Art History Part 2

Front 1

Jews who left Hungary between the world wars

Back 1

Stefan Lorant, André Kertesz, and Brassaï, André Friedman

Front 2

Road to Victory

Back 2

-exhibition at MoMA for Edward Steichen in 1942.
-Created by Herbert Bayer

Front 3

Pictoralists

Back 3

-Promoted photography as a fine art through exhibition and publication.
-An international art photography movement influenced by earlier painting styles. It emphasized traditional artistic subjects and moods, careful composition, exotic printing techniques, but not a high degree of sharpness.

Front 4

Gum bichromate print

Back 4

hand-coating water color paper with a mixture of gum arabic, bichromate sensitizer, and watercolor pigment.
-Used by pictoralists

Front 5

Platinum/Palladium Print

Back 5

A paper print using light-sensitive iron salts which are replaced in processing with the expensive metals platinum and/or palladium.
-A manufactured product before WWI, but today a do-it-yourself process. These prints are known for their long tonal scales and permanence.
-Used by Pictoralists

Front 6

Photogravure

Back 6

-ink printing process in which light-sensitive bichromates are used to transfer a photograph onto a copper plate which is etched with acid. -Image is broken up by minute grains of rosin that mimic the randomness of silver grains in a photograph.
-could produce an edition of hundreds, so it was useful for limited editions of prints or for producing illustrations for small magazines like Camera Work.
-compared to mechanical reproduction with the halftone, photogravure was slow and expensive.

Front 7

Autochrome

Back 7

A positive color transparency on glass manufactured by the Lumière Company from 1907 to 1940.
-After the cinématographe, Louis Lumière invented the [first practical system of color photography]. Tiny bits of dyed potato starch scattered on the plate acted as color filters separating the exposure of the panchromatic emulsion by color.
-The process was insensitive, grainy, pastel, and very lovely.
-Many pictorialists tried it, but found the one-of-a-kind glass transparency an awkward final product. It was hard to reproduce in magazines, hard to copy, impossible to hang on a wall in a frame. What does one do with a large color slide?

Front 8

Alfred Stieglitz

Back 8

-never completed a degree.
-vice president of Camera Club, edits Camera Notes
-did not like American culture because it was materialistic.
-partner in Photochrome company, then co-editor of American Amateur Photographer
-Founded the photo-secession, invite-only photo club; Camera Work
-a man with a strong ego who at first worked well with younger men—Clarence White, Edward Steichen, and Paul Strand—until they challenged him, which inevitably resulted in a fight that ended their friendship. Throughout his career, Stieglitz found beautiful younger women to photograph.
-founds the Little Galleries of the Photo-Secession, aka 291
-expelled from Camera Club, sues, is reinstated, resigns

Front 10

Clarence White, Edward Steichen, Gertrude Käsebier, Alvin Langdon Coburn, and Frank Eugene

Back 10

People Stieglitz chose to be in his photo-secession club.

Front 11

Photo Secession

Back 11

Founded by Stieglitz, invite-only, asked Clarence White, Edward Steichen, Gertrude Käsebier, Alvin Langdon Coburn, and Frank Eugene to be in it, Camera Work was its magazine

Front 12

Sunrise

Back 12

Karl Struss's Movie, won first CINEMATOGRAPHY oscar for it, 5 oscars for it later

Front 13

Clarence H. White

Back 13

-Left Ohio to become a full-time art photographer in New York
-became the first important American teacher of photography as an art, instead of just a trade
-traditionally picturesque subjects

Front 14

Gertrude Käsebier

Back 14

-Born in Iowa
-fashionable portrait photographer in New York through strength of will and talent.
-good art education and became a commercial portrait photographer to support her family when her husband became ill.
-Stieglitz recognized her talent and published her photographs in Camera Work, but Käsebier stayed with the older, softer pictorialist style as Stieglitz began to promote a harder-edged, geometric style.

