DNS: Rethinking photography

Time • Motion
The eye is limited; technology is not.

Eadweard Muybridge:
The Atlantic
Time Magazine, 100 Most Influential Photos of all time
Muybridge.org (All 11 volumes of “Animal Locomotion”)!!
Review of his biography (good piece in The Guardian)

Harold Edgerton

100 Most Influential Photos

Edgerton Digital Collection

The Man Who Froze The World

The Hubble!

Hubblesite. org

Hubble 25th anniversary, best photos

Hiroshi Sugimito

Theater series

Photography is flat and prints are pristine and you must always make your own imagery.

Sara Angelucci

Artist website

John Stezaker

At Saatchi Gallery

Erik Kessels | 24 hours of Flickr

Flore Gardner | Textile Artist

Penelope Umbrico | Artist website | Interview in A Photo Editor

Walead Beshty | Regen Projects Thomas Dane gallery | MOMA New Photography

MOMA New Photography 2009:. Excellent resource for multiple lens-based artists.

Annette Messager
My Vows (MOMA) | google images link

Boy Barefoot Rider (2013) Holly Roberts

Horse Resting (2014) Holly Roberts

 

FOAM AMSTERDAM (blog, magazine, gallery, all around awesomeness)

 

 

The New Decisive Moment?

Artists to consider:

Jeff Wall
Lori Nix
Adad Hannah

 

 

Advertisements

Brief History of Photography: Photo I

But first, this. A different way of thinking about why we take photographs

Abelardo Morrell: The Making of a Camera Obscura

Abelardo Morell’s website.

David Hockney’s, A Secret Knowledge, (part 1), (part 2), (part 3).

The book. The DVD. An article about the book.

Not everyone agrees with Hockney’s thesis. Some counter arguments, here and here. The later one is perhaps the most valid because its author is a scholar. Hockney’s project has inspired further exploration and scholarship.

Jerry Spagnoli: contemporary daguerreotypist. A video presentation. His website.

BBC program: The Genius of Photography

George Eastman House on Flickr

Tim’s Vermeer“a documentary by Penn and Teller (yes, THAT Penn and Teller) about one man’s obsession with discovering Vermeer’s secrets. Hint: camera obscura! Trailer | NY Times article | TIFF summary

Photo I : Pinhole Cameras and Photograms

GENERAL HISTORY OF PHOTOGRAMS
From Man Ray to Thomas Ruff—article
Good description with images
WILLIAM HENRY FOX TALBOT
Latticed_window_at_lacock_abbey_1835 LatticedWindowAtLacockAbbey| Photogenic Drawings | Arts Connected
ANNA ATKINS
2006AG1356_anna_atkins_grasses_camera-less_photography_custom_290x413_06200883

Festuca grasses from ‘British and Foreign Flowering Plants and Ferns’, c.1854
Brief Bio | The Getty | University of Texas, Austin

 

MAN RAY-Rayograms
DP106472
Metropolitan Museum of Art
At Aqua Velvet
General description of photography and surrealism

 

 

LASZLO MOHOLY NAGY
At MOMA | At the Getty Musuem

 

*CONTEMPORARY ARTISTS

ADAM FUSS
Adam_Fuss_-14-271x420

• At Cheim & Reid
• At Fraenkel Gallery
• At Artists and Alchemists
• Good article with terrible formatting
Interview in BOMB magazine.

 

ALISON ROSSITERGuilleminot-Riviera-ca30-diptych 516dcd9059f80photo_high_8690

• Represented by Stephen Bulger (Toronto)
Yossi Milo (NY)
• Canadian Art profile
Article in Le Rencontres d’Arles
Video at Gallery Intell

 

GARY FABIAN MILLER2010_002_night-cell

Artist Website
Video and images at Victoria and Albert Museum
At Ingleby Gallery

SHADOW CATCHERS at The Victoria and Albert Museum
• Camera-less photo
techniques at Victoria and Albert Museum
A History of Camera-less Photography at the Victoria and Albert Museum.
A listing of all of the artists plus video interviews in the Camera-less Photography exhibit.

