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Fine Art Photography
• “Photography is not art, but can be
  made into art” - De Zayas 1913
 •Reaction against photography's use by painters (i.e.
 Courbet) to help them paint
 •Reaction against the documentary tradition of late 18th and
 19th C – move away from a Humanist or people/societal
 centred approach
 •Linking the aesthetic ethos of art (fascination with
 form, tone, light, colour)


Fine art takes in
all other genres!
• Photos began to
  develop own codes
  as art; no
  manipulation of
  reality-straight-pure-
  form-no reference
  to the subject as
  such
• Composition is more
  important than
  context
• Alfred Stieglitz;
  driving force behind
  fine art photography
• Photographer
  does not
  record, but
  creates
• Landscapes, as
  popular theme
  link to higher
  ideals
• Stieglitz’s
  Equivalents
  series seek ideal
  form and were
  displayed in wide
  white mounts to
  emphasise purity
•Stieglitz was
committed to the
gallery as an ideal
•Gallery’s
contextualised art
photographer against
the wider history of art
•An art print gains
value from being hung
in an opposite way to a
documentary imaged
that is mass produced
•Art photography is
often envisaged as
such
• “The fullest
  realisation of the
  potential of the
  subject through
  the use of
  straight
  photographic
  methods” - Paul
  Strand
• Edward Weston:
  Emphasis on form
• Body transcends
  into natural shapes
• No longer a human
  or cultural product
  but part of the
  wider
  metaphysical
  (almost spiritual)
  world of shape
  and form that
  artists aspired to
• The nude continues to be a seminal subject
  for fine art photographers




  Ruth Bernhard                        Sylvie Blum
• Ansel Adams
  keeps fine
  arts concern
  with purity
  and form and
  makes the
  ordinary into
  something
  unique
His
landscapes
follow
formal
conventions
of painting
whilst giving
unique
photographi
c intensity
• John Paul Edwards & William Van Dyke were contemporaries of
  Adams and Weston and together were some of the members of f.64;
  a group dedicated to intense scrutiny of the world through the lens
  and in a way that moved against earlier pictorial or painterly styles
Once photographed, the
               object transcends
               everyday to become art




• Imogen
  Cunningham
• Other art
  photographers do
  focus on culture
• Paul Strand: works
  within active world
  of human meaning
  – a documenters
  approach?
• Movement (implied
  sometimes) and
  subject fit into
  larger structure of
  society
• Paul Strand Wall St 1915
• Minor White: Expressionist; A movement in the arts during
  the early part of the 20th century that emphasized
  subjective expression of the artist's inner experiences
• Aaron Siskind: Abstract expressionism
• Taking reference from painterly forms yet still
  focus on transforming the ordinary
• Ernst Haas Nature and Machine 1975
• Colour begins to get used in art photography
• B&W seen by purists as truer to intention of capturing
  form
Harry Callahan Kansas City 1981
• Martin E Newman Coney Island 1 1953
• Andreas Gursky
ed




• Gregory Crewdson from Beneath The Roses
• Contemporary fine art can include the dramatic and staged
  and create a sense of narrative that does refer to society
•   Jeff Wall A Sudden Gust Of Wind
• Wall often recreates paintings, as such his style is very formal still
• Philip Lorca DiCorcia's hustler series
• alternates between informal snapshots and iconic
  quality staged compositions
• Masahisa Fukase's Ravens
• Example of how contemporary art photography can be
  a personal reference point
Summary
• Fine art photography began as reaction against
  how photography was used in the art world and
  as a reaction against the documentary ethos of
  social engagement
• Focus on form (shape, pattern, line, texture etc)
• B&W holds elitist status (still?)
• Context of viewing is important
• Fine art can include other genres, even docu!
• Contemporary images often attempt to engage
  the viewer more

