fauvist and Cubism were represented
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Williams Evolution of Style Began with Keatsian
and Whitmanian form and content
Pound in London 1909-1910
Exclamatory then Imagism
The Tempers (1913) Poundonian style
Fascination with visual arts on New York Avant Garde
Camera work
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“The step Williams took consisted of a progression from the concept, the thought, to the poem itself, just as the painters following Cezanne began to talk of the sheer paint: a picture a matter of pigments upon a piece of cloth stretched on a frame” (Dijkstra 50). Marcel Duchamp
(Bride 1912)
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Image as a Subject vs. Metaphor Visual space/ tension
into Poetry Remove narrative
sequence of imagist poems - Story
Moment of Perception
“Dawn” Ecstatic bird songs pound
the hollow vastness of the sky with metallic clinkings-- beating color up into it at a far edge,--beating it, beating it with rising, triumphant ardor,-- stirring it into warmth, quickening in it a spreading change,-- bursting wildly against it as dividing the horizon, a heavy sun lifts himself--is lifted-- bit by bit above the edge of things,--runs free at last out into the open--!lumbering glorified in full release upward-- songs cease.
http://www.youtube.com/watch?v=6-Bi8fwakMo
Francis Picabia , Nu devant un
paysage
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Good Art vs. Bad Art- Williams Lens The story cannot overtake
the visual content If used must sacrifice the
immediacy and objective perception of a painting
Instead suggests artist should isolate moment of reality and strip it from all things nonessential
Recreating the pure moment
Example; “Station in a metro Ezra Pound” (1919) The apparition of these faces in the crowd;. Petals on a wet, black bough.
Example Williams “Red Wheelbarrow” So much depends upon the red wheelbarrow
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Creative Imagination- Memory Photos Imagination as- “The
undetermined moments between waking and sleeping” (53).
These moments create a lasting mental photo reel that refuses the limits of time and shape.
Certain aspects of the original action “become liquid.” Creating new form
=
Two Figures (1913-14), Liubov' Popova
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“Nothing is Good Save the New.”
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“Danse Russe” (1917) If I when my wife is sleeping
and the baby and Kathleen are sleeping and the sun is a flame-white disc in silken mists above shining trees,-- if I in my north room dance naked, grotesquely before my mirror waving my shirt round my head and singing softly to myself: "I am lonely, lonely. I was born to be lonely, I am best so!" If I admire my arms, my face, my shoulders, flanks, buttocks again the yellow drawn shades,--
Who shall say I am not the happy genius of my household?
Girl with a Mirror- Henrich Kuehn
1906
Alice Boughton 1909
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“Queen-Ann’s-Lace” (1921)Her body is not so white asanemony petals nor so smooth—norso remote a thing. It is a fieldof the wild carrot takingthe field by force; the grassdoes not raise above it.Here is no question of whiteness,white as can be, with a purple moleat the center of each flower.Each flower is a hand’s spanof her whiteness. Whereverhis hand has lain there isa tiny purple blemish. Each partis a blossom under his touchto which the fibres of her beingstem one by one, each to its end,until the whole field is awhite desire, empty, a single stem,a cluster, flower by flower,a pious wish to whiteness gone over—or nothing.
Nude against the light Constant Puyo 1906
Alice Boughton The Seasons
1909
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Ignored Relationship Letters in 1922 (Yale
Stieglitz file), Marsden Hartley’s Adventures in the Arts,
John Marin Painting Cover up in Williams
Autobiography