Robert Frank

Mary 1957
Political rally , Chicago

Butte , MT

Robert Frank

Robert frank, a spectacular film photographer, is best known for his series ‘The Americans’ in which I have shown above. In discourse we watched a short documentary film on him which was the only documentary he had done and his last. In the film Frank talks about his life in America and living with his wife June Leaf who made sculptures for a living. The couple have a beautiful bond and it was lovely to see how happy they made each other. As Frank talks about his work he describes how things used to be and explained how he would go out for hours and waits for the perfect frame. His passion for the subject is very clear.
In the first photograph ‘Mary 1957’ was very surprising to me when I first saw it. What strikes me about this photograph is how the shadow casts across ‘Mary’s’ face. The model is very attractive however with the shadow across her face it almost gives her another persona. What I love about Frank is his confidence and his unpredictable compositions. Any other photographer would have not taken this shot or taken it without the shadow. This shows his love for photography as he is more concerned with creating and interesting composition than photographing a pretty woman. The tones in this photograph contrast really well and the shadow helps to tone down the strong light on the face. I love how the waves are softly coming in it gives the image a tranquil feel. The flower in the woman’s hair also emphasises the calm feel as it can be linked to the ‘hippy fashion’. The shadow looks as if it is a person; this could well be Frank himself. This could also be a representation of being controlled as the shadow could represent a part of her that she doesn’t reveal or a person controlling her life.
‘Political rally, Chicago’ really made me laugh! I love Robert Franks way of making something serious comical. Again you would think Frank would be on a documentary shoot photographing crowds but instead he focuses on this man with a trombone in front of him, I think its hilarious. Frank really has an eye for capturing moments and sights everyone else walks past. The composition is perfect as the political event can be decoded from the flags in the top of the photograph. I love the grainy texture of the wall it really brings out the man with the trombone. As the viewer I am intrigued to know what this man is like.
The final photograph ‘Butte, MT’ is one of my favourites of Franks, the angle is perfect and I love how the shape of the car pushes the eye across the frame. The family make no eye contact with Frank which I think is magical. The family look lower class to middle class. They all look in the same direction which suggests they are looking at an ongoing event. Again Frank does not focus on this he focuses on the people and their expressions. The black and white works nicely here, in modern photography this in colour would be too much for the viewer to take in. since looking through Frank’s work I have developed a liking to him and they way he sees the world. I find him beautiful.

Postmodernism

'Andre Kertesz Distortion #49 1933'

Jo Spence ' I cant remember my name'

Postmodernism and Photography

Definition of postmodernism,

‘Of or relating to art, architecture, or literature that reacts against earlier modernist principles, as by reintroducing traditional or classical elements of style or by carrying modernist styles or practices to extremes.’

To me postmodernism evolved from the modernist period in which in music and art the boundaries were pushed and broken. Artists and photographers no longer wanted to be restricted by the’ rules’ of the art world, you could say. Therefore they become modernist and created new ideas and concepts. Postmodernism is combining old methods of working with modern forms, taking and borrowing. Now there are no limits on what art and photography can do and the boundaries are created by the photographer or artist.
An example a modernist piece would be the work of Andre Kertész whose distortion series went against all the rules of taking a traditional photograph. The photograph that could have been a traditional nude has been transformed to a surreal masterpiece. I really like this photograph as it differs from the work of that era being very traditional. Kertész almost creates a new life form with his distorted photographs and it would have been a surprise to the viewer at the time.
An example of a postmodern piece is the work of Jo Spence who combined black and white film and colour photography in her montage ‘I can’t remember my name’. The film photograph is very classic and In terms of composition it is technically perfect. The colour photographs on the other hand are almost taken like quick snap shots on a disposable camera. I love the contrast and in a way this photograph can be used as an example of how photography has progressed over the years, to having to develop photographs and having them instantly. The colour photographs have a strong link. However they are all taken in different ways be it angles, lighting or point of view this can be linked to postmodernism as the boundaries of what makes a series work. I love how the photographs are set out in no complete order which sums up the art world at the moment, there are no restrictions. Interestingly the only photograph that is straight is the film photograph; this could be a demonstration of modernism and breaking the boundaries of photography. The sentence written over the body ‘how do I begin to take responsibility’ could be a reference to the female figure in the black and white photograph. The title of the photograph ‘ I can’t remember my name ‘ really made me think about what the photograph meant and what it meant to Spence. Again her title could be a reference to the ever changing trends in the art world but I can’t help to think it means something more.

