Garry Winogrand

This essay will discuss the historical-, philosophical-, and theoretical background of House and Street by Stuart Davis created in 1931. This art is a typical example of the look and feel of the Modern Movement style.

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

For this essay the works of Robert Draper, author of “Why Photos Matter,” and Fred Ritchen, author of “Photography Changes the Way News is Reported,” will be analyzed. Though both deal with the topic of photography, their take on the matter is very different. While Ritchen is a photographer who writes on “what professional photographers will be doing in the future,” Draper is a writer for the National Geographic writing on how the photographers of the magazine share “a hunger for the unknown.” Both writers, however, write on the topic of photographers having a deeper understanding of their subjects, Ritchen due to research and practice, and Draper because the photographers “sit [with] their subjects, just listening to them.” In both essays the need for a deeper understanding of the

The painting of Prof. Felix Walter (Figure 1) made with watercolour on paper on stretcher by Charles Fraser Comfort stands out as an intriguing piece of artwork because of the visual choices C. F. Comfort has produced. I was able to appreciate this work as I had the privilege of attending the Nuit Blanche exhibit at the Winnipeg Art Gallery, Winnipeg on the first of October, 2016 where Prof. Felix Walter was in display at. I found this particular artistry stood out because of its placement in dominance from the other paintings, the use of contrasting styles using the same medium and the bold textures that divulge the prominence of the subject. The artist, C. F. Comfort is worth being aware of because of his exceptional work such as this painting. The composition fashioned by the art gallery should also be duly noted as it took part in making this particular piece stand out.

Life in the slums of New York, particularly that of Harlem during the years when racism was still openly practiced in public, has always interested me. I had a chance to go to museum about Gordon Parks. He was the first black photographer. He Proposed a series of pictures about the gang wars that were harassing post-war Harlem. He believed that he could draw attention to the problem then possibly it would be addressed through social programs or government intervention. Parks gained the trust one of particular gang and their leader, Leonard “Red”, and produced a serious of pictures of them that are artful, emotive, touching, and something shocking. The editors at Life selected twenty-one pictures to reproduce in a graphic, adventurous layout in the magazine, often cropping or increasing details in the pictures. Also, this museum photographic selection is for the writer’s eye program that challenges students and adult writers to use visual art as inspiration for the creation of original poetry and prose. So they didn’t have any information about pictures. Perception and the individual and ethics and perception are best subtopic for Gordon Parker museum. Perception and the individual is very important in daily our life. Individual perception means engage in selective attention and appoint meaning to our perception. Gordon Parker’s photographic was the best example of individual perception. He didn’t want to put

Clarence Hudson White was born a son of a grocery salesman in 1871. Later becoming a bookkeeper for the same company his father worked for, White spent his early life in Newark, Ohio. White had many hobbies from a young ae including reading, painting, and music. It was not until the age of 23 that he began to take up photography as a hobby much to his parent’s disapproval. Later on in his career, Clarence Hudson White would be described as “the one who may be considered the archetypal Pictorialist photographer of the United States” by photo historian Naomi Rosenblum.

For my chosen photographer, I have based my project for ‘In the style’ on Berenice Abbott’s. Abbott work was mainly based in the 1930’s of the urban designs of America, she was best known for her black and white photography as well as her documentation of New York City. She had a great approach to photography in a variety of ways, through her own style of work and through her introduction of other artists including Eugene Atget’s, for his unique photographic techniques. Abbott’s work has not always been based on photography as she focused on Journalism, but soon became interested in theatre and sculpture. She began her career in photography in 1923 as an apprentice to Man Ray. In 1925, she set up her own photography studio in Paris and made several well-known portraits of artists and writers who were popular in this time. Berenice returned to New York City in the time of the Wall Street Crash, which was the largest stock market crash in American history in