Front 15

Edward Steichen

Back 15

-Born in Luxembourg, trained as a commercial artist in a Milwaukee lithographic firm
-could paint or photograph equally well
-protégé of White and Stieglitz
-Stieglitz's agent, arranging for shockingly modern art works by Picasso, Cézanne, Brancusi, Picabia, and Matisse to be shown at Stieglitz's New York gallery, 291. These were their first exhibitions in America.
-one of the most misty and romantic of pictorialists, making a specialty of gum bichromate printing
-photographs intended to compete directly with paintings
-designing laxative ads in the 1890s and a logo for the Photo-Secession in 1905, making aerial reconnaissance photographs for the U.S. Army in the First World War and cigarette ads and fashion photographs in the 1920s.
-chief photographer for Condé Nast (Vogue, Vanity Fair)

Front 16

Frederick Holland Day

Back 16

-a wealthy man who devoted himself to the cause of pictorialist photography
-His exhibition in America was shown in Europe and made a big impression.
-Stieglitz saw Day as a rival and worked to isolate him.
-delighted in encouraging young talent, most conspicuously his cousin Alvin Langdon Coburn
-donated money to underprivileged immigrant boston youth, one was Khalil Gibran
-His homosexuality inspired his work

Front 17

Alvin Langdon Cobourn

Back 17

Holland Day's cousin, learned the art from Holland Day.
-became a talented and successful photographer and organized the New American School of Photography exhibition in 1899 with Holland Day.
-Stieglitz also encouraged him and publishes his photos in Camera Work
-Did a lot of "extra curriculars" and community service
- from a wealthy manufacturing family and Steichen from a poor one, younger than Steichen but got his first camera before him.
-photographed the leading intellectuals of his day
-made the most stylistically advanced photographs of the 1910s and then nearly stopped photographing in the 1920s when he became preoccupied with occult studies.
-soft focus and moody atmosphere common to pictorialism, these pictures have subjects and compositions more like work from the 1930s.
-made the very first abstract photo-- the vortograph.
-Had many interests like modern music, history of photography, and made modern prints from Julia Margaret Cameron and Hill and Adamson's negatives.

Front 18

Kahlil Gibran

Back 18

-Immigrant from Lebanon
-underprivileged immigrant youth from the Boston slums that Frederick Holland Day worked with
-would become a painter and world-famous writer.

Front 19

Picasso

Back 19

Influenced late pictoralist movement, Stieglitz and Steichen didn't really know what to think of him at first, but then steiglitz and eventually steichen really admired him.
-Modern European work made Stieglitz rethink photography.

Front 20

Paul Strand

Back 20

-Born in NY, son of Jewish immigrants
-learned photography from Lewis Hine at the Ethical Culture High School and was introduced to Alfred Stieglitz when Hine took the school’s camera club to see an exhibition at 291.
-Stieglitz's student, Influenced Stieglitz in his more modern works. As the element of abstract design increased in Strand’s photographs, Stieglitz recognized that photography could respond to a radical style like cubism by using purely photographic methods
-Both fell in love with O'Keefe-- so Strand joined the army
-Photographed in the precisionist style
-made many social documentary films made for the Mexican and U.S. governments and finally in Frontier Films, a production company he headed-- This sort of left-wing political activism became a problem during the Red Scare - He moved to France as a solution.

Front 22

Vortographs

Back 22

Created by Coburn
First completely abstract photo

Front 24

291

Back 24

1905 Stieglitz and Steichen opened the Little Galleries of the Photo-Secession at 291 Fifth Avenue in Manhattan, which later became known as 291. Camera Work and 291, both in operation for more than a decade, became centers of artistic life in the United States.

Front 25

Georgia O'Keefe

Back 25

Stieglitz fell in love with her when he was married and 54, and she was single and 31. Stieglitz sent Strand to Texas to fetch her, and Strand also fell in love with her.

