LECTURE 9 - LECTURE 9 OUTLINES Pictorialism Key players:...

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LECTURE 9 OUTLINES Pictorialism Key players: Lady Eastlake: Absence of aesthetic judgment disqualifies photography as an art. Very against the photographic machine. Art depends on selection and rejection. Evokes Joshua’ Reynolds’ Seven Discourses on art. She’s torn between Victorian ideals (photography associated with chance which is associated with gambling). Proponent of finish in art, but doesn’t admire it in photography. Oscar Rejlander: Put together 32 negatives in a seamless print, showing that finish can be a sign of skill in photography. Queen Victoria bought his photo. Gustave le Grey: Steadfast believer that photography should be considered art (as opposed to Baudelaire, who say photography as a narcissistic industrial vice). Tried to get his own photographs into the Paris salon. Perfected wax paper process (paper dipped in wax, then chemicals, then dried, which gave high resolution but not as good as glass). Also combine different exposures on the same negative (take two different negatives, one of the sky and one of the sea, and then combine them). Julia Margaret Cameran: Made portrait of her niece Julie Jackson (Virginia Wolff’s mom). Cameran—intimate and public, an elitist amateur, given a camera by her niece and nephew. She characterizes her own photography as experimental, as trial and error, letter to John Herschel, she asks “who has the right to say what is the legitimate or right focus?” Key concepts: Picotiralism: movement in UK and US (1885 through 1910) but much that is historically attributed to the movement happened much earlier.
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Shock of photography: The invention of photography made it hard to define cultural status and implications for the arts. Photography very different than classical painting, and initially photos were thought of as helpful, like studies before a final work of art. Finish: Big debate at the time as to the proper finish for a painting (Constable dotted his paintings with white while Turner gave no finish at all). 3/3/08 Lecture 9 Pictorialism Ted Serios, Jule Eisenbud, and Thoughtography revisited Serios o could impress images on Polaroid o working with technology that had re-energized photography o Eisenbud and Serios worked in tandem o sat before camera and the moment shutter released, would impress a mental image on the camera o Serios performed this under all kinds of conditions to convince people this was not fraudulent controversies over photography have fostered public discussions of the limits of photography as a technology o paranormal photography has been symptomatic of certain desires that photography has fostered and not fulfilled o spirit photography is a photography delivering that extra amount of magic penetrating new reality o social apparatus has been mobilized against certain kinds of photography and there is a kind of line drawing between responsible scientific processes Photography as Art: the early years o Movement beginning in 1885 much of what was historically attributed to that movement was
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LECTURE 9 - LECTURE 9 OUTLINES Pictorialism Key players:...

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