Influence of Photography in Art Term Paper

Pages: 7 (2675 words)  ·  Style: MLA  ·  Bibliography Sources: 5  ·  Level: College Sophomore  ·  Topic: Art  (general)

¶ … Photography in Art

The first thing that the mind conjures is the meaning of art. Art can be defined as any human creativity, skill, any craft or profession or its ideals, an assemblage of things having form and beauty within any discipline of creative work. Hence art is any endeavor which attempts to articulate or convey anything about the author, or to impact anything within the audience. This brings us to the question of the availability of a good art. Perhaps good art is that which conveys in a successful manner, the feelings of the artist, or conveys to, or makes an influence to the person observing it to some extent. The basic forms of measuring the value of some artistic work is to find out many among those who have observed or experienced it regard it as good. Nevertheless there is no totally good or bad art and it is everything a question of personal taste. Next we come to the question: whether photography can be art and what are its influences on art. The answer is a definite yes. Each and every photograph conveys the reality that the photographer regarded it to be taken at the time. Hence photographs are good examples of art. (Photography and Art)

The emergence of photography:

It was not until 1839 when the common man got to experience photography and was unsure regarding the invention or the manner in which it was to be used. Several questions cropped up like, whether it was a source of scientific information or an aid to the fraternity of artists or an art form in its own right, or a medium of completely startling consequences. A lot of people perceived photography as an amazing, automatic, and exact system for recording appearances. Early critics portrayed photography as a chemical and physical process that renders Nature the capability to replicate itself. This observation of photography as a completely natural and automatic happening was not, particularly in the nineteenth century, favorable to the growth of the theory and criticism of photography as an art form. Photographic art theory and criticism could emanate from a vision of photography as a procedure that altered the world instead of one that just locates it directly, and this procedure of alteration is required to be observed as subject to the purposeful and communicative control of the photographer. (Eisinger, 52)

The aesthetic symbolized an endeavor to characterize the distinctive and vital features of photography and to emphasize the autonomy of the medium in order to align it with the main doctrine of modernism. Besides, the aesthetic was too an endeavor to build a synthesized scientific and aesthetic worldview. The yearning to record the American crisis of the thirties and forties placed a heavy importance on the genuineness of photography and also its unmatched potential to freeze frame reality. Under this scenario, matters of individual expression, which have been supreme for the pictoralists and photographers, were completely concealed. The main theoretical subject in documentary photography was that of truth. Nevertheless of discussion of photographic truth during the thirties and forties was very narrow. It was restricted to concerns of absolute falsehood and sometimes concerns ranging from the fact that what was depicted and what was not, if the public were being revealed the complete truth or the partial truth. (Eisinger, 52)

Gradually, photography evolves as the most modern form of art, an instantaneous art for people who are busy, simplified art for people those who do not have training in artistry, mechanical proficiency and brilliance for mass production converted into art. Both amateur and commercial photography was helping in shaping the culture. The millions of commercial photographs printed in magazines came to be the aesthetic diet of an American who could not find time to visit exhibitions and museums. Photography in a sense have shaped his taste, educated his eye, and widened his visual culture. (Eisinger, 52) Fine arts since many years have held a delicate, nevertheless influential control on information as well as design. Right from cartoons, diagrams, digital art, photography and lot others, one hears firsthand from some of the topmost in their spheres, possess an opportunity to discover the past, present, and future of the methods that are observed in the Internet, and the manner in which it can enhance one's own work. (the influence of art in design)

Some examples:

Photography as an art was improved through several influences, from exposure in magazines to collectors, galleries and museums and also by professional contributors. For example, "Through the Eye of the Camera" covers exhibition ideas of architecture, historic and social documentary urban and rural landscape, naturalism and portraiture. The process in photography involves daguerreotype, collotype, albumen print, gelatin silver print, and photogravure and color methods discovered by the photographers during the 1980s. (Through the Eye of the Camera: 19th and 20th century photography from the Royal & Sun Alliance Collection)

Influence of photography in art:

Undoubtedly, photography is an attractive type of artistic expression due to its huge variation from what the majority would call "fine art." Photography started during the 1820s when the first photograph was captured by Niepce, who collaborated with Louis Daguerre in creating the niceties relating to their work called the "Daguerreotype." To several persons, the technology was enthralling in order to get hold of their piece of new invention, as this novel process of developing 'still life', permanent images of objects for the fist time needed no proficiency either in drawing or painting. However, others who were gifted with superb artistic proficiencies saw the Daguerreotype as hostile, and did not have any genuine creative character. It is important to note that within an exact nature of portrait as also an exact nature of a photograph, it was art that witnessed a commonality over, under as well as via the expression of both these types of mediums. It goes without saying that photography has proved as a valuable type of artistic form of expression that is effectual like that of a sculpture or painting. (a brief evolution or art and the influence of technology on photography)

When we concentrate into the 21st century, the conversation between the critical culture and mass culture, the mechanical and the interpretive, the commercial and the creative keeps on circumscribing photography's association with visual arts. This goes along to be mainly manifested through its linkage with the other - i.e. painting. The influence of photography on abstract as well as figurative painting in fact strengthened during the final decade of the 20th century as both stated to be jeopardized by digital technologies. During the 1980s and 1990s, eminent names from the world of painting such as Eric Fischl, Jack Goldstein, Elizabeth Peyton, Richard Philips and Luc Tuymanns created paintings which used photographs as their source, whereas photographers of the likes of Hano Oten, Thomas Schrutte delved into the relationship of photography with that of abstract painting. Their contribution is an important extension of Pop Art and what is known as Photo-Realism that was ruling the roost during the later part of 1960s and 1970s. (Peres, 183)

Close on the heels of Pop Art, painters used photographs as the subject matter to make an inclusive and discursive formalism, one in which matters of composition, optical properties and process would pay a tribute instead of defeating the contents of the image. Through these methods, they started about documenting the transforming condition of depiction as it goes from observation to reproduction to final replication. In this act, these painters absorbed photography's simulacra once again into painting. They performed this through utilizing the knowledge that within the image, world art had since come to remain as something the majority of viewers regarded could be understood through reproduction. As a result, the campaign which is normally referred to as Photo Realism or Sharp Focus Realism took upon and challenged the method of reproduction by converting the seamless information of photographs into the broken information painting. (Peres, 183)

One can visualize this in the paintings of Richard Estes and Ben Shonziet where urban street pictures that when reproduced appears as if they were photographs in color. One more example can be give of Chock Close's big black and white airbrush mug shot-like pictures of friends from the period of 1970s and 1980s. Even though the subject seems to be casual, Close performs from photographs prepared by a studio photographer. The German philosopher and critic, Walter Benjamin in his article "Art in the Age of its Mechanical Reproducibility," narrates the manner in which the dawn of photography and the ultimate making of moving pictures showed how 'aura had come to be a fetter on the conceptual and political development of art. According to him, the production of huge quantities and distribution of images held out the capability of steering in a progressive political culture which assumed the guarantee of production of a democratic culture wherein everybody would be a potential producer. (Peres, 183)

It was mass culture that lends… [END OF PREVIEW]

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