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Fine art photography

  • 2. • “Photography is not art, but can be made into art” - De Zayas 1913 •Reaction against photography's use by painters (i.e. Courbet) to help them paint •Reaction against the documentary tradition of late 18th and 19th C – move away from a Humanist or people/societal centred approach •Linking the aesthetic ethos of art (fascination with form, tone, light, colour) Fine art takes in all other genres!
  • 3. • Photos began to develop own codes as art; no manipulation of reality-straight-pure- form-no reference to the subject as such • Composition is more important than context • Alfred Stieglitz; driving force behind fine art photography
  • 4. • Photographer does not record, but creates • Landscapes, as popular theme link to higher ideals • Stieglitz’s Equivalents series seek ideal form and were displayed in wide white mounts to emphasise purity
  • 5. •Stieglitz was committed to the gallery as an ideal •Gallery’s contextualised art photographer against the wider history of art •An art print gains value from being hung in an opposite way to a documentary imaged that is mass produced •Art photography is often envisaged as such
  • 6. • “The fullest realisation of the potential of the subject through the use of straight photographic methods” - Paul Strand
  • 7. • Edward Weston: Emphasis on form • Body transcends into natural shapes • No longer a human or cultural product but part of the wider metaphysical (almost spiritual) world of shape and form that artists aspired to
  • 8.
  • 9. • The nude continues to be a seminal subject for fine art photographers Ruth Bernhard Sylvie Blum
  • 10. • Ansel Adams keeps fine arts concern with purity and form and makes the ordinary into something unique
  • 12. • John Paul Edwards & William Van Dyke were contemporaries of Adams and Weston and together were some of the members of f.64; a group dedicated to intense scrutiny of the world through the lens and in a way that moved against earlier pictorial or painterly styles
  • 13. Once photographed, the object transcends everyday to become art • Imogen Cunningham
  • 14. • Other art photographers do focus on culture • Paul Strand: works within active world of human meaning – a documenters approach? • Movement (implied sometimes) and subject fit into larger structure of society
  • 15. • Paul Strand Wall St 1915
  • 16. • Minor White: Expressionist; A movement in the arts during the early part of the 20th century that emphasized subjective expression of the artist's inner experiences
  • 17. • Aaron Siskind: Abstract expressionism • Taking reference from painterly forms yet still focus on transforming the ordinary
  • 18. • Ernst Haas Nature and Machine 1975 • Colour begins to get used in art photography • B&W seen by purists as truer to intention of capturing form
  • 20. • Martin E Newman Coney Island 1 1953
  • 22.
  • 23. ed • Gregory Crewdson from Beneath The Roses • Contemporary fine art can include the dramatic and staged and create a sense of narrative that does refer to society
  • 24.
  • 25. Jeff Wall A Sudden Gust Of Wind • Wall often recreates paintings, as such his style is very formal still
  • 26. • Philip Lorca DiCorcia's hustler series • alternates between informal snapshots and iconic quality staged compositions
  • 27. • Masahisa Fukase's Ravens • Example of how contemporary art photography can be a personal reference point
  • 28. Summary • Fine art photography began as reaction against how photography was used in the art world and as a reaction against the documentary ethos of social engagement • Focus on form (shape, pattern, line, texture etc) • B&W holds elitist status (still?) • Context of viewing is important • Fine art can include other genres, even docu! • Contemporary images often attempt to engage the viewer more

Editor's Notes

  1. What does this quote mean?
  2. Stieglitz had a gallery, studio etc and often put on art photo shows of his and other workHis comments of the Steerage are how he saw funnels angling left, stairs angling right, round hats, lines in the ramp – essentially he sees form and not the crappy conditions of the passangers
  3. Lack of link between photographer and cultural context links in with the romantic tradition of artists as philosophers and seers
  4. We can see the Stieglitz influence on his contemporaries in this quote by Strand. There is a desire to show the ordinariness of everyday in a way that is not emotionally charged like docu at the time. This straight purity developed into a sub-genre (of docu?) called new objectivity
  5. Can students spot rule of thirds, vanishing point etc?
  6. These images show how art photography obsesses with the everyday and often look into private spaces. Everything is an object waiting to be transformed.
  7. Get students to analyse this within the context of the last slideWall St encapsulates this idea of movement, both literally with the characters and figuratively within society. The relationship between people and business, the beginnings of the boom of modern capitalism. The dwarfed figures, the imposing darknessWhy is this art and not documentary? Still heavy focus on composition and form but does cross over!
  8. Deine
  9. B&W in art places stress on the image to exist in its own right, as a unique article that celebrates form rather than using colour and attempting to reproduce the world
  10. Students to analyseColour is essential here. Notice the two points of white acting as counter balance to the red. Notice the lines cast by the shadows and the patterns of the brick. This is still art in the sense it shows us a slice of life in a pictorial sense There is little symbolism (like most art images) but it is a visual feast
  11. Gursky displays his prints as large as possible, it is partly the display that classifies these as art and partly the insistence on form over context
  12. Crewdson’s work often involves crews of people, and its cinematic affect is deliberate, often referencing films. His work gives a surreal take in everyday life and suburban America. Does this move towards a context exclude him from fine art? Is it going back to a staged docu style?
  13. Important to note the viewing context still
  14. everyday occurrences beyond the realm of how everyday and normal they are, he tries to inspire in his picture's spectators an awareness of the psychology and emotion contained in real-life situations
  15. Ex Japanese Vogue who turned to fine art once girlfriend left with his assistant