Front 26

Karl Struss

Back 26

-son of immigrants
-Won Oscars for cinematography
-works with White at 291, then teaches as White’s replacement, published in Camera Work
-co-founder of Platinum Print magazine, co-founder of the group Pictorial Photographers of America
-quits the family factory, opens NYC studio, markets the Struss Pictorial Lens
-registers for the draft, enlists in the army, White & others say Struss is pro-German, Struss imprisoned for 37 days

Front 27

Sons of Immigrants

Back 27

Stieglitz, Steichen, and Strand, Struss

Front 28

Louis Lumiere

Back 28

Invented Autochrome (color photog)

Front 29

Lewis Hine

Back 29

-Born in WI, orphaned at 15
-National Child Labor Committee documenting the abuses of child labor, producing photographic evidence and propaganda that was instrumental in passing the first federal child labor law in 1916
-Hine taught photography to high school students at the Ethical Culture School in New York, his student Strand met Stieglitz
-his photography began as evidence, but now they look like art
-His purpose became the glorification of working men doing difficult or dangerous jobs
-He worked in the horrible conditions he exposed for his entire life

Front 30

Eugène Atget

Back 30

also an orphan who had a hard life like Hine
-worked as sailor and touring actor, only became a photographer at 42
-commercial photographer, but a spectacularly unsuccessful one, barely earning enough to survive
-Sold documentary photographs to artists, architects, etc, but really made a making a comprehensive catalog of old Paris for himself.

Front 31

August Sander

Back 31

-Like Atget, Sander came from humble beginnings and settled on commercial photography as his life’s work. Also like Atget, Sander became obsessed with a grand project, which he eventually called People of the Twentieth Century.

Front 32

People of the Twentieth Century.

Back 32

Sander
-a photographic taxonomy of humanity, collecting definitive portraits of the trades (butcher, baker, candlestick-maker) and professions (law, medicine, art). -divided into seven, rather bizarre, categories
-His results show his understanding of the region’s people; conservative and arbitrary ideas of strict social divisions, but it found the photographs themselves uncomfortably clear-sighted and honest.

Front 34

Edward Weston

Back 34

-successful California commercial photographer in the pictorialist style who became converted to a highly aesthetic version of straight photography.
-Apparently the change began when Weston took a trip east in 1922 meeting Alfred Stieglitz and Paul Stand and photographing the Armco Steelworks in Ohio.
-Also left his wife and 3/4 of his sons to go to Mexico with Tina Modotti, rethought his photography there
-Eventually divorced his wife Flora Chandler
-combined the needle-sharp focus of industrial photography, a pictorialist’s control of light and composition, and a sensualist’s love of sexy curves.
-The result was a sort of hyper-realism where the subject was 4 or more things at once: its individual self, the perfect example of its type, a metaphor, and a purely formal abstraction.
-Had exhibition at MoMA, died of Parkinson's

Front 35

Tina Modotti

Back 35

Edward Weston's "muser" in Mexico
-Beautiful Italian actress
-egan work at the age of twelve in an Italian textile factory and continued doing factory and manual work until she married
-politics guided her life but took her very left
-Weston was friends with her husband (Roubaix de l’Abrie ) but they had an affair, taught her photography in Mexico
-Her best photography was very political-Committed to Communist party and gave up photogtaphy

Front 36

Zone System

Back 36

Weston's precisionist style became basis of it
-a precise regimen of exposure, development, and printing developed by his young colleague Ansel Adams.

Front 38

f/64 Group

Back 38

-founded by Weston, included Adams and Imogen Cunnningham.

Front 39

Modernism

Back 39

-Cubism, Futurism, Vorticism, Orphism, Constructivism, Surrealism, and so on
-artistic movements which consciously aim to break fundamentally with historical styles. Modernists tend to believe that innovation is good, the past is dead, and the future is within reach. Most Modernists assume that mankind can understand and master natural forces.

