Photo I : Composition


Henri Cartier-BressonThe Decisive Moment
Helpful and concise article about Cartier-Bresson

Joel Meyerowitz Talks about composition.


Helen Levitt | At MOMA | At Lawrence Miller Gallery


Gary Winogrand | 10 Things Gary Winogrand Can Teach You About Street Photography | Profile in The Guardian


Richard Avedon | website | American Masters video series | Master Photographer series at Time-Life


Francesca Woodman | Tate-Modern | Guggenheim

Untitled 1975-80 by Francesca Woodman 1958-1981

martin-parr-article-2 image

Martin Parr | website


General Inspiration | Research | Photography Museums  (don’t forget to utilize this blog)

Museum of Contemporary Photography

Aperture Foundation-especially the weekly roundup of photography news on the blog

• The Lens Blog of the New York Times

Behold: The Photography Blog at


International Center of Photography  | Online database

LightBox | The photo editors at Time Magazine

• Ryerson Image Centre | Collections


Canadian Art

Border Crossings


Major Project #2

paul strand bowls

Paul Strand, Bowls, 1916 (from Google Images–this is why Google Images is simultaneously good and terrible)

ART 21! History Reimagined

MAJOR PROJECT #2 : Revisioning and Revisiting History

Rephotographic Survey Project | Mark Klett | New Topographic Movement

The Photographic Work of Stanislaw Ignacy Witkiewicz


Interview in Canadian Art | Dr. Strangelove Dr. Strangelove in the Morning News


Ai Weiwei, Dropping a Han Dynasty Urn (1995).

ART 21 (forward to about 35minutes to see the Ai Wei Wei segment)

Artists mentioned in the readings for Major Project #2
(listed totally out of order)


MARK OSTERMAN also at Artists and Alchemists

LIZ DESCHENES | MIGUEL ABREU GALLERY | article in Bomb magazine | Institute of Contemporary Art, Boston | Brief review in E-Flux |

JAYNE HINDS BIDAUT | website | at Joseph Bellows gallery

McDermott & McGough | website


JOHN COFFER | Tintypes

Mike Ware | Artist website | photo gallery and video at Pictorico

Mark Kessel | Artist website

Jesseca Ferguson | Museum of Memory

Bryon Brauchli | Artist website |

Moyra Davey | Copperhead Grid at the Metropolitan Museum of Art | at Murray Guy gallery

Center for Creative Photography | Spotlight on Platinum Palladium prints

James Welling | Artist Website | at David Zwirner gallery | Interview in Bomb magazine (artists in conversation series )

The Subversion of Images: Surrealism, Photography and Film | Article at E-flux |

Digital Nonsilver | Major Project One

38280_stdJean-Bernard-Léon Foucault
Brewer’s Yeast, 1844
Daguerreotype, 9.5 x 12.7 cm (3 3/4 x 5 ins)
Société Française de Photographie
This plate was included in the exhibition “The Dawn of Photography: French Daguerreotypes, 1839-1855”.
The above  image was found on Luminous-Lint. com

“You feel like the cord to the mother ship has been cut,” she said, “and now you’re floating in space.” Carol Squiers, curator of the exhibition, What is a Photograph?

Artie Vierkant’s “Image Object Friday 7 June 2013 4:33PM, 2013.”
Higher Pictures, New York


The Batchen article is from the catalog for What is A Photograph? , an exhibition curated by Carol Squiers at the International Center of Photgraphy (ICP) in New York City.

• Here is a brief description/analysis of the exhibition written by Lyle Rexler for TIME magazine’s photo blog, LIGHTBOX

Recommended reading: Thinking about the future of photography |

| artist website | At Stephan Bulger gallery | Interview in BorderCrossings | Article in Canadian Art | Article at

Photograms for the New Age | At Gagosian Gallery | At David Zwirner Gallery | Article about Jpegs | Video about Jpegs | Aesthetic of the Pixel | My Best Shot

INFORMATION, the exhibition curated curated by Kynaston McShine. At MoMA from July2-September 20, 1970. Exhibit summary (with additional links). Link to the exhibition’s archives.

