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Chapter 2


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Chapter 2

  1. 1. the art of being artless ART111
  2. 2. Alfred Stieglitz
  3. 3. Alfred Stieglitz, Georgia O’Keeffe, 1927
  4. 4. Alfred Stieglitz, The Steerage, 1907
  5. 5. Walker Evans, Self-Portrait, 1927
  6. 6. Walker Evans, 42nd Street, 1929
  7. 7. Walker Evans, Mother and Children in Doorway, Havana, 1933
  8. 8. Walker Evans, Subway Portrait, 1938
  9. 9. Dorothea Lange, circa 1920s
  10. 10. Dorothea Lange, Dust Bowl Migrant Mother, Nipomo, CA, 1936
  11. 11. Dorothea Lange, Child Living in Oklahoma City Shacktown 1936
  12. 12. Dorothea Lange, Scene along Skid Row Howard Street, 1937
  13. 13. Bob Ross
  14. 14. Vintage Paint-byNumber Painting
  15. 15. Andy Warhol, Do It Yourself, 1962
  16. 16. 100-year old Grandma Moses painting at her farm, 1960
  17. 17. Grandma Moses, 1956
  18. 18. Grandma Moses
  19. 19. Lee Krasner, Birth, 1956
  20. 20. Lee Krasner in her studio
  21. 21. Franz Klein in his studio
  22. 22. Franz Klein, New York, 1953
  23. 23. Willem De Kooning in his studio, 1950s
  24. 24. Willem De Kooning, Woman and Bicycle, 19523
  25. 25. Jackson Pollock in his studio
  26. 26. Winston Churchill plein air painting
  27. 27. Winston Churchill, The Blue Room, 1948
  28. 28. USA, c. 1930, from Thomas Walther Collection
  29. 29. Vintage Double Exposure Snapshot
  30. 30. Vintage Snapshot
  31. 31. “But a deeper issue may be our new equation of art with perfection, an equation hastened by the spread of technology. We now expect flawless recordings by musicians, perfect photographs by artists. We have easy access to all this, which means that, as in so many other aspects of life, we prefer to cede these endeavors to professionals, figuring we can't do them as well, as if something like art is worth doing only if you do it like a professional. Art isn't about perfection. Before cameras, travelers sketched so that they could record what they saw on trips, as souvenirs, in the same way that bourgeois families, in the days before recordings, used to listen to music by making it themselves at home on the piano or singing in the parlor. There was a more intimate connection between the amateur musician or artist and the professional, because amateurs had firsthand experience. What's lost today is not just the accidental masterpiece but also that sense of art not as a remote commodity but as something we all make. “ Interview with Michael Kimmelman
  32. 32. Read: • Chapter 2, “The Art of Being Artless” Respond on Verso: • Reflect on the reading. Respond on Flipgrid: • Find a photograph that is deeply meaningful to you. Share the photo & describe its importance. Bring the photo to class next week to share. Respond on Instagram: #art111happyaccidents • Take 10 photographs this week of moments that you wanted to remember…for their beauty, importance, etc. • DO NOT edit them! Be content with “happy accidents”