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Week5 3 D Media

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    Notes on slide 1

    1991

    Camera Obscura Image of the Empire State Building in Bedroom, 1994

    Camera Obscura Image of Times Square in Hotel Room, 1997

    Camera Obscura Image of Santa Maria della Salute in Palazzo Bedroom. Venice, Italy, 2006

    He created the first permanent photograph, of a pigeon house and barn as seen from his window, in the summer of 1826. [1] The photograph was made using a camera obscura and a sheet of pewter coated with bitumen of Judea, an asphalt that when exposed to light, hardened permanently. This first photograph was captured during an eight hour exposure, taking so much time that the sun passed overhead, illuminating both sides of the courtyard.

    Exposure times were several minutes making the streets seem deserted because everyone walking and riding by in carriages were moving to fast to register on the film.

    This photograph is famous because this man stopped to have his boots polished and is the only person to clearly be recorded during this exposure.

    He wrote “I have a photographic gun which has nothing murdurous about it, and which takes a picture of a bird flying or an animal running in less than 1/500th of a second. I do not know whether you can imagine such a speed, but it is something surprising.” The gun took 12 images a second. It had a lens in the barrel and a cylindrical breech within which was a sensitive plate which revolved when the trigger was pressed. The rotating plate was treated with gelatin silver bromide emulsion and stopped 12 times behind the lens while the shutter let in light for 1/720th of a second.

    In 1877, Muybridge settled Stanford's question with a single photographic negative showing Stanford's racehorse Occident airborne during trot. This negative has not survived, although woodcuts made of it did. By 1878, spurred on by Stanford to expand the experiment, Muybridge had successfully photographed a horse in fast motion using a series of twenty-four cameras. The cameras were arranged along a track parallel to the horse's, and each of the camera shutters was controlled by a trip wire which was triggered by the horse's hooves. This series of photos, taken at what is now Stanford University, is called The Horse in Motion, and shows that the hooves all leave the ground — although not with the legs fully extended forward and back, as contemporary illustrators tended to imagine, but rather at the moment when all the hooves are tucked under the horse, as it switches from "pulling" from the front legs to "pushing" from the back legs. The relationship between the mercurial Muybridge and his patron broke down in 1882 when Stanford commissioned a book called The Horse in Motion as Shown by Instantaneous Photography which used actual photographs by Muybridge and which didn’t give Muybridge credit for his work. The lack of photographs was likely simply due to the printing constraints of the time but Muybridge took it as a slap in the face and filed an unsuccessful law suit against Stanford.[1] Don’t forget his “justifiable homicide charge”

    He wrote “I have a photographic gun which has nothing murdurous about it, and which takes a picture of a bird flying or an animal running in less than 1/500th of a second. I do not know whether you can imagine such a speed, but it is something surprising.” The gun took 12 images a second. It had a lens in the barrel and a cylindrical breech within which was a sensitive plate which revolved when the trigger was pressed. The rotating plate was treated with gelatin silver bromide emulsion and stopped 12 times behind the lens while the shutter let in light for 1/720th of a second.

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    Week5 3 D Media - Presentation Transcript