Bombsite magazine website

MOMA | Architectural Digest | It’s Nice That | Thomas Dane Gallery | The Guardian | interview (it’s a .pdf) | Petzel Gallery-images and press | Video at MOMA | Abstract Art or Photography

Artist website | Review in FRIEZE | Who and Whom

Sies + Hoke | Interview in Interview |

Saatchi Gallery | MOMA

Interview at Aperture Magazine | At Saatchi GalleryAltman Siegel | ArtForum 2014 review

Grange Prize | Interview in Aperture | Review in ArtForum

Ansel Adams | artist website | Art 21 video | interview | Canadian Art: Three Essential Works | AIMA award

At Marc Foxx gallery

website | exhibition at New York Hortcultural Society of New York

website | The Day Nobody Died | Interview | At MOMA in the New Photography Show

website | Artist in Residence (2014) at the AGO

Clamp Art | Artist website

Article about Penelope Umbrico


website | film | At MIT | Video at ICP

website | Also search this blog, there are several interviews with her.

At Yossi Milo Gallery | Interview in St.Lucy

2013 Le Mois de la Photo a Montrea


New Photography 2013 at MOMA

• New Photography 2012 at MOMA

• New Photography (2009) at MOMA |


Exhibit Press Release
Review/article from Aperture
New York Times review/article about a contemporary re-staging at Hauser & Wirth Gallery of the original 1970s exhibit.
Photography Into Sculpture, panel discussion. Video!


• Review of (the restaging) The Photographic Object, 1970• What Is A Photograph? | Exhibition at International Center of Photography.
NYTimes Review

• THE NEXT BIG PICTURE: With Cameras Optional, The new directions in photography?  Good slide show with this one!

Lost and Found Project (Tsuamni)

San Francisco Museum of Modern Art | Is Photography Over?

Exhibition at International Center of Photography | NYTimes Review

What are we talking about when we talk about photography? (with apologies to Raymond Carver).A copy of the catalog for WHAT IS A PHOTOGRAPHY is available for browsing in the digital lab.


Marco Breuer Untitled (Fuse), gelatin silver paper, burned, 1996THE EDGE OF VISION
The Edge of Vision, Revisited.
The Edge of Vision VIDEO INTERVIEWS with most of the artists!!
Lyle Rexer explains the book’s concept

Maybe you’re thinking about the life cycle of images? Hillman Photography Initiative.

The Hillman Photography Initiative at Carnegie Museum of Art (CMOA) investigates the lifecycle of images: their creation, transmission, consumption, storage, potential loss, and reemergence. Technology accelerates the pace of this cycle, and often alters or redirects the trajectory of an image in unexpected, powerful ways.

The Hillman Photography Initiative is an incubator for innovative thinking on the photographic image. The Initiative centers around four projects that, taken together, investigate the boundaries and possibilities of photography through the way that an image travels. Conceived through an open, discursive process, unique in a museum setting, these projects include live public events at the museum, a pop-up reading room in the galleries, two collaborative web-based projects, and a series of commissions, including documentary videos, art projects, and writing. This website is designed to foster public conversations around the larger story that these four projects tell, and knit them together in a single experience.


The Hillman Photography Initiative has so many cool projects: Orphaned Images, The Invisible Photography, I’m especially excited for the upcoming issue about Physics and photographic processes! (nerd), and This Picture, which asks people to stop, look and respond to one image at a time. One image at a time—how we should all be looking. Looking, not swiping through SnapChat and Instagram.


Before drones (and projects like Dronestagram) were used for photographic surveillance, people relied on balloons, kites and pigeons.  The camera in the above image was large enough to shoot large format film and required 9-17 kites to lift it.

San Francisco Bay, 1906
Read the rest of the article and see more images here.

Dronestagram. And while we’re talking about drones, the theme of this year’s Le Mois de la Photo a Montreal was Drone: The Automated Image. Search the site for better yet, download the program.

description of project
TREVOR PAGLEN (the artist who started Dronestragram)



A selection of images and pigeon cams | more about the origins, history and application | uses during war | The Pigeon Spy |


Bruno Ribeiro’s absurdist interpretation of Instagram.


website | In Camera-less photography at V&A musuem

CAMERA-LESS PHOTOGRAPHY at the Victoria and Albert Musuem
Directory of Artists (videos) |  Camera-less photography techniques








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 (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



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

From Man Ray to Thomas Ruff—article
Good description with images
Latticed_window_at_lacock_abbey_1835 LatticedWindowAtLacockAbbey| Photogenic Drawings | Arts Connected

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


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



At MOMA | At the Getty Musuem




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



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



Photograms for the new age (interview in Aperture magazine)
See more work at David Zwirner gallery



Extended Practices: Systems and Seriality


Diane Borsato



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

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

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



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


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.



Foundation for Contemporary Arts. (n.d.). Roger Newton. Retrieved from Foundation for   the Contemporary arts web site:

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

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: