Concepts and Approaches Lecture 6
Photography and the expanded field: abstraction and Materiality
- Conflicting lines video- looking at images of conflict, the lines hitting curves and looking at the conflicts, try and create a photograph that has the nature of a painting- showing the photographs as the final piece
Mediums, paradigms, abstraction, photography and painting, photography and sculpture, photography and installation
Photography and painting
- Left it to explore other avenues and other ideas- no longer has to be liked/aesthetically pleasing
- Mediums: ‘the history of art before photography is a history of genres’
- ‘Photography replaced painting in its function of visual representation… photography ‘freed’ painting’
- Paradigm: ‘thinking and practice’, can be divided into 5 moments
- 1870s- 1910s: Pictorialism (Henry Robinson, when the days work is done, combination print from 6 negatives)
- 1920s-1930s: Avant-garde/ modernist (formalism) (Man Ray, Rayograph- cameraless photogram, 1926)
- 1945-1960s: New realism/humanist photography (Walker Evans people and places in trouble, fortune magazine, 1961- complete editorial control)
- 1960-1979: Minimalism, conceptualism, late modernism (Mel Bochner, misunderstanding- a theory of photography, 1967-70)
- 1980- 1990s: post modernism/neoconceptualism, the continuation and rejuvenation of conceptual practices (Barbara Kruger, your life is a perpetual insomnia, 1987)
- The pictorial paradigm
- Edouard Manet, a bar at the folies-bergere, 1882
- Jeff Wall, picture for women, 1979
- Link of text and photography- conceptualism
Photography and abstraction
- Lyle Rexer
- Manuel Geerinck, untitled [ph 1104], chromogenic print, 2004, rephotographing and layering images, or a slow shutter speed
- Walead Beshty, 4-sided picture (MYRB) 2007, the process is blind, something other than a photograph? Blind drawings? A game or gambling- there are a range of outcomes, relationships of forces and what outcomes they can create, he becomes another machine of the process, no hierarchy about his choice
- Alison Rossiter- darkroom experiments with expired paper, images that are making themselves, made by atmospheric damages and light exposure, mould, anything. Dates on the paper suggest a timeline through history. Finding photograms, just putting it through the chemistry see what’s there, selectively developing- only certain parts of paper so not all black- darkroom techniques. Simple things. Finding fingerprints of the previous photographer.
- Wolfgang Tillmans, star struck No.3, 2000- abstract often used to punctuate works that is more representational, commas or full stops, helps him create a narrative
- Idris Kahn, erased Christmas tree, 2013
- Amy Petra Woodward, transfixed, UV finished ink on silver reflective stretch fabric, 2014
Photography and sculpture/installation
- Darren Harvey-Regan, phrasings, c-type print and rock 2013, interest with photography and language, role reversal, painting on floor rock on wall
- Jonathan Murphy, paper gnomon, live cyanotype on wall, paper, cardboard, 2015, the wall continues to expose during the day of the exhibition- interesting relationship to time
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