Reading Questions week 11
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Feb 20, 2024
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1.Which of the following were important institutions for an expanding dialogue about
contemporary photography in the 1970s.
A. Visual Studies Workshop
B. Rochester Institute of Technology
C. George Eastman House
D. all of these
2. Over the course of the 1970s, many photographers questioned the dominance of modernist
ideas about photography championed by curators such as John Swarkowski.
True
False
3. In his
Caulked Reconstructions
, Thomas Barrow interrogated the status of the photographic
image by:
Thomas Barrow,
Caulked Construction -- Teepees
, 1979
A. capturing the "decisive moment"
B. submitting the image to layers of manipulation
C. emphasizing the spontaneous snap-shot aesthetic
D. expressing the image's ability to communicate essential truths of the human experience
4. Anticipating the advent of digital art, William Larson's
Firefly
series used what technology to
produce his collage images?
William Larson,
Transmission 0035
, 1974, electro-carbon print
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William Larson,
Untitled (Fireflies
series), 1973, electro-carbon print
A. the IBM personal computer
B. the Graphic Sciences Teleprinter
C. the Polaroid SX-70
D. the Kodak Apple
5. While using different methods, both Kenneth Josephson and Joseph Jachna seek to achieve
which of the following effects in their images?
Kenneth Josephson,
Postcard Visit, Buffalo
, 1970, color postcard collage
Joseph Jachna,
Door County, Night
, 1970
A. question the assumed stability and transparency of photographic representation
B. document the uprooting of traditional American values
C. depict transcendental landscapes
D. all of these
6. The artists below use _________________ to question the dominance of the single,
all-inclusive, straight gelatin print aesthetic.
Robert Flick,
SV#035/81, Near Live Oak I, Joshua Tree National Monument, CA
, 1981
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Barbara Crane,
Tar Findings
, 1975
A. landscape
B. performance
C. serial repetition
D. photomontage
7. Ralph Eugene Meatyard's photographs of friends and family members were widely distributed
in
Life
magazine.
Ralph Eugene Meatyard,
Romance from Ambrose Bierce, No. 3
, 1962
Ralph Eugene Meatyard,
Lucybelle Crater and 45 yr old husband’s photo-Bell friend’s sonshine,
Lucybelle Crater
, 1970-72
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Ralph Eugene Meatyard,
Untitled
, 1970-72
True
False
8. Larry Clark's 1971 book
Tulsa
explored:
Larry Clark,
Untitled
, 1971
Larry Clark,
Untitled
, 1971
Larry Clark,
Untitled
, 1963
A. the idealism of the 1960s counter culture
B. the romanticism of the American West
C. the underside of working-class middle America
D. All of these
9.
New Topographics: Photographs of a Man-altered Landscape
, (1975) brought together
photographers interested in:
A. a deadpan, document-based aesthetic
B. rejecting the sublime and idealized landscape tradition
C. human constructions within the natural environment
D. all of these
10. The artists involved with the Rephotographic Survey Project (RSP) depicted:
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A. the people and places of Tulsa, OK
B. untouched natural splendor
C. the sites of nineteenth century topographical survey photographs
D. all of these
11. Though generally considered unsuitable to modern art photography throughout the 1940s
-60s, John Szarkowski's 1976 exhibition of _____________ introduced the snapshot aesthetic of
vernacular color photography to a fine art context.
A. Robert Adams
B. Larry Clark
C. William Eggleston
D. Walker Evans
12. Stephen Shore used color photography to further explore the deadpan landscape approach of
______________
Stephen Shore,
Beverly Boulevard and La Brea Avenue, Los Angeles, CA
, 1975
Stephen Shore,
Fifth Street and Broadway, Eureka, California, September 2, 1974
Stephen Shore,
West 9th Avenue, Amarillo, Texas, October 2, 1974
A. New Topographics
B. the Decisive Moment
C. Social Documentary
D. Photomontage
13. One in a number of federal programs in President Lyndon B. Johnson's Great Society
initiative, the establishment of the __________________ created new funding opportunities for
photographers in the late 1960s and 1970s.
A. New Topographical Survey
B. Social Landscape
C.New Deal
D. National Endowment for the Arts
14. What factors further established the legitimacy of photography as a fine art form in the
1970s?