 

SUSAN DERGES

Susan Derges
Prix Pictet
Paul Kasmin Gallery
Video, commissioned by the Victoria and Albert Museum.
At Oxford University
At Danziger Gallery

 

ABELARDO MORELL
photogram01_flashlight

Flashlight and Salt, photogram on 8×10 film
More of his photograms

 

 

THOMAS RUFF
Ruff06_phg.06_2012
Photograms for the new age (interview in Aperture magazine)
See more work at David Zwirner gallery

 

 

Extended Practices: Systems and Seriality

Quote

Diane Borsato

Touching-1000-peopletouch1

 

Tom Friedman | At Luhring Augustine Gallery  | At Saatchi Gallery | At Gagosian gallery | At Stephen Friedman gallery

0b93bc285459092fed968bf0c55df0f2
Tom Friedman
Untitled, 1990
Bubble gum
Approximately 1,500 pieces of chewed bubble gum molded into a sphere and displayed at head height in a corner, hanging by its own stickiness

**

Georgia Grieve | Ikea Drawings

Allanah Volkes | Google Drawings  | UFC Drawings | More

Jason Polan | Every Person In New York (blog) (book)

Jenny Odell
http://www.jennyodell.com/projects.html

Nicolas Feltron
For those of you obsessed with data visualization created an app:

KATE BINGAMAN BURT

8402669447_da846479c5_o

Listen to an new interview with illustrator and author, Kate Bingaman Burt. Remember? We saw her work at the beginning of the term—she is the artist that draws everything she purchases.

Junk Mail into Art
Another excellent automated directive.

Christoph NiemannAbstract Sunday • He is also featured on the Netflix show, Abstract

Martin Brief | A Brief History of Time | Amazon God | almost any of the projects on his site

Christian Bok | Eunoia | web iteration | Wikipedia entry

On Kawara | Twitter |

 

 

 

 

Roger Newton: The DIY Lens Guy

One artist that really interested me is Roger Newton. He is a photographer who creates large abstract images and whose determination to create nonrepresentational work has lead him to create his own camera, lenses and film. He originally became interested in photography when he was attending art school in New York during the 1980s. It was during this time he discovered the pinhole camera and was at once drawn to the blurry and unpredictability of the images created. He would eventually go on to make numerous pinhole cameras eventually branching out to create lenses made of mineral oil, corn syrup, water, glycerin, or other refracting liquids. At one point taking a break from his photographic practice in order to research and develop the kind of black and white film he desired (Margarett, 2001). In his artist statement Newton goes to say that, “by designing and fabricating my own lenses I can control the quality of the light collected, the size and shape of the image field, and the colors in the scene. This allows me to work more directly with fundamental problems in the processes of seeing and perception, and ultimately the ontological problems of the thing and or scene depicted” (Foundation for Contemporary Arts, n.d.). He fabricates his photographs by layering up various liquid substances to create a lens. The lens purposely made to “exists out of the normal range of our visual faculties”. To reject standard photographic imaging systems and photography as a medium of representationalism. Instead focusing on the optical experience of looking.

bomb_59_newton3_body (1)newton_crary_01-e1338313743927-580x454

bomb_59_newton1_body

It is Newtons rejection of photo-representalism and focus on the methods of imaging making that interests me when looking at my own idea for the final project. The reason I say this is because for this project I will be continuing my role as art researcher, and focusing on unearthing photographic practices; removing all subjective interpretations and limiting definitions. Instead focusing on the facts, presently that means understanding photography as the use and manipulation of light to maintain an image. An image which as author and curator Lyle Rexler points out isn’t always based on realism (Rexer, 2013) . With this definition in mind I intend to conduct several experiments ones which like Newton’s will circulate around methods of light manipulation to produce what can be describe for all intensive purposed as undisclosed images. Always keeping in mind my definition of photography and excluding anything from this experiment which would distract or hinder it. A second reason I am interested in Newtons work is that his use of liquids to create lenses has given me another possibility to consider in my own experimentation and manipulation of light for this project. Other methods/ elements I’m looking at include (but not limited to); types of light sources, the chemical composition of types of light and things that give off light, Photographic paper manipulation, reflection/ refraction, filtered light, aperture, shutter speed/ exposure, light wave lengths, energy, Inference of light.

bc5ddfd6b823eefcc109787b6ae39228newton_crary_03-e1338313800161

References

Foundation for Contemporary Arts. (n.d.). Roger Newton. Retrieved from Foundation for   the Contemporary arts web site:       http://www.foundationforcontemporaryarts.org/recipients/roger-newton

Margarett, L. (2001, June 8). Photography Review; Reinventing the lens for large   abstraction. The New York Times.