Front 40

Futurism

Back 40

-Started by Marinetti
-a call for Italy to reject its classical past and embrace the new culture of machines and speed. It ended as a minor element of Italian fascist design and propaganda.
-Aviation
-Influenced all modern movements across Europe

Front 42

Anton Giulio Bragaglia

Back 42

-the first Futurist photographer. His method was photodynamism.
-eventually Ejected from the futurist movement, directed some films after.

Front 43

photodynamism

Back 43

-photographic exposures of a half second or more which recorded movement in smears
-dematerialized bodies in time’s flux.

Front 45

Alexander Rodchenko

Back 45

-met Varvara at art school, husband and wife
-renounced painting and concentrated on utilitarian projects designing propaganda posters, book and magazine covers, theater sets, motion picture titles, textiles, candy wrappers, advertisements, furniture, and clothing
-Member of Soviet artistic community
-When Lenin came to power he was pushed aside.

Front 47

Constructivism

Back 47

-design everything in accord with Communism’s revolutionary understanding of the world
-extreme points-of-view

Front 48

Dziga Vertov

Back 48

-Filmmaker, rejected normal way of making films.
-Real people in real situations, not scripts, etc.
-His idealism was eventually smothered by Stalinism (like Rodchenko)
-Experimented with Socialist film

Front 49

Mikhail Kaufman

Back 49

-Dziga Vertov's brother and cameraman

Front 51

Dada

Back 51

-technique of cutting up newspapers or magazines to paste the fragments into new compositions, producing nonsense poetry or posters promoting Dada events
-revolutionary new art of chaos, contradiction, and the smashing of convention.
-pessimism and anti-rationality put Dada at odds with the main tenents of Modernism, and as an anti-art movement—noise instead of music, chopped up newsprint instead of painting, random syllables as poetry

Front 52

Gerda Taro

Back 52

-Gerta Pohorylle, Robert Capa/Andre Friedman's girlfriend
-Branded their photos Reportage Capa & Taro.

Front 53

Raoul Hausman

Back 53

-Used dada collage technique

Front 54

Hannah Hoch

Back 54

-Raoul Hausman's friend
-developed a disciplined, less cluttered collage style, constructing ambiguous figures mixing European high fashion with African or ancient artifacts. Although her work grew out of Dada, it seems more purposeful than anarchic, and now looks like a feminist critique of the role of women in society.

Front 55

John Heartfield

Back 55

-Dadaist
-Convicted Communist-- employed photocollage as a weapon against political rivals and enemies
-Famous pieces mocking Nazis; hated capitalism
-a.k.a. Helmut Herzfeld

Front 56

Bauhaus

Back 56

-art school founded in Germany in 1919
- Instead of individual masterpieces, Bauhaus students were expected to produce pieces that functioned well in the larger context of a building.
-Famous for teaching methods and functional approach to the arts

Front 57

László Moholy-Nagy

Back 57

-Hungarian
-came to the Bauhaus in 1923 to direct the preliminary course and metal workshop, but soon he became fascinated by photography.
-Used wife's photos to create pictures
-made cryptic photomontages that were titled psychotic things.
-He also made purely abstract photograms and normal, unaltered photographs whose nominal subject matter (radio towers, sailboat masts, railings, etc.) is overwhelmed by strongly geometric design.
-brought experimental photography to US when founded Chicago Bauhaus

Front 58

Francis Picabia

Back 58

-came to New York from France and began buzzing around the art world

Front 59

Marcel Duchamp

Back 59

-came to New York from France and began buzzing around the art world
-"seemed to taunt American artists with a backhanded compliment when he told a New York Tribune reporter, “If only America would realize that the art of Europe is finished—dead—and that America is the country of the art of the future, instead of trying to base everything she does on European traditions."
-Director of The Society of Independent Artists