One of his most famous, and well-known bodies of work that was very representative of his style of photography was the series of photos known as “Women are beautiful”. His primary concern with the series was to show not only the beauty of women in situations where beauty was expected or common, but also within the average life of independent women of the era, the latter is displayed very well in the photo Bag Lady. This photo contains a women making her way down the street in casual clothing carrying some personal belongings, her intention is not posing, or conveying her beauty, she is simply going through her day to day life, and Garry’s message is to communicate her beauty. The message with the entire body of work is the simplistic message that all women are beautiful whether in formal attire (Centennial Ball), or in casual life (Lots of

Photographs are also manifestations of time and records of experience. Consequently, writings on photographic theory are filled with references to representations of the past. Roland Barthes (1981, 76), for instance,

Mapplethorpe began shooting photographs of his close acquaintances and friends and later shifted his focus to the S&M underground culture. But portraiture is known to be the primary component of his work. 
Here we can see the famous artist Andy Warhol’s apathetic expression captured alluringly, as he leans against the edge of a white wall, with his head turned in a three quarter view facing the camera. He adorns his traditional white straight wig, with loose hairs protruding out in all directions. His black

A great artist once wrote, “If you hear a voice within you say 'you cannot paint,' then by all means paint, and that voice will be silenced”. This artist was Vincent van Gogh, soon to be an appraised artist known all around the world for his works, such as Starry Night. He is one of the very first artists of the post-impressionist style than is now adored in every continent. However, there is much more to the man than one painting. Creating a full timeline that stretches beyond Gogh’s life, this paper will discuss the life of Vincent van Gogh and the impression he made on the world.

Art critic Robert Hughes once said, “People inscribe their histories, beliefs, attitudes, desires and dreams in the images they make.” When discussing the mediums of photography and cinema, this belief of Hughes is not very hard to process and understand. Images, whether they be still or moving, can transform their audiences to places they have either never been before or which they long to return to. Images have been transporting audiences for centuries thanks to both the mediums of photography and cinema and together they gone through many changes and developments. When careful consideration is given to these two mediums, it is acceptable to say that they will forever be intertwined, and that they have been interrelated forms of

"Close all shutters and doors until no light enters the camera except through the lens, and opposite hold a piece of paper, which you move forward and backward until the scene appears in the sharpest detail. There on the paper you will see the whole view as it really is, with its distances, its colours and shadows and motion, the clouds, the water twinkling, the birds flying. By holding the paper steady you can trace the whole perspective with a pen, shade it and delicately colour it from nature."

Henry Peach Robinson, born on July 9th, 1830, was a British photographer and prominent author on photography. Known as “the King of Photographic Picture Making,” he began his life’s work as a painter but would become one of the most influential photographers of the late 19th century. He was a prolific advocate for photography as an art form and is well known for his role in “pictorialism,” which, according to Encyclopedia Britannica, is “an approach to photography that emphasizes beauty of subject matter, tonality, and composition rather than the documentation of reality.”

Whiteley’s works parallels Van Gogh’s in its deliberate use of symbols in his paintings and while Whiteley observed many of the principles of Symbolism, his had its own unique facility of Surrealist attached. This can be appreciated in Night Café (1972) [refer Appendix 3] where Whiteley depicted Van Gogh’s The Night Café (1888) [refer Appendix 1] and distorted the image and took the lines of the room to a vanishing point, idealising Whiteley’s Surrealist style. Whiteley’s use of symbolism in his works is outstandingly illustrated in Whiteley’s Archibald Prize winning self-portrait Art, Life and the Other Thing (1978) [refer Appendix 4] where Whiteley demonstrates the controversy of the Archibald in his representation of the William Dobell’s controversial winning portrait of Joshua Smith (1943) [refer Appendix 5] and John Bloomfield’s disqualification from the Archibald 1975 because of his portrait that was deemed to be painted from a picture of Tim Burstall. Whiteley represents these two controversies in his triptych self-portrait containing a photograph of how he looks in real life, a mixed media self-portrait, and a depiction of a baboon symbolising the metaphorical “monkey on his back”. Whitely once said “the fundamental reason one paints is in order to see”, describing how he thinks that his art is a method granting means of communication to his audience.