Rexer, L. (2013). The Edge of Vision: The Rise of Abstraction in Photography. New York:   Apature.

Additional Sources

https://collectordaily.com/the-edge-of-vision-abstraction-in-contemporary-photography-aperture/

http://www.lpwalliance.com/publication/43/

http://www.photoeye.com/BookteaseLight/bookteaselight.cfm?catalog=TR222&image=1

Vik Muniz

Vik Muniz is a brazilian artist and photographer who has a background as a sculptor. His art pieces are generally made with non traditional materials within photography which create that sculptural component within his images. He usually works in series and his images range from being constructed of thread, chocolate syrup, garbage et. His goal is to create bold, ironic and deceiving imagery that references pop culture, art history or political comments. His work has been met with both commercial success and critical acclaim, and has been exhibited worldwide.

Muniz often works in large scale format but then destroys the originals of his work so the only thing that is left is photographic evidence. He uses his photography as documentation because it creates the vantage point in which mimics the way he saw the piece in the first place. He has spoken of an interest in making these pictures so that “reveal their process and material structure”, of the artwork he makes.

Two works of interest are his Earthworks series and Waste Land. In his Earthworks series, it resembles what the movement did in the 1970s in relation to doing on location type work however, he brings forth cultural and historical references within the images like the Nazca lines from the Inca Civilization in Peru.

In Waste Land, the documentary presents men and woman who pick through garbage as an occupation. He tries to take this act of garbage-picking and assemblage of recycling and turns art into a more accessible experience through the use of common materials. His belief being, the art world should not be just for the elite. He states in the documentary that, “at this point in my career where I’m trying to step away from the realm of fine arts because I think it’s a very exclusive, very restrictive place to be. What I want to be able to do is to change the lives of people with the same materials they deal with every day.”

Two elements that I wish to take from Muniz’s M.O. are addressing the human impact with nature and with things or situations that people see or deal with every day. I want to demonstrate human impact whether it is subtle or extreme. I think that with people interacting with their environment is one thing but the impact with other people is a lot fiercer and apparent in modern day society. This demonstrate of every day common gestures or materials can be as simple as a cell phone or a tree, or as complicated as the food that we eat and throw away.

 

Sources and Links:

http://vikmuniz.net

http://www.wastelandmovie.com

http://www.arndtfineart.com/website/artist_1147?idx=m

http://www.instagram.com/vikmuniz/

http://www.artspace.com/vik_muniz

 

Micheal Paul Smith

About The Artist:

Micheal Paul Smith is an artist whose work concerns small toys in the place of real life objects, therefore, making realistic scenes through the use of plastic toys and thoughtful placement. He then photographs these scenes in a way that makes them look very convincing. He makes these photographs by creating a 1:24 scale ratio to recreate everyday scenes from the mid 20th century to -mid 60s America.

How did it begin?

Smith started off with an interest in making scale models of objects as well as an interest in photography. This combination later grew into something magical. He used his sculptural skills and photography skills to create convincing photographs of olden day scenes. Smith wanted to recreate the town in which he grew up in which was a town in America in the 20th century to mid 60s. His work is not an exact replica of the town he grew up in but it does what he wants it to do and that is to create the feeling of the town he grew up in and bring back his childhood memories.

How is it made?

The buildings are constructed of resin-coated paper, styrene plastic, and basswood, plus numerous found objects. The vehicles are from Michael’s collection of 300+ commercially produced, diecast models.