Front 60

Man Ray

Back 60

-Emmanuel Radnitzky was born in Philadelphia, the son of Russian Jewish immigrants
-Stieglitz’s protégés and had learned photography in order to document his own paintings.
-Made usually a common manufactured item juxtaposed with another and given a suggestive title.
-Became BFF with Duchamp, moved back to Paris with him to become Dadaist/Surrealist
-Wanted to be a painter, his parents encouraged him to be a photographer

Front 61

Straight Photography

Back 61

-Unmaniputlated photographs.
-The standard “technically correct” product:
in-focus, un-blurred, highly-detailed prints that show their subjects as fully as possible, usually in plain black & white prints (no toning) on glossy paper. Long the goal of industrial photographers, most snapshooters, reformers, and journalists, more rigorous forms were developed in the 1920s and 30s by art photographers intent on revealing the essential nature or structure of the things they photographed.

Front 62

Surrealism

Back 62

-Psychic automatism in its pure state, by which one proposes to express—verbally, by means of the written word, or in any other manner—the actual functioning of thought. Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.
-domain of hallucination, dream, insanity, and unfettered desire.

Front 63

Berenice Abbott

Back 63

-Man Ray’s assistant for three years, but in 1926 was establishing her own Paris studio.
-shot a few portraits of Atget
-She bought as much of Atget’s work as she could, went back to New York, and struggled to survive as a photographer in the Great Depression.
- “Changing New York” project
-Preserved all Ateget's works, did not know what to do with herself until she saw Eugène Atget’s photographs in 1925. Influenced by Man Ray as well

Front 64

Bill Brandt

Back 64

-briefly Man Ray’s assistant
-photographer whose pictures remained certifiably surreal throughout a long career in Great Britain.
-Dark, foggy photos
-Born in Germany, well-to-do and had many English relatives
-Tuberculosis
-frequent contributor to the many picture magazines connected with the brilliant Hungarian magazine editor Stefan Lorant

Front 65

Stefan Lorant

Back 65

-Hungarian magazine editor
-Took Bill Brandt's work for magazine
-created the form of the modern picture magazine

Front 66

Lee Miller

Back 66

Man Rays assistant and the leader in their romantic relationship
-discovered the solarization technique that became a hallmark of Man Ray’s portraits
-In Blood of a Poet
-initially made studio photographs that clearly bore the mark of Man Ray’s style.
- real strength was a journalistic style that retained a Surrealist’s eye for the strange

Front 67

Man Ray's Assistants

Back 67

Bill Brandt, Lee Miller, Stefan Lorant

Front 68

Changing New York

Back 68

Bernice Abbott's work to preserve pics of older NY

Front 69

Jean Cocteau

Back 69

-film Blood of a Poet
-Lee Miller was in it, with Man Ray's help

Front 70

Martin Munkácsi

Back 70

-born Márton Marmorstein
-Hungarian
-His specialty was action photography, sports reporter for several Budapest newspapers

Front 71

André Kertész

Back 71

-Born Andor Kertész in Budapest
- drafted into the army of Austro-Hungary during World War I. took a camera along with him, making photographs from the foot soldier’s point-of-view
-gained success as a photojournalist when he left Hungary for France
-paved the way for Brassaï and for Henri Cartier-Bresson
-career hit a roadblock when he went to New York in 1936 having signed a lucrative contract with Keystone, an American photo agency.
-Famous work in France, but wasnt really accepted for the great artist he was in America, rejected by TIME.

Front 72

Brassaï

Back 72

-Born Gyula Halász in Hungary
-serious painter with no interest in photography until he was 30 when he met fellow-Hungarian André Kertész in Paris.