      • Chapter 9
        • PHOTOGRAPHY
          • The Still Camera and Its Beginnings
          • Documenting
          • Photography and Art
        • FILM
          • The Origins of Motion Pictures
          • Artists and Film
        • VIDEO
        • THE INTERNET
    2.  
    3.  
    4. Camera Obscuras by Abelardo Morell
    5.  
    6.  
    7.  
    8.  
    9.  
    10. Johannes Vermeer, Woman with a Lute near a Window Year: early 1660s 51.4 x 45.7 cm
    11.  
    12.  
    13.  
    14.  
    15. Installation view of Cindy Sherman Exhibition
    16. Joseph Nicéphore Niépce , 1826
    17. Louis Daguerre View of the Boulevard du Temple, 1839
    18.  
    19. LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio, 1837. Daguerreotype.
    20. JOSIAH JOHNSON HAWES and ALBERT SANDS SOUTHWORTH, Early Operation under Ether, Massachusetts General Hospital, ca. 1847. Daguerreotype.
    21. Daguerreotype of Emily Dickinson, c. 1846-47
    22. Chuck Close, Kate, 2003 ,Daguerrotype, 8 1/2 x 6 1/2 in.
    23. Positive/Negative
      • Daguerreotype = positive image
      • Calotype = paper negative
      • Collodian – Glass Negative
      • Film
      • 1888 – Eastman (Kodak)
      • Photo exposure times decrease through photo history.
    24. Tintypes - a very underexposed image is produced on a collodion photographic emulsion on a dark metal backing; thus viewed the image appears as a positive.
    25. Dry plate
    26. 1835, William Fox Talbot , “ Window in the South Gallery of Lacock Abbey” made from the oldest photographic negative in existence.
    27. 1842, Cyanotype Process
    28.  
      • The first studies of motion using photography were made by
      • A) Timothy O'Sullivan.
      • B) Eadweard Muybridge.
      • C) Alfred Stieglitz.
      • D) Henry Peach Robinson.
      • E) Ansel Adams.
    30. EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print. George Eastman House, Rochester, New York.
    31. Chronophotographic Gun-1881
    32.  
    33. HONORÉ DAUMIER, Nadar Raising Photography to the Height of Art, 1862. Lithograph, 10 3/4” x 8 3/4”. Museum of Fine Arts, Boston.
    34. NADAR, Eugène Delacroix, ca. 1855. Modern print from original negative in the Bibliothèque Nationale, Paris.
    35. EUGÈNE DURIEU and EUGÈNE DELACROIX, Draped Model (back view), ca. 1854. Albumen print, 7 5/ 16” x 5 1/8”. J. Paul Getty Museum, Los Angeles.
    36. JULIA MARGARET CAMERON, Ophelia, Study no. 2, 1867. Albumen print, 1' 11" x 10 2/3". George Eastman House, Rochester, New York.
    37. TIMOTHY O’SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania, July 1863. Negative by Timothy O’Sullivan. Original print by ALEXANDER GARDNER, 6 3/8" x 8 3/4". The New York Public Library
    38. Terminal, 1892. Alfred Stieglitz .
    39. "The Steerage" 1907 photograph by Alfred Stieglitz.
    40. 1907 photograph by Alfred Stieglitz.
    41. Edward Steichen, 1905
    42. Edward Steichen, 1904
    43.  
    44. “ Knickknack Peddler” by Wang Qingsong. “ Packman” by Li Song, dated to the Song Dynasty
    45. Ansel Adams, “Aspens, Dawn, Autumn, Dolores River Canyon, Colorado”, 1937
      • During the 1930s, the U.S. Department of Agriculture paid photographers to document conditions of
      • A) mechanized farming innovations.
      • B) the urbanization of America.
      • C) the Spanish Civil War.
      • D) the Great Depression.
      • E) the construction of the Golden Gate Bridge.
    47. Farm Security Administration (FSA) - 1935-1944
    48. Andreas Gursky, Shanghai , 2000, C-print
    49.  
    50.  
    51.  
    52. Chronophotographic Gun-1881
    53.  
    54. Excerpt from Georges Melies “A Trip to the Moon”, 1902
    55.  
    56. Salvador Dali’s dream scene for Hitchcock’s Spellbound
    57.  
    58.  
    59. Internet and Conceptual Art Mike Parr's Aussie, Aussie, Aussie, Oi, Oi, Oi , 2003. “ democratic torture”
    60. Rafaël Rozendaal http://www.newrafael.com/
      • Chapter 11
      • METHODS AND MATERIALS OF SCULPTURE
