In January I visited the Denver Art Museum. I consider this museum to be exceptional in many ways: the permanent collections are wonderful, the temporary exhibits are always thought provoking, and the architecture always blows me away.
First, I want to comment on the architecture of the museum. The Hamilton building is reminiscent of the Rocky Mountains, with its sharp lines, peak-like angles, and dramatic inclines. The building doesn't seem to have any right angles which makes it eye-catching from a distance and a bit disorienting when you are inside of the building. The building is paneled in titanium, so it reflects the abundant Colorado sunshine. The North Building is completely different and thus offers a surprising juxtaposition. The North Building is castle-like and stands upright, as opposed to the Hamilton building which creates angles that are not normally seen in architecture. The North Building is a bit ominous, and the window-like rectangles make me imagine prisoners looking out over Denver.
My favorite permanent collection is the collection of Western American art. I have always loved landscapes and landscapes are one of the primary subjects of painters who captured the West. I love the geometry of the mesas because they seem so out of place, jutting straight out and up from otherwise flat land. Western art has always been one of my favorite genres because of the beautiful colors used to depict the land. Here, artists can use a variety of purples, blues, and greens that are not often seen in other landscapes. I especially like the way hills are painted because the shades of color deepen as the hills reach farther into the distance. I think that this method for achieving depth is genius and really captures the expansive beauty of open landscape. I think this is my favorite permanent collection because I love Colorado so much. I grew up in a place that lacks this type of natural beauty, but have experienced the awesomeness of Colorado every summer in Snowmass. Thus, these paintings of the great American West really speak to why I am here and why I love Colorado, so they spark some deep feelings for me.
The photography section of the Denver Art Museum was especially interesting to me during my visit because of the photography class I am enrolled in. I must preface this by giving some personal background. My father was a free-lance photographer while I was young and continued to be interested in photography after changing his career path. He took tons of pictures of my family and I am interested to see them now that I have a deeper understanding of his craft. He always took us to go see photography exhibits in Houston and I always found them to be quite boring. I didn't understand why pictures of ordinary things were framed and displayed on the walls of various galleries. Now that I understand the care that is taken in developing film and creating prints I have a deeper appreciation of photography. When looking at the photographs in the Denver Art Museum I was able to understand how the various photographers manipulated lighting, shutter speed, and development processes to create unique and interesting images. I particularly enjoyed looking at a room of black and white photographs because I was able to appreciate contrast. When looking at black and white photographs I now understand that the photographer carefully constructed the final product, making individual choices that impact contrast or lack thereof. I find these choices regarding contrast to be quite interesting because it provides a window into the mind of the artist. The final product portrays what the artist found interesting and how they thought the image was best presented, therefore leaving room for the audience to interpret why these choices were made and why this moment in time is meaningful.
In total, my experience at the Denver Art Museum was very interesting and entertaining. With my new respect for photography I was able to appreciate the medium more fully. I'm looking forward to my next visit.
Sunday, March 6, 2011
Annie Leibovitz
I missed the DVD about Annie Leibovitz so instead I did some research and found some photos.
Annie Leibovitz is the world's most celebrated celebrity portrait photographer. Her work with Rolling Stone and Vanity Fair revolutionized the world of celebrity portraits and created a whirlwind of controversy.
Annie was born in the American northeast to Jewish parents. Her family had immigrated from Russia and Romania. Though later in life she did not practice her religion, she always felt tied to her Jewish heritage. It is said that she learned to apply Jewish concepts to her photographs.
Annie was interested in art from a young age and attended the San Francisco Art Institute, originally for painting. She later began taking photography classes at night and her love for photography blossomed quickly.
After a brief stint in Israel, Annie returned to the United States in 1970. She applied for a staff photographer position at an up-and-coming magazine called Rolling Stone, which would later be perhaps the most influential music magazine in American history. Annie's portfolio was impressive, so she was given her first assignment: photograph John Lennon. Her portraits of the star were so profound that her work graced the cover of Rolling Stone.
After only two years as a staff photographer at Rolling Stone, Annie was promoted to chief photographer in 1973. She held this title for an impressive 10 years. During her time at Rolling Stone she honed her skills in both black & white photography and color photography. She developed her own style and her work stood out due to her use of bold primary colors, interesting poses, and her ability to develop a sense of intimacy with the subject.
In 1975 she served as the concert-tour photographer for the Rolling Stones' Tour of the Americas. During this tour she took a number of iconic black & white photographs that are still popular to this day. Her favorite from this series was a photo of Mick Jagger in an elevator.
