Photography Cannot Record Abstract Ideas
Photography Cannot Record Abstract Ideas (Title of a 16x20 inch photograph depicting an index card on which that phrase is handwritten.) Mel Bochner Favorite Report ← Prev Mel Bochner Quotes Next Courtesy of the Artist and Fraenkel Gallery, San Francisco. While painting slowly lost its preeminent position in modern art, language moved from talking about art to becoming part of art itself. But Surface Dis/Tension and the Smear series (1968) inevitably yield their own topographical pretense—they’re still simply photographs.
Must an abstract idea be reducible to a single verbal formula (“photography cannot record an abstract idea”), or can it be a distinctive and complex representation of thought? graficzny Photography cannot record abstract ideas.-Encyclopaedia BritannicaMel Bochner, Photograph Before the Age of Mechanical Reproduction, 2011. In response to this ‘snapshot’ culture, many artists are returning to the study of photography’s underlying properties to combat digital image fatigue. The tracing of this lineage, made evident through historical juxtapositions, will overlay a contemporary lens with which to interpret our modern predecessors and bring new attention and scholarship to the museum’s http://julialampam.tumblr.com/post/34049868800/photography-cannot-record-abstract-ideas
History Of Abstract Photography
It was almost impossible to get an art dealer to look at, let alone exhibit, anything photographic. ©2016quoteman subscribetoquotesoftheweek ArtistsStudioFeatured WorksNewsContactSilkscreensMonoprintsEtchingsArchiveView AllofInquire about this workMel Bochner Mel Bochner [born 1940] is Each is an irregular triangular shape, resembling paper wrapped around a bouquet, and shows a differently crumpled grid in orange, violet or yellow. Print Print Reviews Mar. 09, 2012 Mel Bochner by Will Heinrich Find this article online:www.artinamericamagazine.com/reviews/mel-bochner/ Mel Bochner’s Misunderstandings (A Theory of Photography), 1967–70, comprises nine photo-offset prints reproducing nine index cards Photography can’t precede the age of mechanical reproduction, because it is itself a process of mechanical reproduction; but on the other hand, these aren’t just photographs—they’re a conceptual piece that makes
Photographs and Not Photographs is on view at Fraenkel Gallery, in San Francisco, through October 30, 2010. I’d watched Bochner and his assistants re-create No Thought Exists… (1970/2009) for a site-specific installation in the museum’s fifth-floor exhibition, Between Art and Life. Some of the more heavily manipulated photographs are in themselves a view of the abstraction of grid systems, perspective, and beauty; some are at odds with the simpler works that are Appropriately, Bochner’s body’s means of production—an arm is my best guess—remains as a trace in blue powder pigment, carrying enough poetic weight to exist solitarily in my mind for a few
Photograph a grid of tape on a tabletop in single-point perspective, peel off and shrink the emulsion, rephotograph, make a positive and nega- tive from the emulsion and superimpose the two, Surface Dis/Tension, 1968; silhouetted C-print mounted on aluminum. By intermixing works from deCordova’s collection by Gyorgy Kepes, Harold Edgerton, and Aaron Siskind from the 1930s-1950s, with works by photographers practicing today including Eileen Quinlan, Arthur Ou, and Yamini Nayar, http://barbarakasten.net/second-nature-abstract-photography-then-and-now/ In this case, crumpling in general and crumpling in particular are concurrent.
Thedescriptively banal Blah, Blah, Blah (2010) similarly makes me wonder: is an idea intensified in repetition or reduced to nonsense? England Photo Study Space, the Media Gallery, and in the second floor arcade gallery. The aluminum mounting itself is also sliced into a grid, four sections by four, so that the sharp white of the gallery wall and the shadows cast by the support interact The resulting work pictures the same “idea” against the freckles and craters of an imperfectly plastered wall six separate times, in six distinct colors: a pale, lunar gray; an ashier gray;
A wall painting mounted at SFMOMA last summer during the artist’s brief residency sticks with me as I take in this new exhibition. http://graficzny.com/post/59678998060 The exhibition will also feature artists working in film and video, ranging from avant-garde experimental filmmakers from the 1950s to today. History Of Abstract Photography First, how might language—or thought alone—exist as a work of art? Aaron Siskind Verfasser: Dobbe, Martina Format: Aufsatz Sprache: Deutsch Veröffentlicht: 2013 In: Fotogeschichte Jahrgang: 33(2013)129 Seiten: 5-16 Tags: Tag hinzufügen Keine Tags, Fügen Sie den ersten Tag hinzu!
In his essay on the history of photography, Walter Benjamin articulates photography’s second nature as its inherent ability to detach and abstract the visible from the real. Burroughs Larry Burrows Nancy Burson George W. Their flatness creates a tense dialogue with the tenets of painting that Bochner perpetually tries to evoke. He examines the quantifiable and quantifying systems of the visual world, reflecting the institutionalized qualities of his subjects—often to uncanny effect.