Front 73

Henri Cartier-Bresson

Back 73

-he was not Hungarian, but was affected by the generation of photographers that left Hungary
-Martin Munkácsi’s “Black boys on the shore of Lake Tanganyika” was the only photo that influenced him
-“Whatever we have done, Kertész did first.”
-Photography was a hunt
-he would wait for a final element to move into place

Front 74

Robert Capa

Back 74

-born András Ernö Friedman in Budapest
-Shared studio with Cartier-Bresson
-André Friedman became Robert Capa, a successful American photojounalist who had recently crossed the Atlantic to cover European events.
-“If your pictures aren’t good enough, you aren’t close enough.”
-Married to Gerda Taro
-He continued to make photographs in war zones until he was killed by a landmine in 1954 in French Indochina

Front 75

Magnum

Back 75

Picture agency formed by Robert Capa and Henri Cartier-Bresson

Front 76

Walker Evans

Back 76

-Americans who spent time in Paris after the First World War.
-college dropout from a privileged background
- success in magazines and in exhibitions,

Front 77

American writers, artists, and musicians in France in the 1920s

Back 77

Man Ray, Berenice Abbott, Lee Miller, George Gershwin, Ernest Hemingway, F. Scott Fitzgerald, Langston Hughes, Djuna Barnes, Gertrude Stein, John Dos Passos, E.E. Cummings, Cole Porter, Sidney Bechet, Hart Crane, and Edward Steichen.

Front 78

Ben Shahn

Back 78

-family immigrated to the United States from Lithuania
-serious and successful painter, lithographer, and etcher, who was strongly drawn to social causes.
-learned photography from Walker Evans when they shared a studio
-worked for the F.S.A. designing posters and pamphlets but was soon making photographs which, in turn, became the basis of many of his paintings. The few years Shahn spent as an F.S.A. photographer were an interlude in his painting career, but afterward he continued to use the camera as a sketchbook to collect motifs for painting.

Front 79

Gordon Parks

Back 79

one of several of Stryker’s photographers who went on to have a successful magazine career. His biography is a long line of firsts for a Black photographer: first at the F.S.A., first at Vogue, first at Life, and the first to direct a Hollywood film.

Front 80

Dorothea Lange

Back 80

-During great Depression, forced to give up their house and send the boys to boarding school so the couple could save money by living in their studios.
-Photographed the poor and hunrgy because she didn;t have any work at the empty studio, provide photographic documents for his reports on the crisis.
-drove thousands of miles and took thousands of pictures to put a human face on the nation’s economic distress.

Front 81

impoverished and difficult childhood followed by decades of struggle.

Back 81

-Eugene Ateget, Lewis Hine, Dorothea Lange

Front 82

Henry Luce

Back 82

-the founder of Time (1923), Fortune (1930), Life (1936), and Sports Illustrated (1954).
-eventually film and radio news programs (the superficial and lively presentation of entertainment and current events).
-He was born to missionaries in China, educated in England and America, and believed firmly in free market enterprise.

Front 83

Life

Back 83

Magazine founded by Henry Luce
-The picture magazine that provided the public stage for photography of the Second World War
-started by Luce in New York in 1936 was an imitation of European illustrated weekly magazines. Its photographers included Margaret Bourke-White, Robert Capa, Berenice Abbott, Henri Cartier-Bresson, Martin Munkacsi, Erich Salomon, Edward Steichen, Alfred Stieglitz, Edward Weston, etc.

Front 84

Margaret Bourke-White

Back 84

-Star photographer of "Life"
-traveled everywhere, was often in danger, and loved photographing from heights.
-photographed industrialization
-she was the only foreign photographer in Moscow when the Germans bombs fell in 1941 and the only western photographer Stalin allowed to photograph him were counted as signs of her greatness at the time.
-More distant photography

Front 85

W. Eugene Smith

Back 85

-another famous Life photographer
-His tendency was the opposite of Margaret Bourke-White’s: Smith was always too close, emotionally to the people he photographed and the injustice he saw, and physically to the mayhem of fighting in the Pacific in the last days of the Second World War.
-made the most intensely emotional journalistic photographs of the 20th century.

Front 86

Ansel Adams

Back 86

-Wealthy family that lost it all, had tutors at home
-musician turned photographer
-Traced themes of 19th century American Western photography.
-ecologically-potent photographic statements in the late 1920s that remain relevant in the 2000s.