A. the founding of commercial and non-profit photography galleries
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B. platforms for critical writing and reviews about photography
C. the establishment of graduate programs in photography at U.S. universities
D. all of these
15. In his exhibition statement for
New Topographics
curator William Jenkins makes the
following arguments:
A. the photographers in this exhibition make no reference to photography's history
B. the photographers in the exhibition communicate their subjective emotional responses to the
built environment
C. the photographers in the exhibition attempt to negate personal style and instead present
descriptive documents
D. all of these
16-20. Using
4
citations from the Jonathan Green's chapters about 1970s American Landscape
photography, please write a comparative analysis of
two
photographs produced by New
Topographics artists (between 350-500 words). Your analysis should include specific reference
to issues such as subject matter, composition, color/tone, relationship between artists and subject
matter, relationship between artist and the longer history of photography.
Brookline
by Nicholas Nixon captures a serene suburban scene in a striking black-and-white
photograph. Nixon's meticulous composition and attention to detail create a sense of intimacy
and familiarity. The image portrays a quiet residential neighborhood, evoking a sense of
nostalgia and the passage of time. The play of light and shadow adds depth to the image,
emphasizing the beauty of the ordinary. Jonathan Green in “The New American Frontier” says "I
hope that these photographs are sterile, that there's no emotional content." The quote by Lewis
Baltz, expressing a desire for sterile and emotionless photographs, reflects the objective and
detached approach that photographers like Nicholas Nixon might have adopted in their work.
Brookline
could be seen as an example of this approach, focusing on capturing the landscape
devoid of emotional content. Green also goes on to say "In the work of the two major
photographers of the new American frontier, Baltz and Robert Adams, art, nature, and industrial
form become inextricably tangled."
Brookline
by Nicholas Nixon is a part of the new topography
movement, which aimed to depict the interaction between urbanization and nature. This quote
highlights the idea that art, nature, and industrial form are interwoven in the photographs, just as
they are in
Brookline
.
Pikes Peak, Colorado Springs
by Robert Adams presents a dramatic landscape photograph.
Adams' image features a vast mountainous terrain under a dynamic sky. His use of a muted color
palette and precise framing conveys a sense of the grandeur and power of nature. It evokes a
feeling of awe and contemplation, reminding viewers of the sublime beauty of the natural world.
Jonathan Green in “The New American Frontier” says "Robert Adams was 'determined,
moreover, to stay clear of the mountains. I distrusted the late Victorian passion for mountaintop
vistas.'" In
Pikes Peak, Colorado Springs
by Robert Adams, he adheres to his idea to avoid the
traditional picturesque representation of mountains and mountaintop vistas. This image and his
intent align with his skepticism of the emotionalism and sentimental scenes associated with these
landscapes. Instead, Adams' work focuses on the more understated and objective depiction of the
American landscape. Green also says "The presence of the landscape in the man-made is most
apparent in buildings photographed absolutely head on. Here unfinished swatches of paint and
plaster become mountain ranges, and stuccoed facades take on the tonality of deep space against
which grillwork and ladders become delicate natural forms."
Pikes Peak, Colorado Springs
by
Robert Adams: Robert Adams, in his photograph
Pikes Peak, Colorado Springs
, captures the
essence of this quote by transforming man-made structures and architectural elements into
representations of the natural landscape. The photograph exemplifies how buildings and their
forms can take on characteristics of the natural world, much like what is described in the quote.
This week’s image is inspired by the Luminism style of photography also referred to as “the
coming of age of color” by Jonathan Green in “New American Luminism.” This movement is
distinguished by the combination of elements like realism, idealism, color harmony, and
luminosity. It is also described as a combination of aspects of classic view photography,
small-camera street photography, snapshot photography, mid-nineteenth-century landscape
painting, and twentieth-century color-field painting. Out of these influences was born a style of
photography that was highly decorative and strayed from reality. This week’s photograph is a
picture I took in the Sarasota Art Museum. It features the work of artist Christian Sampson. I
think this artist has a very contemporary approach to many of the concepts of the Luminism style
with its themes of color and highlighting/luminating architecture that is already there.