In 1980, Annie was assigned to shoot John Lennon once again. Lennon insisted that his wife, Yoko, be included in his covershoot. Though she initially wanted to shoot them both naked, Yoko offered only to be topless, so Annie chose to keep Yoko fully clothed. The most memorable photograph from this photoshoot is the iconic image of John Lennon, fully nude, curled around a fully clothed Yoko. This photograph exudes the intimacy of their relationship and implies a complicated relationship. The portrait is a perfect example of how a picture is worth a thousand words. John Lennon was shot and killed only five hours after the photoshoot, making Annie Leibovitz the last person to professionally capture one of the world's most beloved pop stars.
After her stint at Rolling Stone Annie began to work for Vanity Fair where she continued intimately capturing celebrities. Her staged photographs of stars both shocked and pleased the public; simultaneously sparking controversy and stirring interest. This decade, Annie shook up the public by photographing Miley Cyrus, a teen popstar, topless with her back turned to the camera. People were outraged, but this portrait was characteristic of Annie's style: surprising, bold, and intimate.
Annie's personal life is similarly controversial. She was romantically involved with a female novelist named Susan Sontag for more than 10 years. Additionally, she was said to be heavily involved in drugs and alcohol at one point. These facts don't surprise me because life often reflects art and vice versa. Most influential geniuses live outside of the box, experiment with consciousness, and live deviant lifestyles. Maybe they have it all figured out.
Here are some of Annie Leibovitz's amazing portraits:
Annie Leibovitz is the world's most celebrated celebrity portrait photographer. Her work with Rolling Stone and Vanity Fair revolutionized the world of celebrity portraits and created a whirlwind of controversy.
Annie was born in the American northeast to Jewish parents. Her family had immigrated from Russia and Romania. Though later in life she did not practice her religion, she always felt tied to her Jewish heritage. It is said that she learned to apply Jewish concepts to her photographs.
Annie was interested in art from a young age and attended the San Francisco Art Institute, originally for painting. She later began taking photography classes at night and her love for photography blossomed quickly.
After a brief stint in Israel, Annie returned to the United States in 1970. She applied for a staff photographer position at an up-and-coming magazine called Rolling Stone, which would later be perhaps the most influential music magazine in American history. Annie's portfolio was impressive, so she was given her first assignment: photograph John Lennon. Her portraits of the star were so profound that her work graced the cover of Rolling Stone.
After only two years as a staff photographer at Rolling Stone, Annie was promoted to chief photographer in 1973. She held this title for an impressive 10 years. During her time at Rolling Stone she honed her skills in both black & white photography and color photography. She developed her own style and her work stood out due to her use of bold primary colors, interesting poses, and her ability to develop a sense of intimacy with the subject.
In 1975 she served as the concert-tour photographer for the Rolling Stones' Tour of the Americas. During this tour she took a number of iconic black & white photographs that are still popular to this day. Her favorite from this series was a photo of Mick Jagger in an elevator.
In 1980, Annie was assigned to shoot John Lennon once again. Lennon insisted that his wife, Yoko, be included in his covershoot. Though she initially wanted to shoot them both naked, Yoko offered only to be topless, so Annie chose to keep Yoko fully clothed. The most memorable photograph from this photoshoot is the iconic image of John Lennon, fully nude, curled around a fully clothed Yoko. This photograph exudes the intimacy of their relationship and implies a complicated relationship. The portrait is a perfect example of how a picture is worth a thousand words. John Lennon was shot and killed only five hours after the photoshoot, making Annie Leibovitz the last person to professionally capture one of the world's most beloved pop stars.
After her stint at Rolling Stone Annie began to work for Vanity Fair where she continued intimately capturing celebrities. Her staged photographs of stars both shocked and pleased the public; simultaneously sparking controversy and stirring interest. This decade, Annie shook up the public by photographing Miley Cyrus, a teen popstar, topless with her back turned to the camera. People were outraged, but this portrait was characteristic of Annie's style: surprising, bold, and intimate.
Annie's personal life is similarly controversial. She was romantically involved with a female novelist named Susan Sontag for more than 10 years. Additionally, she was said to be heavily involved in drugs and alcohol at one point. These facts don't surprise me because life often reflects art and vice versa. Most influential geniuses live outside of the box, experiment with consciousness, and live deviant lifestyles. Maybe they have it all figured out.
Here are some of Annie Leibovitz's amazing portraits:
Monday, February 21, 2011
Cool blog
I found a cool blog that marries quotes with photography
Here's a little teaser:
http://www.stumbleupon.com/su/26jdFe/www.360z.net/beautiful-quotes-project-1/
Enjoy!
Here's a little teaser:
Enjoy!