Links

http://en.wikipedia.org/wiki/Andr%C3%A9_Kert%C3%A9sz

http://photo.net/philosophy-of-photography-forum/00CTVK

http://theslantedpenguin.blogspot.com/2008/03/photography-as-postmodernism-or-obscene.html

http://www.answers.com/topic/postmodernism

Feminism

' Untitled #03 1977'
'Untitled #06 1977'

'Untitled #50 1979'

Feminism- Cindy Sherman

Cindy Sherman’s self portraits link to the subject of feminism. The photographs consist of staged self portraits and film stills. In many of Sherman’s films she played the role of the ‘femme fatal’ and was made to look venerable. In other films Sherman played the role of a sex symbol and the role of the domestic goddess, cooking and cleaning. Sherman’s roles varied but each was revolved around the male form. Sherman’s series of black and white film stills were taken from (1977-1980) at a time where the world was still over dominated by men. I admire Sherman for her confidence and realisation of equal forms. Now in a growing feminist society Sherman’s work will be idolised and used as an example of how male dominated the world once was.
Sherman said,
“I’m trying to make other people recognize something of themselves rather than me.”
I think this quote says a lot. I can imagine women seeing her portraits and thinking what role they play in life or rather what role of Sherman’s they play. All of Sherman’s portraits are ‘Untitled’ I Iove how this effects the photographs. By not naming the photographs this says to me that there is no true identity of women it’s her own decision and she makes what she makes of it. When looking at a Sherman portrait two people will not always have the same ideas and ideals. These ideas could have been swayed with a name to a photograph. For example if a photograph was called ‘Helpless’ the viewer would use that to influence their thoughts. Although a lot of Sherman’s roles were evented women know them and can associate with them. I guess you could say they saw themselves in Sherman’s many roles.
Another aspect of Sherman’s self portraits or film stills is there are never any men involved in the photographs, which I think works really well.
The first photograph ‘Untitled #03 1977’ Sherman plays the role of the domestic goddess in the kitchen cooking and cleaning and waiting for the male figure to come home. When I look at her expression I get a sense of nervousness she looks a little worried. This could be for any reason and as she looks out of the frame it gets the viewer questioning her expression and what she is looking toward. In a way you could say she looks fed up with her life like she has another purpose, a dream. She looks very young here which could suggest she married young and hasn’t had a chance to have much of a life. I like the cropping here as it doesn’t give too much away.
The second photograph ‘Untitled # 06 1977’ shows Sherman lying on the bed. She is in lingerie which would appeal to the male viewer. Here Sherman is being used as a sex symbol to attract male viewers to the film. Sherman plays a well off character here; this is decoded by her surroundings and glamorous look. Sherman holds a mirror in her hand which shows she is image conscious. Almost every woman can appeal to this portrait! There is not expression in Sherman’s eyes she almost looks doll like which could suggest that she is just a construct or stereotype. Sherman is dressed up which could suggest she is a house wife and is waiting for her husband to get home. The bird’s eye view angle gives innocence to the photograph and forces the viewer look down on her.
The final photograph ‘Untitled #50 1979’ shows Cindy Sherman in a more masculine role playing a strong and powerful women. This is encoded by her posture and style. Her hair says a lot about here whereas in the other photograph she was made to look cute and innocent here she looks bold and confident. I think the time period had a lot to do with how women were represented as compared to the other two film stills which had been taken 2 years before. Her role can also be matched with her surroundings for example here she is in a modern room with bold furniture as compared to ‘Untitled #6 1977’ where Sherman is surrounded by flowers and soft surroundings. Sherman sits in a confident a suggestive position she looks as if she is there to manipulate the male and get what she wants. I love seeing Sherman in this role and I’m sure many other women do!

Links

http://www.moma.org/interactives/exhibitions/1997/sherman/

http://www.webexhibits.org/colorart/sherman.html