Modernism and Photography
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Modernism, Photography, Art movements, A level Photography, Critical & contextual studies
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Modernism and Photography
- 2. “Photography possesses every privilege, every excellence. It is the art of our time and has a duty to make artificial, fabricated things...since it is even less the case than elsewhere that depicting reality says anything worthwhile about reality.” (Bertolt Brecht)
- 3. Futurism - begins 1909 Edwaerd Muybridge, ‘Woman Walking Downstairs’, 1880 E.J. Marey ‘Chronograph of running broad jump.’ 1883-5
- 4. Marcel Duchamp Nude descending the staircase’, 1912 Umberto Boccioni. Unique Forms of Continuity in Space. 1913
- 5. Vorticism - begins 1913 Percy Wyndham Lewis ‘Workshop’, 1913
- 6. Constructivism - begins 1916 Vladamir Tatlin ‘Corner Reliefs’, 1915 Revolutionary Russia and 1920s Germany.
- 7. El Lissitzky, ‘The Constructor’, 1924
- 8. Moholy Nagy, ‘Leda and the Swan’, 1926
- 9. Dada - begins 1916 Marcel Duchamp ‘Fountain’ 1917 Paul Outerbridge ‘Ide Collar’ 1922
- 10. Surrealism • Ostranie: Image made strange. • There’s a difference between the ‘everyday’ world and the expected convention of photographic representation. Giorgio de Chirico, ‘The Disquieting Muses’, 1916
- 11. Herbert Bayer ‘Lonely Metropolitan’, 1932 Man Ray ‘Violin d’Ingres’, 1924
- 12. Salvador Dali ‘Un chien andalou’, 1929
Editor's Notes
- Leda and the Swan is a motif from Greek mythology, in which Zeus came to Leda in the form of a swan. One of the key questions was whether photography was only a documentary tool, and therefore limited to reproducing external reality, or whether it could create a new kind of fictional or metaphorical visual language. Moholy addressed this question in his photograms – unique photographic images made without film or a camera. He then had these photograms rephotographed and enlarged to the size of an easel painting, a process that blurred the traditional distinction between an original and its reproduction.In the same spirit, Moholy’s traditional, lens-based photography rendered the familiar strange by introducing unusual perspectives that were inspired by the diagonals of constructivist art, and he also printed negative and positive versions of the same image. ‘Photoplastics’, Moholy’s take on photomontage, combine found imagery with drawing to create striking visual compositions. With their delight in visual puns, biting social commentary and not least a readiness to ridicule the imperial pretensions and narrow-mindedness of Weimar Germany, these images show the lasting influence of Dada on Moholy’s work. The photoplastic art can synthetize in an image of the effects of transparency running of our environment. For example the glance through the window of a bus, the reflections of the windows of the automobiles which are reflected in the shop windows of stores. In the photoplastic art these elements are not summarized but synthetized by overlapping and by merging. The effects must be immediately perceptible so that the image is productive. She has to allow a representation of ideas which corresponds to the spirit of the times and to the culture of moment.The photoplastic art does not aim at the composition to affect an optical effect but a representation of idea. Moholy wrote of such drolleries ‘photoplastics is often the bitterest fun, often blasphemy. It often reveals the nasty side of creation; but often also rears up against inadequacy: clownesque and comical, tragic and serious. Photoplastics is based on gymnastics of the eye and brain, more concentrated it falls to the share of a big-city dweller.’