Front 87

Minor White

Back 87

-work began in Ansel Adams's territory, but soon turned to abstraction and mysticism. All about the photographs equivalent to one;s "mental state"
- an influential writer and teacher who made his students practice Zen meditation to become better photographers.
-poet/photographer. He was famous for oracular says

Front 88

Aperture

Back 88

the magazine White started in 1952 with Ansel Adams, Dorothea Lange, and Beaumont Newhall, among others, became the Camera Work of the second half of the 20th century.

Front 90

Harry Callahan

Back 90

-took László Moholy-Nagy's experimental approach to photography and both Americanized and humanized it.
-expressed himself awkwardly and taught mostly by example. Siskind, his best friend, was well-educated and well-spoken, but irascible. Together in Chicago and Rhode Island they educated hundreds of American photographers, many of whom became teachers themselves.

Front 91

participated in the boom in photographic education that occurred after the Second World War.

Back 91

Ansel Adams, Minor White, Harry Callahan, Aaron Siskind

Front 92

The G.I. Bill

Back 92

-provided a great impetus for the growth of photography in universities and art schools. It gave servicemen one year of full-time training plus training time equal to time spent in service (to a maximum of 4 years), mortgage guarantees, and living expenses. For example, Minor White went to Columbia University on the G.I. Bill.

Front 93

MoMA

Back 93

-founded in 1929, MoMA did not have a curator of photography until 1940
-Mounted historical and patriotic photographs
-Edward Steichen was appointed director of the photography department at MoMA. Beaumont and Nancy Newhall resigned as curators.

Front 94

Beaumont Newhall

Back 94

-MoMA's first photography curator in 1940, originally a librarian at MoMA
-During World War II, Newhall worked in photo-reconnaissance for the U.S. Army in the Mediterranean while his wife Nancy remained at MoMA as the acting curator of photography.
-Resigned as curator when Steichen became director of photography at MoMA; moved onto Rochester...

Front 95

Herbert Bayer

Back 95

-Bauhaus-trained designer then working in New York advertising
-employed by Steichen to design the Road to Victory exhibition as though it were a picture magazine for MoMA

Front 96

The Family of Man

Back 96

- an art gallery exhibition created by Edward Steichen for MoMA
-Although The Family of Man’s point-of-view was that of middle America, its design was of European descent
-a three-dimensional magazine with large photographs of various sizes punctuated by short quotations from the world’s poets, philosophers, and sages: despite superficial differences, MANKIND IS ONE.
-Artistic merit was there, but always subservient to some facet of Steichen’s thesis of universality: men and women fall in love, life can be sad, children like to play, and so on.
-The main complaint was that it did not deserve to hang in an important art museum because it was not an exhibition of important art.

Front 97

Camera Work

Back 97

Stieglitz's journal

Front 98

Irving Penn

Back 98

-career as a magazine photographer began in the late 1940s and was also strongly influenced by pre-war European designers
-Mentored by Alexey Brodovitch and Alexander Liberman
-mature style was spare and elegant showing a gift for interesting poses for portraits and suave formal designs for fashion pictures.
-Despite his love of formal beauty, he often introduced an element of roughness to his carefully staged and posed photographs
-Disproved of and then loved the simple beautiful print

Front 99

Alexey Brodovitch

Back 99

-graphic designer, art director
-Mentored Irving Penn

Front 100

Robert Frank

Back 100

-mentored in turn by Alexey Brodovitch, Edward Steichen, and Walker Evans.
-worked very closely with Steichen preparing an exhibition for the Museum of Modern art called Post-War European Photographers.
-Then Frank and Steichen had a falling out, and Frank's place was taken by Wayne Miller. Frank began to work with Walker Evans who was an associate editor at Fortune magazine.
-created the classic book The Americans
-he delivers a very personal, grainy, and sometimes out of-focus record of scenes that are unmistakably American. Frank is a foreign observer obsessed with what are to him exotic details: stars and stripes, jukeboxes, big cars, Black people, fundamentalist Christians, and the contrast between poverty and wealth, fame and obscurity. The pervasive mood is sad and empty.
-Rolling Stone Film! Cocksucker Blues

Front 101

European photographers who came to the United States to work for the picture magazines.

