Lecture 2 Analogue II – The return to analogue techniques: Photograms, Cyanotypes, Solarisation and Daguerreotypes

  • Returning to processes
  • Different attitudes to medium

Photograms

picture1
William Henry Fox Talbot, Flowers, Leaves and Stem, ca.1838.
  • Earliest photogram.
  • Tactile, physical contact with the emulsion.
  • Shadow world.
picture2
Man Ray, Rayograph, 1923.
  • Potential in technology.
  • 20s made their own version (Rayograph).
  • 3D, away from flatness, moving light around.
picture3
Barbara Hepworth, Self-Photogram, 1932; Double exposure of two forms, 1937.
  • Photograms and self-portrait.
  • 3D effect.
picture4
João Penalva, From the Weeds of Hiroshima, 1997.
  • Solarising photograms, flash light onto the paper.
  • Remains, sites in Hiroshima; weeds overlooked.
picture5
Matsumoto Eiichi, Shadow of a soldier remaining on the wall of Nagasaki military headquarters, 1945..
  • Inspiration for From the Weeds of Hiroshima.
  • Flowers, colour paper and emulsion.
  • Conceptual art.
  • Abstractions, dropping onto the paper.
  • Working with accidents.
picture8
Broomberg and Chanarin, The Press Conference, June 9, 2008, The Day Nobody Died, 2008.
  • Metaphor, round about way of referring to the events.
  • Parallel to Welling’s work.

Cyanotype

picture9
Anna Atkins, from her book Photographs of British Algae, 1843. Cyanotype.
  • Cyanotype invented by John Herschel.

 

picture10
Yves Klein, Anthropometry, 1960.
  • Directly imprinting with blue paint.
picture11
Yves Klein, Hiroshima, 1961.
  • Work inspired by shadow imprint from Hiroshima.
picture12
Christian Marclay, Cyanotypes, JRP Ringier, 2011.
  • Multimedia, music, records. Hybrid.
  • Uses medium most appropriate.
  • Abstract expressionism.

‘Artists have always been attracted to detritus. Because by the time something reaches the dustbin, we have had enough interaction with it to finally reflect on it. When something is too new we are still under its spell, too seduced to take enough distance and be disrespectful or critical’.
Christian Marclay cited in Lyle Rexer, ‘Blue Tape: Christian Marclay’s old Masters’, in DAMN Magazine, no.33, May-June, 2012, p.104.

picture13
Thomas Mailaender, Electric Jesus, 2014.
picture14
Thomas Mailaender, Cyanotypes – installation view. Roman Road gallery, 2014.
  • Edgy, playful, uses humour.
  • Big in frames, leaned against the wall.
picture15
Walead Beshty, A partial disassembling of an invention without a future., Barbican Gallery London, 2014.
  • Any material/flat surface.
  • Performative.
  • History of the studio, objects which went through it.
  • Different size print.
  • Montage/collage

Camera Obscura

picture16
Vera Lutter. Chrysler Building, V: July 12, 2014.
picture17
Vera Lutter, Pepsi-Cola, Long Island City, 1998.
  • Turns rooms into camera obscura’s.
  • Big works.
  • Urban views on sensitized paper.
  • Negative prints.
  • Alternative reality.

Daguerreotype

picture18
Takashi Arai, Study no.1, A multiple monument from Daigo Fukuryu …
picture19
Takashi Arai, Trinity Site, c.2010-14.
picture20
Takashi Arai, Maquette for a monumnet …, 2014. Daguerreotype.
  • Montage, multiple different images put together.
  • Re-working, potential.
  • Big piece of work, sculptural.
  • Micro monuments, places of nuclear weapons (trinity site)
  • Watch frozen at time of bombing was painted on.
  • Physicality of object.

During this lecture, we looked at artists who have returned to old technology and how this can be related to materiality. Different ways of thinking about this and photography experience; optical sensations, engaging, embodiment.

Essential Reading:
Thompson, Matthew, ‘The Object Lost and Found’, in Thompson, The Anxiety of Photography, Aspen Art Museum, 2011 – available online at: http://old.aspenartmuseum.org/archive/archive_aop_thompson.html

George Baker, ‘The Absent Photograph’, in Speaker Receiver, Basel: Kunsthalle Basel; Berlin: Sternberg Press, 2010.

 

 

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