Tuesday, February 15, 2011
Sally Mann Documentary
I really enjoyed Sally's discourse regarding why she chose the subjects that she did. She said "photograph what you love", which really struck me. Before this class, I tended to photograph the people I love. Though I suppose I still could, I find myself photographing ordinary things that I find beautiful and only one person that I love. As we discussed how photographs are essentially self-portraits, I should analyze why I like to capture things and only one person.
I also liked how Sally wondered if people buy prints because they are controversial or because they see them and like them. I, too, have wondered this about art in a wider sense. I once saw an art show where someone had dressed dead bodies in different costumes and taken pictures of them. It made me wonder if artists make art because they are trying to spark a particular feeling in the audience or because they want to be controversial enough to get a show that will be hyped. I think Sally really walked the line of controversiality with her project on death. It is clear that she truly had a morbid curiosity, but I wonder if this project was sparked by the unconscious desire to produce more controversial work that would spark the interest of the public. However, I really respected her notion that "your body is just a shell that holds the real you...it's meaningless".
I also liked how Sally wondered if people buy prints because they are controversial or because they see them and like them. I, too, have wondered this about art in a wider sense. I once saw an art show where someone had dressed dead bodies in different costumes and taken pictures of them. It made me wonder if artists make art because they are trying to spark a particular feeling in the audience or because they want to be controversial enough to get a show that will be hyped. I think Sally really walked the line of controversiality with her project on death. It is clear that she truly had a morbid curiosity, but I wonder if this project was sparked by the unconscious desire to produce more controversial work that would spark the interest of the public. However, I really respected her notion that "your body is just a shell that holds the real you...it's meaningless".
Wednesday, February 2, 2011
Dorothea Lange
Quick facts:
Born on May 26th, 1895 in Hoboken, NJ. Daughter of German immigrants.
Contracted polio when she was 7 years old, leaving her with a permanent limp. Of her limp, she said, “it formed me, guided me, instructed me, helped me and humiliated me”.
Lived to be 70 years old (died of cancer on October 11th, 1965 in Berkeley, CA).
Married to the painter Maynard Dixon. Divorced, then remarried to Paul Schuster Taylor, an agricultural economist and sociologist.
Specialized in documentary photography and photojournalism.
Best known for her work during the Great Depression (1930s).
Lange’s start:
Took a photography class with Clarence White at Columbia University in the early 1900s.
Was an apprentice in several photography studios while still in New York.
Got her professional start by opening a portrait studio in San Francisco.
After coming to San Francisco, she joined a camera club in which she met Consuelo Kanaga. He was a controversial photojournalist who influenced Lange’s work.
Though the portrait studio was successful, it came to an end when the Great Depression struck. Thus, the Great Depression led her to turn her lens to capture the unemployed and homeless, therefore focusing on social realism.
Some of her work was produced for the Farm Security Administration. She was hired expressly to make visible the terrible rural conditions of this time period. Her goal was to turn attention to those who had been forgotten.
Along with her agricultural economist/sociologist husband, she turned a critical eye on the exploitation and misery of agricultural workers and the impoverished. Lange accompanied him on his trips to study migrant workers. He wrote while she photographed. Taylor educated Lange on political and social issues of the time.
During the Second World War she was hired by the government to document the Japanese-American interment camps. She proposed to bring their struggle into the public eye. However, this work was not shown until years later due to the controversial nature of the subject.
Later, Lange worked occasionally for Life Magazine. She also taught at the California School of Fine Arts and started a photography magazine called Aperture. Lange spent time traveling the world and photographing people from different regions and cultures.
To this day, she is best known for capturing the suffering of the Great Depression era.
Quotes:
"I had to get my camera to register things that were more important than how poor they were--their pride, their strength, their spirit."
"One should really use the camera as though tomorrow you'd be stricken blind. To live a visual life is an enormous undertaking, practically unattainable. I've only touched it, just touched it."
Photos:
Best known photograph- "Migrant Mother" 1936
"White Angel Breadline" 1932
"Japanese boy awaiting evacuation" 1942
"Drought refugees hoping for cotton work"1936
"Evacuee stands by her baggage" 1943
"House of Vines" 1938
"Resettled Farm Child" 1935
"Migrant Farm Worker" 1940
"Living conditions for children" 1940
"Young Girl" 1962
Puppy needs a home
Hi again,
I got a message from the Dumb Friends League and this adorable puppy needs someone to raise it TEMPORARILY. So basically just like an extended puppy sitter. Tell me you can resist this face, I dare you.
Random photos
Hi.
I went to Aspen/Snowmass this weekend for the Xgames and had a wonderful time. Having trouble adjusting to being back. Here are a few photos:
This last one shows how freakishly cold it was here when I got back. Sad stuff.
I went to Aspen/Snowmass this weekend for the Xgames and had a wonderful time. Having trouble adjusting to being back. Here are a few photos:
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