        • Modeling Casting Carving Assembling
      • Expanded Field - Installation
    62. Modeling
      • Additive process
      • Play Dough
    63. Warrior Vase, from Mycenae, Greece, ca. 1200 BCE. Approx. 1’ 4” high. National Archaeological Museum, Athens.
    64. Casting
      • Involves a mold of some kind – into which liquid or semi-liquid material is poured and allowed to harden
    65. Jeff Koons Michael Jackson and Bubbles , 1988
    66. Rachel Whitread, House, 1993. Whiteread sprayed concrete on the inside of all the walls of a Victorian era house in a block that was to be torn down to make space for a public park. The walls were then removed, leaving just the shell of the house, or the shell of the negative space formerly created by the walls.
    67.  
    68.  
    69.  
    70. Rachel Whiteread, Untitled (Fire Escape), 2002, mixed media, 24’x18’x20’
    71. Marc Quinn Self 82" by 25" by 25" blood/stainless steel, Perspex, refrigeration equipment 1991
    72. “Good art is an object or a situation that allows you to feel or think something new.” - Marc Quinn
    73. Self-Portrait (Height Determined by Weight), 1990, lead, 15 1/2 x 9 1/4 x 11 inches.
    74. Prosthesis, 2000
    75. Christian Marclay, Boneyard
    76.  
    77.  
    78.  
    79. Carving
      • Subtractive process
    80. Processional frieze (detail) on the terrace of the royal audience hall (apadana), Persepolis, Iran, ca. 521–465 BCE.
    81. GIOVANNI PISANO, The Annunciation and the Nativity, detail of the pulpit of Sant’Andrea, Pistoia, Italy, 1297–1301. Marble relief, approx. 2’ 10” x 3’ 4”.
    82.  
    83. MICHELANGELO BUONARROTI, David, 1501–1504. Marble, 13’ 5” high. Galleria dell’Accademia, Florence.
    84. MICHELANGELO BUONARROTI, Moses, San Pietro in Vincoli, Rome, Italy, ca. 1513–1515. Marble, approx. 8’ 4” high.
    85. ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, life-size. Galleria Borghese, Rome.
    86. Janine Antoni. Gnaw (detail) , 1992.
    87. Giuseppe Penone Versailles Cedar, 2002-03, Cedar Wood, 600x170 cm
    88. Assembling
      • Individual pieces or segments or objects are brought together to form a sculpture
    89. David Smith, Cubi XIX, 1964. Stainless steel.
    90. Christian Marclay, Virtuoso , 2000, altered accordian.
    91. Damien Hirst, For the Love of God
    92. Sculpture and the Expanded Field
    93.  
    94. Lick and Lather«, 1993 by Janine Antoni. 14 portrait busts, cast of a model of the artist herself and mounted on look-a-like ancient classical pedestals. Seven statues were cast in white soap, and the other seven in brown chocolate, and then reshaped by the rather subjective acts which engaged her tongue passing over, and the frothing up of bubbles, fizz, effervesce…
    95. Downscaled and Overthrown«, 2008 by Shahryar Nashat. "Public Figures" 1998-1999 Installation view at Metrotech Center Commons, Brooklyn, New York Fiberglass/resin, steel pipes, pipe fittings, 10 x 7 x 9 feet
    96. Unpainted Sculpture Charles Ray 1997 fiberglass, paint
    97. Damián Ortega, 2002
    98. Do Ho Suh, The Perfect Home II, 2003, Installation at Lehmann Maupin, 30 May - 28 June 2003 translucent nylon, 110 x 240 x 516 inches
    99. Do-Ho Suh"Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home“, 1999, Silk, 149 x 240 x 240 inches
    100.  
    101.  
    102. Juan Munoz, Installation view showing balconies and signs from “ Hotel Declercq I-IV ”, 1986
    103. Juan Munoz, Five Seated Figures , 1996, resin and mirror, dimensions variable; at the Hirshhorn Museum
    104.  
    105. Katharina Grosse, 2008
    106. RICHARD SERRA, Tilted Arc, 1981. Cor-Ten steel, 12’ x 120’ x 2 1/2”. Installed Federal Plaza, New York City by the General Services Administration, Washington D.C. Removed by the U.S. Government 1989.
    107.  
    108.  
    109. Robert Smithson, Spiral Jetty, 1970
    110. Nancy Holt, Sun Tunnel –1976 Nancy Holt – Ventilation IV: Hampton Air, 1992
    111.  

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