History Of Photography Final

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Peter Henry Emerson. Towing the Reed. 1885. Platinum print.

precursor to pictorialism. didn't consider himself an artist, but following science

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Alfred Stieglitz. The Terminal. 1890. Photogravure.

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Alred Stieglitz. Sunrays-Paula-Berlin. 1890. GSP.

founder of american pictorialist photography; wanted to prove that photography was capable of being an art.

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Alfred Stieglitz. The Steerage. 1905. Photogravure.

founder of american pictorialist photography; wanted to prove that photography was capable of being an art.

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Alfred Stieglitz. Equivalent. 1925. GSP.

founder of american pictorialist photography; wanted to prove that photography was capable of being an art.

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Edward Steichen. Self Portrait. 1900. Photogravure.

painter/fashion photographer. partnered with stieglitz

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Edward Steichen. Rodin: The Thinker. 1900. Gum bromide print.
painter/fashion photographer. partnered with stieglitz

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Paul Strand. Abstraction: Porch Shadows. 1915. GSP.

started as a pictorialist, moved to abstraction. this photo was revolutionary because it showed that photography could be abstract

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Paul Strand. Blind Woman: Newspaper Seller. 1915. Photogravure.

started as a pictorialist, believed photography

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Edward Weston. Pepper no. 30. 1930. GSP.

• Developed a very recognizable style in 1926
• Always a stark contrast an emphasis on shape
• Member of f/64 for sharp focus photography,
straight photography

• “previsualization” – it’s important to have an image in your mind before you photograph it

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Edward Weston. Bedpan. 1930. GSP.

• Developed a very recognizable style in 1926
• Always a stark contrast an emphasis on shape
• Member of f/64 for sharp focus photography,
straight photography

• “previsualization” – it’s important to have an image in your mind before you photograph it

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Jacob Riis. Bandit's Roost. 1890. GSP.

• Photographed delinquents and criminals and dangerous people in nyc
• not a social reformer, more like a social commentator
• known for not crediting is helpers
• o Prime motive was to “shock” the audience

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Jacob Riis. An old woman next to the plank she sleeps on. 1890

• Photographed delinquents and criminals and dangerous people in nyc
• not a social reformer, more like a social commentator
• known for not crediting is helpers
• o Prime motive was to “shock” the audience

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Lewis Hine. Young Russian Jewess, Ellis Island. 1905. GSP.

photographed on ellis island to document immigration

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Lewis Hine. Saide Pfeifer. 1905.

started working for the National Child Labor Committee, photographing children and helping to portray the unsafe conditions
• Hoped that by publishing them it would facilitate social reforms and stop the practice

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Lewis Hine. Pouring steel in a small old-time steel mill. 1905. GSP.

hoped to highlight unsafe working conditions in hopes for social reform

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Lewis Hine. Accident Case in the Steel Mills. 1905
• “added realism” - belief in the integrity of the photograph
o photographs were much more effective than words because it could not falsify

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Lewis Hine. Powerhouse Machine. 1920. GSP.

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Walker Evans. License Photo Studio. 1935. GSP.

• Documentary photographer, but much more artsy
• Liked Eugene Atget
• His photos told stories
• Photographed both structures and people

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Walker Evans. Graveyard, Houses, and Steel Mill. 1935. GSP.

• Documentary photographer, but much more artsy
• Liked Eugene Atget
• His photos told stories
• Photographed both structures and people

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Walker Evans. Annie Mae Woods. 1940.

• Documentary photographer, but much more artsy
• Liked Eugene Atget
• His photos told stories
• Photographed both structures and people

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Bernice Abbott. Zito Bakery. 1940.

• Liked to plan our her photographs
• Known for photographing buildings and structures, not people

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Berenice Abbott. Flatiron Building. 1940.

• Liked to plan our her photographs
• Known for photographing buildings and structures, not people

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Dorothea Lange. Migrant Mother. 1935. GSP.

• Farm Security Administration
• Known for photographing people

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Dorothea Lange. Breadline. 1935.

• Farm Security Administration
• Known for photographing people

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Aleksandr Rodchenko. Osip Brik. 1925. Photomontage.

• fond of the theory of “making strange”
o ostranenie

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Aleksandr Rodchenko. Series of Buildings. 1925. GSP.
• fond of the theory of “making strange”
o ostranenie

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Aleksandr Rodchenko. Poster for Cinema Eye. 1925. Photomontage.
• fond of the theory of “making strange”
o ostranenie

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Aleksandr Rodchenko. Poster for Battleship Potemkin. 1925. Photomontage.
• fond of the theory of “making strange”
o ostranenie

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Hannah Hoch. Cut with A Kitchen Knife. 1920. Photomontage.

• fond of the theory of “making strange”
o ostranenie

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Raoul Hausmann. ABCD: Portrait of the Artist. 1925. Photomontage.
• associated with the Dada movement
o communist party criticizing socialist government

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John Heartfield. The meaning behind the hitler saltire. 1982. Photogravure on Newsprint.
• associated with the Dada movement
o communist party criticizing socialist government

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John Heartfield. Adolft the Superman. 1932. Photomontage.
• associated with the Dada movement
o communist party criticizing socialist government

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Lazslo Moholy-Nagy. Untitled. 1925. Photogram on GSP.

bauhaus movement
celebrates the process of making images

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Lazslo Moholy-Nagy. Photogram. 1925. photogram on GSP.

bauhaus movement
celebrates the process of making images

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Albert Patzsh. Irons for Show Fabrication. 1930. GSP.

bauhaus who puts emphasis on the visual
new objectivity, documentary style objective views

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August Sander. Farming Couple. 1910. GSP.

