The Dream World of Jerry Uelsmann Essay

Growing up near a city filled with museums, I was lucky enough to be exposed to amazing works of art. My visits to the Frick Collection, housed in one of the only remaining Gilded Age mansions in New York, have clearly been my favorite throughout the years. In that special ambiance, I discovered the glowing and extraordinarily clear tranquil paintings of Johannes Vermeer. I was drawn to the three Vermeer masterpieces in the permanent exhibit. The personal qualities of both the mansion and the paintings captured my fascination and I returned frequently. With extraordinary clarity, Vermeer was able to capture objects precisely through light and space. At first I wasn’t sure why his paintings appeared so different from the other works of his time, but I soon realized they were infused with light and

Some people refer to Alfred as the father of photojournalism because his photos were good. One could observe classical balances, sharp inequalities of light and shadow, and dominant vectors of confining and expansion, as in the active movement up the street into the space and light of Times Square. Those are the artistic illusions that the photojournalists emulate up to date and will continue into the future (Clpgh.org, 2015).

Meanwhile, photography as a commodity in the industrial world at that time, its status in galleries and museums is determined by the price it sells, which means the higher the price is, the higher position it stands. This situation increases the gap between this photography and another type of photography, which works simply for exposing abuses caused by jobs, races, sex, social classes and etc. that people are unfamiliar to accept and consume.

Alfred Stieglitz was an American Photographer who was the pioneer of the Modern Art movement in photography. Stieglitz career began with his work of cityscapes and more than 20 years later evolved into a specific style of portraiture. He worked mostly in New York City between the years of 1905 and 1946. Stieglitz founded the Photo-Secession which was a progressive movement towards advancing the creative and unique possibilities of the fine art of photography. This movement spearheaded what is now known as Pictorial photography. Without Stieglitz’s determination and drive this type of unconventional work may have never been introduced into the Modern Art world of photography.

Ms. Arturi studied photography and humanities at York University, eventually transferring to Ryerson’s four year arts program. Her earlier works feature fashion photography and documentaries. However, because photography has greatly evolved

Jerry Uelsmann's work has been exhibited in more than one hundred solo shows world wide. In 1962, he helped found the Society of Photographic Education. He received the Guggenheim Fellowship in 1967 that recognized his “multiple imaging techniques”. Soon after, he gained wide coverage in art magazines in both the United States and Europe. Uelsmann has also received the National Endowment for the Arts Fellowship in photography in 1972. He is a founding member of the American Society for Photographic Education and a Fellow of the Royal Photographic Society of Great

Uelsmann's work the “Apocalypse II” is much different than that of “Rider of the Apocalypse.” Jerry N. Uelsmann is an American photographer best known for his ability to process such bizarre, layered images using a stop bath. All of this happens without exposure to light. Uelsmann’s was using advanced and tedious darkroom techniques. Before he became famous for his developments, Uelsmann had been a teacher at the University of Florida for 35 years.

I have selected the artworks of Rocio Graham, a contemporary Calgary-based photographer, and Hans Bellmer, a mid-20th-century German photographer. Specifically, Graham’s series When I Think of Home, of her home-garden, and Bellmer’s photograph La Poupée, or doll (Marien, 2015, 253). While similar in producing still life, they differ stylistically in tone, exposure and composition.

The work of David LaChapelle can be seen everywhere you turn, be it on a magazine rack, album cover, advertisement, or even a music video. Dubbed the "New Surrealist", LaChapelle's vivid, colorful, bizarre, and humorous images have been admired by millions and have made him one of the most famous photographers alive today.

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

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.”

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,

In the late 1950s, Rauschenberg began to make the groundbreaking works he dubbed Combines. These works inspired Leo Steinberg’s theorization of the “flatbed picture plane.” This term was posited in his essay “Reflections on the State of Criticism.” The essay’s first manifestation was as a lecture given at the Museum of Modern Art in March 1968, and was subsequently published in Artforum in 1972. Notably, it was also the title essay in Steinberg’s book Other Criteria: Confrontation with Twentieth-Century Art, of 1972. Steinberg’s notion of the flatbed picture plane has several facets. This picture plane relies on the actual flatness of the painting’s surface, the horizontality of the work’s construction and reception, an interaction between

Discuss how your understanding of change has been developed by your prescribed and related texts.

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