34. Matthew Ritchie, Eschaton , 2002, Vinyl decal on wall, approx. 38x72 feet
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36. Vik Muniz, Cathedral de Leon , from the series, “Pictures of Chocolate”, 2003, Cibachrome Photograph, 40x30” Vik Muniz, from the series “Pictures of Earthworks”, 2002, Toned Gelatin Silver Print, 40x50”
43. Encaustic Fayum (or Fayoum) mummy portrait of a young woman with a gilded wreat, Encaustic on wood Ancient Egypt, Roman Period A.D. 120-140
44. Detail of Fayum Portrait of a young man, Encaustic on Wood, 220-250 AD
45. JASPER JOHNS, Flag, 1954–1955, dated on reverse 1954. Encaustic, oil, and collage on fabric mounted on plywood, 3’ 6 1/4” x 5’ 5/8”. Museum of Modern Art, New York
47. Tony Scherman, Kurt C, series: The Junkies , encaustic on canvas , 60" x 72" , 2007-08
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49. Fowling scene, from the tomb of Nebamun, Thebes, Egypt, Dynasty XVIII, ca. 1400–1350 BCE. Fresco on dry plaster, approx. 2’ 8” high. British Museum, London.
50. LEONARDO DA VINCI, Last Supper (uncleaned), ca. 1495–1498. Fresco (oil and tempera on plaster), 29’ 10” x 13’ 9”. Refectory, Santa Maria delle Grazie, Milan.
51. Interior of the Sistine Chapel (view facing east), Vatican City, Rome, Italy, built 1473.
55. DIEGO RIVERA, Ancient Mexico, from the History of Mexico fresco murals, National Palace, Mexico City, 1929–1935. Fresco.
56. GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood, 10’ 8” x 6’ 8”. Galleria degli Uffizi, Florence.
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61. John Singer Sargent, Claude Monet Painting in a Garden Near Giverny , 1885, Oil on canvas 21 1/4 x 25 1/2 in.
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66. JACKSON POLLOCK, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and aluminum paint on canvas, 7’ 3” x 9’ 10”. National Gallery of Art, Washington
75. DONALD JUDD, Untitled, 1969. Brass and colored fluorescent plexiglass on steel brackets, ten units, 6 1/8” x 2’ x 2’ 3” each, with 60 intervals. Donald Judd "Nimetu" 1968
98. ALBRECHT DÜRER, The Fall of Man (Adam and Eve), 1504. Engraving, approx. 9 7/8” x 7 5/8”. Museum of Fine Arts, Boston
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100. REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca. 1649. Etching, approx. 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.
101. FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2” x 6”. Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).
112. Jasper Johns Two Maps II , 1966 Lithograph printed on white Japan paper, laid down on black Fabriano paper 25 3/8 x 20 1/4 inches Signed, dated, annotated and numbered in white crayon Edition 30
113. Andy Warhol, "Green Car Crash (Green Car Burning 1)" 1963, synthetic polymer, silkscreen ink and acrylic on linen
114. Andy Warhol Orange Disaster , 1963 silkscreen 30 1/6" x 30 1/8"
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116. “ The photograph was the ultimate response to a social and cultural appetite for a more accurate and real-looking representation of reality, a need that had its origins in the Rennaisance” - Naomi Rosenblum, A World History of Photography
125. In January 1839, Daguerre announced the invention of the Daguerreotype , a type of photograph which was laterally reversed and monochromatic printed onto a metal plate. The Daguerreotype
134. Tintypes - a very underexposed image is produced on a collodion photographic emulsion on a dark metal backing; thus viewed the image appears as a positive.
135. Around the same time as the invention of the Daguerreotype, an English scientist called William Henry Fox Talbot developed the Calotype . The Calotype could be reproduced as a negative as opposed to being a single, unduplicatable image. Competition Antoine Claudet Portrait of William Henry Fox Talbot 1844
136. Talbot’s initial photographic experiments involved producing photograms or, what he referred to as ‘Photogenic Drawings’. Talbot’s Photogenic Drawings William Henry Fox Talbot Botanical Specimen 1839 William Henry Fox Talbot Latticed Window at Lacock Abbey 1835
141. EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print. George Eastman House, Rochester, New York.
142. EUGÈNE DURIEU and EUGÈNE DELACROIX, Draped Model (back view), ca. 1854. Albumen print, 7 5/ 16” x 5 1/8”. J. Paul Getty Museum, Los Angeles.
