Week 12 Fabrications and Fictions FINAL Flashcards
Periodical #5
Robert Heinecken
1971
magazines altered by offset litho overprint
Layering of magazine pages lithograph, placed the magazines back into stands. Robert Heinecken, who is perhaps best known for his assemblages of found images from torn magazine pages and for photographs containing familiar media iconography, continually redefined the role of photographer and perceptions of photography as an art medium. Heinecken’s signature work incorporates public images (from magazines, newspapers, and television) and his own darkroom activity which changes the interpretation of the original images. Though Heinecken is rarely behind the lens of a camera, his process is faithfully photographic. Yet he is often discussed less in terms of photography and more in terms of conceptual art. To put a name to Heinecken’s unique combination of interests and technique, he was dubbed a “photographist” by philosopher and art critic Arthur C. Danto who described the responsibility of the modern artist as “creating art that functions in part as a philosophical reflection of its own nature.”
Are You Rea #1
Robert HEINECKEN
1966
Photogram contact print
Taken from light through magazine onto light sensitive paper. Heinecken says the moment you take a photo the moment is no longer real. Only the physical photograph is real. The photograph is only an interpretation.
Robert Heinecken, who is perhaps best known for his assemblages of found images from torn magazine pages and for photographs containing familiar media iconography, continually redefined the role of photographer and perceptions of photography as an art medium. Trained in design, drawing, and printmaking, Heinecken’s signature work incorporates public images (from magazines, newspapers, and television) and his own darkroom activity which changes the interpretation of the original images. Though Heinecken is rarely behind the lens of a camera, his process is faithfully photographic. Yet he is often discussed less in terms of photography and more in terms of conceptual art. To put a name to Heinecken’s unique combination of interests and technique, he was dubbed a “photographist” by philosopher and art critic Arthur C. Danto who described the responsibility of the modern artist as “creating art that functions in part as a philosophical reflection of its own nature.”
Small Woods Where I Met Myself
Jerry Uelsmann
1967
contrast between the black and white scene on the top half of the image and the negative, color-schemed scene on the bottom half of the image. Made entirely in the darkroom, Jerry Uelsmann creates his surreal photographs in a series of steps, masking and exposing different areas of photosensitive paper as he changes negatives. He maitains some loyalty to the aesthetic of traditional landcape and still life phography, insofa as the seams and edges of each successive element are conceled and the resulting composite suggest the unit of a singlular view or scene.
Memphis
William EGGLESTON
1967
DYE TRANSFER PRINT
Tricycle, pop art, monumental, in your face, out of proportion with landscape, suburbs, democracy of vision and everyday objects becomes imporant. Eggleston is from the South. He traveled wtih Edward Hopper out west, creating a type of narrative on the road. His work is geographically nonspecific, stricking interest in the expressivness of color.
Untitled (The Red Room)
William EGGLESTON
1973
DYE TRANSFER PRINT
Color photography, describes ugliness but interesting formal elements, particular look to American phogoraphy. He treats things democratically, frustrating, dead pan quality.
Eggleston is from the South. He traveled wtih Edward Hopper out west, creating a type of narrative on the road. His work is geographically nonspecific, stricking interest in the expressivness of color. Ugly as subject matter, game of colors contrast light bulb on environment, debris of edges of wall. Inegmatic. We wonder where we are in a gym? Pornographic? not giving us much, claustrophobic, deadpan, pushing color to the limit. D
Dye transfer process is costly but permanant, enhances strong saturation.
Every buildin gon the Sunset Strip, Los Angeles CA
Edward RUSCHA
1966
Channelling ideas in a book, folds up accordion style, in a photobook showing entire Sunset Strip. Coulc choose a writer and have more control. Accordion style, really long strip, storefronts, gas stations, minimalist numbering system. low print quality, industrial archeology through photography. Standardized. Recording mega landsape, conveying authorship with seamingly authorless photographs. Similar to Bechers in choice of subject, repetition. conceptual play with topographies of American landscape. No drama, distancing like found photograph, no sentiment.
South Corner, Riccar America “New Industrial Parks”
Lewis BALTZ
1974
The New Industrial Parks near Irvine California, 50 or so prints in the collection. Subject: non monumental deadpan photography of sheds and factories. Creates installation of insignificant, framing creates formal relationship between piramid shape an pile of dirt. Light and shade, shows building as if painted in certain way on each side. Flatness, redundency, horizon-less, deprive shed of context.
Typology Watertowers
Bernd adn Hilla BECHER
1980
Topographics. Won the prize for sculpture with their photographic installation of objects in space. Repitition watertowers, cental in frame, isolated, removed from context, decontextualized. Concious decision to remove context by framing, picking particular subject, and exploiting it. INDUSTRIAL ARCHEOLOGY. Decontextualized, isolated, somparison objects, make look like the same size, seamless, comparative view, skelatal bodies, no sense of subjectivity or that photographer is even there taking the photo.
Beverly Boulievard and La Brea Avenue, Los Angeles CA
Stephen SHORE
1975
American landscape, sinage, outwest, color, large format camera. treated american landcape important to discourse of sinage and billboards. What we learn from landscape, not saying it is ordinary or ugly, saying this is our land and what we build ion it. Orients the american driver, observer.
Untitled
Thomas F. Barrow,
1975
I want to alter the photographic surface—that is, move from the transparent,
window-on-the-world form that has been photography’s primary reason for
being since its invention, to making it a physical object, an object to be looked
at for its own presence and not for a surrogate experience.
Untitled (Ophelia)
Gregory Crewdson
2001
digital C print
Big eerie quality, uncanny wtihin the domestic known yet completely unknown. The scary, sublime in complete tranquility. American suburbs. Sensibility of Soth Eggleston, yet very staged adn manipulated, previsualized, cinematic, dream likke, artificialigy of movie like quality. About fantastic and farrytale, theater, pyschological, loss and longing
Large format photograph. Sense of experiencing hearing voices fro mbasement when child. Revisits shakespeare’s Ophelia in which she drowns herself in water in tranquil environment. Crewdson scouts places, houses, rooms some that will be demolished. He has a big team, like cinema, glamourous, American landscape, small town, kitch - he magnivies this. He bluffs reality adn fictions drawing ou the psycholocial creating a moment, not capturing it.
Charles Vasa, MN from the series “Sleeping by the Mississippi”
Alec SOTH
2002
C print
Recording a world that is adrift. Individual posign with old airplane models. Soth converses with the sitters. He is capturing the small town American landscape of down trodden towns all over the country.
Colorado Spring, Colorado
Robert Adams
1968
Conceptual neutrality
USA. Sleeping by the Mississippi
Alec SOTH
2002
C print
Recording a workd that is adrift, conveying the peoples life through the objects. Observation quality in the work. Narrative element, pornographic magazine on the floor, claustrophobic, discraceful decor. How does the object say somethin gabout the person. Curtain with ducttape, evokes a feeling.