Back 101

André Kertész, Andreas Feininger, Martin Munkácsi, and Robert Capa, Robert Frank

Front 102

William Klein

Back 102

-painter interested in the Bauhaus and Constructivism and took up photography and film with the experimental approach of someone like Moholy-Nagy.
-Klein made photographs with a wide angle lens and the roughest technique possible in NY.
-took his cues from agressive press photography, the style we associate today with paparazzi who jamb their lenses in the faces of celebrities exiting nightclubs or courtrooms
-Worked for Vogue

Front 103

Garry Winogrand

Back 103

- took Robert Frank's method of shooting much and choosing few to its extreme.
-began as a photojournalist producing energetic images for the picture magazines. After seeing Robert Frank's The Americans, he developed his athletic, compulsive shooting style.
-would make crazy, chaotic shots, wait a few years, and then look at them to decide if they were interesting pictures.

Front 104

street photography

Back 104

primarily an urban way of working that avoids ordinary subjects and careful composition in a free-wheeling search for temporary conjunctions of subject and form that are sensed rather than seen by the photographer roaming the sidewalk.
-Used by Winograd

Front 105

Lisette Model

Back 105

-born in Vienna, Austria
-some of the first photographs of American tourists made in 1934 would establish her as a photojournalist
-When her career waned, she taught and not concentrating on technique—she sent her own film to the drugstore for development!
-an important influence on Diane Arbus
-Like Arbus, had grown up with wealth, but then learned to fend for herself.

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Diane Arbus

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-Model taught Arbus at the New School for Social Research when Arbus was just beginning to photograph on her own without her husband Allan with whom she had made fashion photographs.
-grown up with wealth, but then learned to fend for herself.
-NY photographer
-photographs are centered on the individuality of the people in them
-using a Rolleiflex or other 2 1/4-inch roll-film twin-lens-reflex (TLR) camera instead of a 35mm Leica.

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studied with or been employed by Alexy Brodovitch

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Winogrand and Arbus—and Irving Penn and William Klein

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John Szarkowski

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taken Edward Steichen's place as director of photography at MoMA
-expanded MoMA's collections of historic photographs and also bought prints from up-and-coming photographers like Winogrand, Friedlander, and Arbus, presenting the new and the old side-by-side in exhibitions
-art-historical analysis of photography that emphasized its inherent formal qualities and downplayed such issues as the photographer's biography, the original use of the photograph

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Sebastião Salgado

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-self-directed by a social conscience reminiscent of W. Eugene Smith, who doggedly pursued his own stories whether Life approved or not.
-criticised by left-leaning academics for making aesthetic objects out of suffering people around the world
-Founded Amazonas
-trained as an economist and is acutely aware of global economic forces shaping the lives of the people he photographs.

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Amazonas Images

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-Celebrity like Bourke-White
-most famous photojournalist working today.

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Sally Mann

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-American photographer, accused of exploiting her own children
-free-thinking liberal family

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Joel-Peter Witkin

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-photographing extremely handicapped people, people with sexual perversions, corpses, and their parts

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Yasumasa Morimura

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- the question of identity, the contest between being male or female, Japanese or European.
- elaborate makeup and costumes, his outrageous chutzpa, suggest that humor is one motive of his work, but he is steely-eyed, too intent on producing the illusion to join in the fun.

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Daniel Lee

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-background in traditional painting and slick commercial art.
- digitally distorted portraits are derived from photographs, but are more like photographically realistic caracatures.