143. JULIA MARGARET CAMERON, Ophelia, Study no. 2, 1867. Albumen print, 1' 11" x 10 2/3". George Eastman House, Rochester, New York.
144. TIMOTHY O’SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania, July 1863. Negative by Timothy O’Sullivan. Original print by ALEXANDER GARDNER, 6 3/8" x 8 3/4". The New York Public Library
145. “ Art is not so much a matter of methods and processes as it is an affair of temperament, of taste and of sentiment... In the hands of the artist, the photograph becomes a work of art... In a word, photography is what the photographer makes it - an art or a trade.” (William Howe Downes, 1900. A World History of Photography, Naomi Rosenblum, 1997)
153. Dorthea Lange - Farm Security Administration (FSA) - 1935-1944
154. "We must never forget that art is not a form of propaganda; it is a form of truth." Amherst College, 10/26/63
155. Documentary photography records the social scene of our time. It mirrors the present and documents [it] for the future. Its focus is man in his relation to mankind. It records his customs at work, at war, at play….It portrays his institutions….It shows not merely their facades, but seeks to reveal the manner in which they function, absorb life, hold the loyalty, and influence the behavior of human beings.” – Dorthea Lange
166. Internet and Conceptual Art Mike Parr's Aussie, Aussie, Aussie, Oi, Oi, Oi , 2003. “ democratic torture”
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169. Warrior Vase, from Mycenae, Greece, ca. 1200 BCE. Approx. 1’ 4” high. National Archaeological Museum, Athens.
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173. Rachel Whitread, House, 1993. Whiteread sprayed concrete on the inside of all the walls of a Victorian era house in a block that was to be torn down to make space for a public park. The walls were then removed, leaving just the shell of the house, or the shell of the negative space formerly created by the walls.
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175. Marc Quinn Self 82" by 25" by 25" blood/stainless steel, Perspex, refrigeration equipment 1991
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177. “Good art is an object or a situation that allows you to feel or think something new.” - Marc Quinn
187. GIOVANNI PISANO, The Annunciation and the Nativity, detail of the pulpit of Sant’Andrea, Pistoia, Italy, 1297–1301. Marble relief, approx. 2’ 10” x 3’ 4”.
203. Downscaled and Overthrown«, 2008 by Shahryar Nashat. "Public Figures" 1998-1999 Installation view at Metrotech Center Commons, Brooklyn, New York Fiberglass/resin, steel pipes, pipe fittings, 10 x 7 x 9 feet
206. Do-Ho Suh"Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home“, 1999, Silk, 149 x 240 x 240 inches
207. RICHARD SERRA, Tilted Arc, 1981. Cor-Ten steel, 12’ x 120’ x 2 1/2”. Installed Federal Plaza, New York City by the General Services Administration, Washington D.C. Removed by the U.S. Government 1989.
Camera Obscura Image of the Empire State Building in Bedroom, 1994
Camera Obscura Image of Times Square in Hotel Room, 1997
He created the first permanent photograph, of a pigeon house and barn as seen from his window, in the summer of 1826. [1] The photograph was made using a camera obscura and a sheet of pewter coated with bitumen of Judea, an asphalt that when exposed to light, hardened permanently. This first photograph was captured during an eight hour exposure, taking so much time that the sun passed overhead, illuminating both sides of the courtyard.
Exposure times were several minutes making the streets seem deserted because everyone walking and riding by in carriages were moving to fast to register on the film.
This photograph is famous because this man stopped to have his boots polished and is the only person to clearly be recorded during this exposure.
He wrote “I have a photographic gun which has nothing murdurous about it, and which takes a picture of a bird flying or an animal running in less than 1/500th of a second. I do not know whether you can imagine such a speed, but it is something surprising.” The gun took 12 images a second. It had a lens in the barrel and a cylindrical breech within which was a sensitive plate which revolved when the trigger was pressed. The rotating plate was treated with gelatin silver bromide emulsion and stopped 12 times behind the lens while the shutter let in light for 1/720th of a second.
Overview of lecture: Photography and the ‘avant garde’ become linked. Photographers begin to reject the world as a subject and see the literal act of recording as limited.