• New objectivity movement in Germany
o Not abstract like photograms, not critical of the existing order like Dada
o Celebrated the objective and the people in it
• Wanted to make an archive of the types of Germans that occupied the country
new objectivity, documentary style objective views

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August Sander. Bricklayer's Mate. 1930. GSP.

• New objectivity movement in Germany
o Not abstract like photograms, not critical of the existing order like Dada
o Celebrated the objective and the people in it
• Wanted to make an archive of the types of Germans that occupied the country
new objectivity, documentary style objective views

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August Sander. Baker. 1930. GSP

• New objectivity movement in Germany
o Not abstract like photograms, not critical of the existing order like Dada
o Celebrated the objective and the people in it
• Wanted to make an archive of the types of Germans that occupied the country

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Umbo. Mystery of the Street. 1930. GSP.

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Andre Kertesz. Distortion Number 6. 1930. GSP.

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Hans Bellmer. The Doll. 1935. GSP

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Raoul Ubac. Battle of the Amazons. 1940. Brulage on GSP.

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Man Ray. Rayograph. 1920. Cameraless image of photographic paper.

• New objectivity movement in Germany
o Not abstract like photograms, not critical of the existing order like Dada
o Celebrated the objective and the people in it
• Wanted to make an archive of the types of Germans that occupied the country

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Man Ray. Untitled. 1930. Solarized nude on GSP

subjective and poetic, contrasting new objectivity

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Man Ray. Women and Man. 1920. GSP.

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Man Ray. Untitled (Lee Miller). 1930. GSP.

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Man Ray. 229 Boulevard Raspail. 1930.

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Man Ray. Marquise Casati. 1920. GSP.

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Florence Henry. Self portrait. 1930. GSP

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Man Ray. Found Object. 1940.

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Umbo. Self portrait. 1930. GSP

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Robert Capa. Fallen Spanish Soldier. 1940

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Eddie Adams. Bullet Fired… 1970.

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Lee Friedlander. New Orleans. 1970.

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Aaron Siskind. Martha's Vineyard. 1955 GSP.

abstract expressionist movement
anthromorphosized things to make them organic

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Aaron Siskind. Chicago. 1955. GSP.

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Minor White. Windowsill Dreaming. 1960. GSP.

mystical and spiritual

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Minor White. Henry Mountains. 1970. GSP.

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Robert Frank. Parade, Hoboken NJ. 1955. GSP

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Robert Frank. New Orleans. 1955. GSP

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Garry Winogrand. Untitled. 1960. GSP

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Lee Friedlander. New York City. 1970. GSP.

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Gary Winogrand. American Legion Convention. 1965. GSP

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Lee Friedlander. Colorado. 1970. GSP.

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Diane Arbus. Identical Twins. 1970

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Diane Arbus. Child with a hand grenade. 1960.

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Bruce Naumann. Self portrait as a fountain. 1970.

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Bruce Naumann. Art Make-Up. 1970.

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Edward Ruscha. Union, Needles, California. 1960.

founder of conceptualism

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Edward Ruscha. Every Building on the Sunset Strip in LA Cali. 1970.

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Dan Graham. Homes for America. 1970.

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Dan Graham. Photograph from Homes for America. 1970.

counterpoints the monotonous and alienating effect of 1960's housing developments with their supposed desirability and the physical-geometry of a printed article

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Robert Smithson. Bridge Monument. 1970.

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Douglas Huebler. Duration piece number 6. 1970 GSP with accompanying text.

• Emphasized the need for a premise in photography

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Douglas Huebler. Duration piece number 11. 1970.

• Emphasized the need for a premise in photography

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Douglas Huebler. Variable Piece Number 70. 1970.

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Victor Burgin. Photopath. 1970.

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Bernd and Hilla Becker. Watertowers. 1980.

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Richard Long. England. 1970.

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Douglas Huebler. Variable Piece number 70. 1970.

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Bruce Naumann. Failing to Levitate in a Studio. 1970.

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Sherrie Levine. After Walker Evans. 1980.

appropriation. commentary on what it means to be original and create meaning.

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Martha Rosler. House Beautiful: Bringing the War Home. 2004. Photomontage.

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Martha Rosler. House Beautiful. 1970. Photomontage.

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Alfredo Jaar. Eyes of Gutete Emerita. 1995.

• Criticized photography for the inability to depict violence well
• Rwandan genocide

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Alfredo Jaar. Real Pictures. 1995.

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Nancy Davenport. Weekend Campus. 2004

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Cindy Sherman. Untitled Film Still 21. 1980.

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Cindy Sherman. Fashion #123. 1980.

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Cindy Sherman. Untitled #92. 1980.

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Cindy Sherman. History Portrait #224. 1990.

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Jeff Wall. Mimic. 1980.

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Jeff Wall. Picture for Women. 1980.

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Jeff Wall. Dead Troops Talk. 1990. Cibachrome print.

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Suzanne Opton. Claxton. 2004.

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James Coleman. Sound. 1980.