These photographs were all made through the use of placement. No Photoshop was used in these images; they’re all composed in the camera. He refers to it as  the oldest trick in the special effects book: lining up a model with an appropriate background, then photographing it.

How does his work relate to my work?

I am interested in a similar idea that Smith uses within his work. For my final project I am interested in taking recognizable items/objects, constructing a sculpture and then using photography to make the objects look like much more then they really are. Through photography I will change the reality of the object so it is seen as something different then what it is seen as in person. This relates to Smith’s work because he builds structures and then uses photography to change the structure he built into realistic photographs of a fictional town.

Progress photos vs final photos :

 

His Links:

https://vimeo.com/116577464

http://blog.flickr.net/en/2013/10/04/crafting-scenes-of-iconic-americana/

https://www.flickr.com/photos/24796741@N05/

http://www.nytimes.com/2010/03/14/automobiles/collectibles/14SCALE.html

http://hooniverse.com/2010/03/10/mps-interview-pt1/

 

Tim Knowles

Tim Knowles is a contemporary artist that works in a range of media from photography, video, drawing and light Installations. His work is process oriented and relies heavily on chance. The artist makes his work through the environment and the use of tools and/or mechanisms that he sometimes creates. His work tends to show a lot of emphasis on the recording of a journey or drift. Three of Knowles photographic series/works that provided inspiration was, ‘Night Walks’, ‘Mungo Bush Walk’ and ‘Full Moon Reflections’.

In Knowles series titled, ‘Night Walks’ he created what could be considered a undisclosed scene by illuminating a path at night leaving the rest in darkness. He does this by walking with three wide beam torches, which captures the trace of his journey. He managed to capture this journey with a camera and through long exposures creates a mapped trail of light. This concept of the camera as a tool to captures the environment in a way that would otherwise be impossible to see is interests. This concept is interesting because he uses light in a way that paints a picture. In this series, he does that literally by using a limited light source to only illuminate part of the landscape creating a map of his journey.

In Knowles work titled, ‘Mungo Bush Walk’ he once again focuses on the idea of tracking a journey. This time he does not use light to paint only particular part of the landscape, but instead uses the natural light provided to record his walk-through Mungo National Park. Knowles made this work by removing the lens from a camera and then turned it into a pinhole camera. He also used long exposers to capture motion and then cross-fades the images together creating what he refers to as a, “Turneresque impression of the journey”.

In Knowles series titled, ‘Full Moon Reflections’ Knowles again, like in ‘Night Walks’ and ‘Mungo Bush Walk’ uses long exposer to capture something in nature that would not be possible to see without the camera. This work shows something that is ordinary, something that people understand and at the same time creates this new perception of it through photography. This series presents the reflection of the moon on a slow even flowing body of water. This completely alters the reflection through movement and time into something that is unrecognizable. This is an import concept because it challenges the notion that photographs are thought of as a reproduction of reality. Even though these photographs present the moons reflection, the viewer is presented with something that is not recognizable as the moons reflection. It is instead a trace of the moon distorted by reflection, movement, light and time. The result is a photography that presents the viewer with an image of a common theme recorded in a way that give the viewer a new visual experience.

By using the camera through experimental processes such as long exposers and altering the physical aspects of the camera, Knowles can use the camera as a tool to capture scenes in nature that would be impossible to see otherwise. His photographic works are an inspiration because I am fascinated with the possibility to be able to capture photographs that present an image that is otherwise not visible through the human eye. For my final project, I am experimenting with the idea that light both creates and destroys images through long/multiple exposers. By using multiple exposer, I will be able to create single photographs that contain multiple images that begin to destroy themselves as they are being created. In relation to this concept I am attempting to create this record of daylight. Each photograph will be containing its own individual scene, but through multiple exposure I will be able to capture that scene multiple times at different times of the day.