There is a pervasive sense that by bracketing the boundaries of these bodies of thought, one may indeed uncover glimpses of totality in the systems presented. Artists under consideration include: Anthony Pearson, Arthur Ou, Eileen Quinlan, Hugh Scott-Douglas, Yamini Nayar, Barbara Kasten, Isaac Layman, Alejandra Laviada, Meggan Gould, Luke Stettner, Mel Bochner, Jennifer West, Sara VanDerBeek, Stan This exhibition is not intended to be a survey of abstract photography, but rather a focused study of art being made today that revisits and continues some of the themes and or simply: Create account Have an account?
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Quotes › Authors › M I think of Misunderstandings (A Theory of Photography) (1970) as a framework for this exhibition; gathered neatly under glass are a number of note cards, each containing a key quote from The author didn't say that There is a mistake in the text of this quote The quote belongs to another author Other error Comments: Email for contact (not necessary): Authors Topics
In 1967 there was no place for photography in a contemporary art gallery.
Barthes would agree that Bochner’s photography is still “tormented by the ghost of painting.”1 Smudge,1968; blue chalk. Since the rise of digital photography in the 1990s there has been a reactionary and renewed interest among artists to return to the "slow" techniques of analog photography. Taking up Walter Benjamin’s critical essay, “Art in the age of mechanical reproduction” that discussed the destruction of any “authentic” or “original” artwork by modernity, Bochner’s hand printed multiples sardonically question Sign up Full Name: E-mail: Password: or simply: Find Your Account E-mail: MenuHomeArchiveInformation Gladly Given, But Safety Requires Avoiding Unnecessary Conversation.
Thank you. The exhibition also includes more recent works, such as a clownishly bright painting called No (2010), which features absurdly bubbly letters spelling out various words of rejection on an equally garish, Freed from its duty to represent, abstract photography continues to be a catchall genre for the blending of mediums and disciplines. This—along with the disproving of certain notions regarding photography’s inability to record abstract ideas—is the central theme of Bochner’s body of work in this exhibition.
Second Nature looks at this embrace of the highly fabricated image as a return to an earlier time in photography’s history. Today, anyone who has a cell phone can take and send digital images instantaneously. The grid—a device that renders our physical world into stark distances, vanishing points, and mathematics—is no longer hidden within a picture plane, but is made visible as a recurring theme. Barbara Kasten Second Nature: Abstract Photography Then and Now “It is another nature which speaks to the camera rather than to the eye” - Walter Benjamin, Little History of Photography (1929)
In the 1960s Bochner began to take notes on the “misunderstandings” of photography through literature, writing particularly telling quotes on 3 x 5 notecards. Recognized as one of Conceptual art’s pioneers, Bochner was one of the first artists to make written language the basis of his work. Bochner’s most compelling subjects remain the classical conventions of painting and drawing: measuring, support, perspective, and reproduction. Minimal Theme designed by Artur Kim.
Photographs and Not Photographs covers a wide range of materials and a number of periods of Bochner’s career, mainly the late 1960s and early ’70s, when he came to prominence alongside Studio still-lifes by Eileen Quinlan and Yamini Nayar will be seen alongside Kepes’s constructivist photograms, exposure studies by Sharon Harper and Bryan Graf will be paired with Edgerton’s stroboscopic experiments, while He’s interested in making visible the infinitely questionable means of measuring—and therefore believing in—the world around us. Bochner is just one among many artists working then and now, who have made the questioning of photography - its mechanical roots and potentiality to transcend the pictorial - the heart
Artists are finding their way back into the darkroom, working in low-tech and labor intensive processes that include camera-less photograms, solarized printing, and chemical cyanotypes. It is an arena to test photography. This emphasis on photographic process as subject – photography about photography – foregrounds the debate on the medium’s tie to representation. Bochner has consistently probed the conventions of both painting and of language, the way we construct and understand them, and the way they relate to one another to make us more
In their return to the early days of photography, many contemporary photographers build from the same lines of inquiry that absorbed scientists and artists in the early part of the 20th Ballard Roger Ballen James Balog Dmitri Baltermants Lewis Baltz Honoré de Balzac Tallulah Bankhead Olivo Barbieri Brigitte Bardot Matthew Barney Tina Barney Uta Barth Roland Barthes Lillian Bassman George Bataille Geoffrey In a return to his 50-year-old “misunderstandings” project, Bochner circles back to his initial investigations of photography and linguistics, revisiting photography’s capacity to communicate. Emerging at a time when painting was increasingly discussed as outmoded, Bochner became part of a new generation of artists which also included Eva Hesse, Donald Judd, and Robert Smithson -
He observes and quantifies the physical frameworks with which an artist may find himself in dialogue—the canvas, an institution, and the culture at large. Mel Bochner’s Photography Before the Age of Mechanical Reproduction (2011) illustrates this conceptual repositioning.