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10 Cards in this Set

  • Front
  • Back
Hannah Hoch, 1919
Dada, Photomontage
"Cut with the kitchen knife Dada through the last weimar beer belly cultural epoch of Germany"


The Soviet Photograph

Hannah Hoch, 1919


Dada, Photomontage


"Cut with the kitchen knife Dada through the last weimar beer belly cultural epoch of Germany"




The Soviet Photograph

During WWI Berlin Dada group objected the war and materialism of the age. Envisioned new art to express despair / retire old conventions / intellectual barriers. Dada manifesto written. Accentuated disruptiveness of chance collisions of images and sounds. Emphasized need to be unconstrained by traditional notions of composition. Diversity of mass media sources in Hoch's picture testifies to growing perception that mass media images were forming a common visual culture. The meaning of this combination of pictures was diff. to decipher. Photomontage itself was the message of change.

Raoul Hausmann, 1920
Dada, Photomontage
"Tatlin at home"


The Soviet Photograph

Raoul Hausmann, 1920


Dada, Photomontage


"Tatlin at home"




The Soviet Photograph

Photomontage. Was more an exercise in freewheeling mental associations and concern for artistic form than social critique. Added machinery to main figures head b.c. wanted to portray a man with machines for brains. Inside out pockets b.c. he fancied that Tatlin could not be rich. Painted parts of the picture, background.

Laszlo Moholy-Nagy and Lucia Moholy, 1924, gelatin print
"Photogram" 



The Soviet Photograph

Laszlo Moholy-Nagy and Lucia Moholy, 1924, gelatin print


"Photogram"




The Soviet Photograph

Favored use of industrial materials and concepts. Adopted Soviet artists' notion of "Faktura" - new vision is created when photography is practiced for its own inherent qualities, not imitation of a painting. Concentrated on technology and its relation to art. Claimed photography's chief characteristic was light and artists should experiment with patterns of light and shade. Proposed making camera-less photos called photograms via miscro/telescopes, exrays, mirrors etc.,

El Lissitzky, 1924
Photomontage 
"The constructor"


The Soviet Photograph

El Lissitzky, 1924


Photomontage


"The constructor"




The Soviet Photograph

Russian Revolution of 1917 placed revolutionary socialists in power had great impact on avant-garde artists. Abstraction became symbol for a future untainted by the past. Lissitzky > architect who worked with many media was politically committed. Renounced self expression and easel painting b.c. associated with corrupt past and stagnant aesthetics. Terms production art and artist began to be used for those who employ technology in order to mold a new society. Favored photography b.c. of the machine. The photo shows artists in his new role as builder/ engineer. Features overlays familiar to Russian avant garde.

Man Ray, 1921
Rayograph, "abstract composition" 


Surrealist Photography

Man Ray, 1921


Rayograph, "abstract composition"




Surrealist Photography

Surrealist movement Paris 1920's. Unlike Dada which remained individualistic, Surrealism was self proclaimed movement. Manifesto 1924 announced primacy of irrational and belief in truth beyond realism. Indebted to Freud's belief in unconscious and methods for revealing uncon. desire > dream analysis and free association sequences. Surrealists advocated transformation of human perception through imagination. Man Ray's photos feature unlikely conjunction of mundane recognizable objects. Reversal of tones and idea that photographic practice must be turned on its head

Man Ray, 1933, Silver print, "Untitled from Minotaure"


Surrealism

Man Ray, 1933, Silver print, "Untitled from Minotaure"




Surrealism

Mot surrealist photography alludes to psychological intimations and innuendoes, a scenario in which something has just happened or is about to happen. Belief that primitive art and myth bypassed conscious rational thought to reach into fertile unconscious. Forbidden sexuality and sensuality were frequent surrealists topics.

Henri Cartier-Bresson , 1932, Gelatin Silver Print "Behind the Gare St. Lazare"




Surrealism

Henri Cartier-Bresson , 1932, Gelatin Silver Print "Behind the Gare St. Lazare"






Surrealism

Painter and student of art history recalled more influenced by Surrealist theories of the irrational than by the Surrealist art practice. Fastened on to " the role of spontaneous expression, of intuition and the attitude of revolt". Legendary for describing instantaneous composition of a scene as "the decisive moment" aka simultaneous recognition of significance of an event and precise organization of forms which gave event its proper expression.

Andre Kertesz 1933,
"distortion" Gelatin Silver Print


Surrealism

Andre Kertesz 1933,


"distortion" Gelatin Silver Print




Surrealism

Surrealist distortion of the human figure. Surreal artists often used female form as symbols of primitive, mysterious and erotic. Surrealist feeling for magic of coincidence and presence of mysterious in everyday life.

Imogen Cunningham, 1929 , "Banana Plant" Gelatin Silver Print


California Modern 
(modernism)

Imogen Cunningham, 1929 , "Banana Plant" Gelatin Silver Print




California Modern


(modernism)

Dismissed Pictorialism and urged the exploration of camera vision. Produced clear detail in the foreground as well as background due to large format cameras which gave them their name. Indicated having more in common with appearance of the photograph than with the subject matter. Cunninghams geometric style of straight photography. Found visually arresting pictures in small moments of life.

Ansel Adams 1935
Gelatin Silver Print
"Valley View, Yosemite National Park" 


California Modern

Ansel Adams 1935


Gelatin Silver Print


"Valley View, Yosemite National Park"




California Modern

Philosophic regard for natural forms. Belief in spiritual value of nature to society. Concentration on dramatic images of natural light effects. Worked out the beginning of "zone system" at Yosemite. Method allowed photographers to visualize finished print by comparing light intensities in the scene to be photographed with a chart showing scale of tones from black to white. Main work of picture making took place not in dark room but before exposure.