Anthony Rietze

Links

http://www.timknowles.co.uk/Home/tabid/262/Default.aspx

https://vimeo.com/230134604

Photography III: Final Project

Idea:
The idea for my final project will stem off of Experiment #1: What is colour. Through this project I identified colour as a tangible object, that I was able to manipulate through photographic digital media. I would like to continue this experiment in order to develop a technical, and conceptual focus through the use of digital, and analogue practices. Inspiration has been identified from the following four artists: Jessica Eaton, Keith Rankin, Holly Roberts, Alex Mcleod. I found that each artist has contributed to my idea appropriately, and operate through a range of different photographic elements. I am interested in creating conflicting environments, subjects, and objects in my composition, which will contradict their physical spaces in their environments.

received_10155626911650295received_10155626912455295received_10155626913020295

These are the images that were produced previously for Experiment #1

Influences:
I hope to create surreal images based off the influences below.

Jessica Eaton

static1.squarespace

cfaal 519, 2015. archival pigment print 40 x 32 inches

eaton_jessica_09_0

Jessica Eaton, cfaal (mb RGB) 18, 2010, archival pigment print, 50 x 40 inches

Capture

cfaal 505, 2015. archival pigment print 40 x 32 inches

images

  • Great technical attention
  • Ability to create and identify conflicting colours, shapes
  • Experimentation with different ways of abstraction
  • Presentation quality

Keith Rankin

Rankin8Orange_Milk_Records_-_Giant_Claw_-_Dark_Web_LP_1180_1200_75igN3NP7g_400x400a3717034932_16download

  • Integration of different gradients through the use of digital media
  • Interesting, compelling, confusing composition
  • Inspiration for the surreal

Holly Roberts

6a00e54fcf7385883401b8d062b1ce970c-800wi

Horse Resting (2014)

boybarefoot_rider-48x45_2013

Boy Barefoot Rider (2013)

Holly-Roberts-8

A Bird I Saw Walking (2007)

  • Use of photographic elements which contribute to its creation
  • Interesting uses of imagery to explain the anatomy of nature
  • Inspiration for the photographic element of the project
  • Difficulty in the surreal

Alex Mcleod

ax77

11

Distant Lands (2011)

 

  • Environments created from digital media
  • Attention to colour composition, detail in each object
  • Compositions that are grand in detail and size

Julian Schulze

Julian-Schulze-Photography-Top4

Photographer and artist based in Berlin who focuses on geometric abstraction and minimalistic compositions. His shots are often made up of one or two colours or elements and are of every day scenes, mostly architecture.

In his latest series Some Thoughts on Composition he states, “Whereas I think that these “rules” can be a useful guide for the beginner, I think that strictly following them (as suggested by the term “rule”) can seriously impede your success in finding interesting angles, interconnections, and the true character of a picture”. Relates to how I try to come up with new ideas, ignore rules in order to get better sense of certain aspects of a medium.

https://www.julianschulze.com/

Julian-Schulze-Photography-P13-4

Technical:

  • Takes images of geometric shapes with interplay of colors, turns image in order to create further abstraction.
  • Taken in natural setting in daylight.

minimal7

Conceptual:

  • Thinking outside the “rules” of photography can expand the possibilities even within the most common subject matter.
  • Giving viewer a different perspective on familiar subjects.

Julian-Schulze-Photography-P6-7

Methods:

  • Each shot is composed using light, shadow, and color to create the illusion of a 2D scene within a 3D subject.
  • Minimal detail as well as unorthodox lines/angles give different perspective on familiar subjects.
  • Often little content within image in order to emphasis obscurity.
  • Shot frontally to emphasize 2D plane.Julian-Schulze-Photography-P13-6I feel that his work is a prime example of breaking the boundaries of what makes up photograph and creating something new out of familiar subject matter. This is the goal of my final project, to demonstrate a larger subject whist only providing minimal details. 

     

    Photogrist stuff. (2016). Geometric Abstraction and Minimalistic Compositions by Julian Schulze. Retrieved from https://photogrist.com/geometric-structures-julian-schulze/

    DL Cade. (2017). 13 Beautiful Examples of Minimalist Photography by Julian Schulze. Retrieved from https://petapixel.com/2017/04/26/beautiful-examples-minimalist-photography-julian-schulze/

    Julian Schulze. (2017). Julian Schulze Photography. Retrieved from https://www.julianschulze.com/work/