Let the image speak for itself
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Transcript of Let the image speak for itself
Let the Image Speak for Itself
Alfred Stieglitz impact on the poetry of William Carlos Williams
Alfred Stieglitz Born in Hoboken, NJ. 1864 Moved to Germany for school 1884 started interest in photography First article in 1887 about amature photography In Germany
- lead to more writing/more photos Moved to New York 1891 Formed The Camera Club of New York- merger of SAP and
NYCC 1897 Camera Notes 1902 Photo Secession- exhibition judged only by
Photographers put on by National Arts club- positive feedback
Lead to Camera work same year- journal of developing photography as an individual art form
Photography as an Art form Unlike painting –
photography is instantaneous
Must be a seer Clear sharp
representation- maximum detail with maximum simplification
Snap shots of New York (1901)
Old and New York 1901
Reflections of Night
1902
291 The Original Modern Art Gallery Gallery 291 (1908)-
goal was to showcase different mediums side by side
Rodin, Matisse Rousseau, Cezanne, Picasso (European) Minerva date
unknown
Tiger in a Tropical Storm
1891
Girl with a Mandolin
1910
Alfred Maurer, John Marin, Marsden Hartley, Arthur Dove, Max Weber (American)
Painting No. 48, 1913
Brooklyn Bridge 1912
Cow 1914
Interior Fourth Dimension 1914
Armory show (1913) VP, first official exhibition
of modern art in America Most famous and
polarizing: Matisse’s “Blue Nude (Souvenir de Biskra)” and “Madras Rouge (Red Madras Headdress),”and Duchamp’s “Nude Descending a Staircase, No. 2”
Impressionist Fauvist and Cubism were represented
Williams Evolution of Style Began with Keatsian
and Whitmanian form and content
Pound in London 1909-1910
Exclamatory then Imagism
The Tempers (1913) Poundonian style
Fascination with visual arts on New York Avant Garde
Camera work
“The step Williams took consisted of a progression from the concept, the thought, to the poem itself, just as the painters following Cezanne began to talk of the sheer paint: a picture a matter of pigments upon a piece of cloth stretched on a frame” (Dijkstra 50). Marcel Duchamp
(Bride 1912)
Image as a Subject vs. Metaphor Visual space/ tension
into Poetry Remove narrative
sequence of imagist poems - Story
Moment of Perception
“Dawn” Ecstatic bird songs pound
the hollow vastness of the sky with metallic clinkings-- beating color up into it at a far edge,--beating it, beating it with rising, triumphant ardor,-- stirring it into warmth, quickening in it a spreading change,-- bursting wildly against it as dividing the horizon, a heavy sun lifts himself--is lifted-- bit by bit above the edge of things,--runs free at last out into the open--!lumbering glorified in full release upward-- songs cease.
http://www.youtube.com/watch?v=6-Bi8fwakMo
Francis Picabia , Nu devant un
paysage
Good Art vs. Bad Art- Williams Lens The story cannot overtake
the visual content If used must sacrifice the
immediacy and objective perception of a painting
Instead suggests artist should isolate moment of reality and strip it from all things nonessential
Recreating the pure moment
Example; “Station in a metro Ezra Pound” (1919) The apparition of these faces in the crowd;. Petals on a wet, black bough.
Example Williams “Red Wheelbarrow” So much depends upon the red wheelbarrow
Creative Imagination- Memory Photos Imagination as- “The
undetermined moments between waking and sleeping” (53).
These moments create a lasting mental photo reel that refuses the limits of time and shape.
Certain aspects of the original action “become liquid.” Creating new form
=
Two Figures (1913-14), Liubov' Popova
“Nothing is Good Save the New.”
“Danse Russe” (1917) If I when my wife is sleeping
and the baby and Kathleen are sleeping and the sun is a flame-white disc in silken mists above shining trees,-- if I in my north room dance naked, grotesquely before my mirror waving my shirt round my head and singing softly to myself: "I am lonely, lonely. I was born to be lonely, I am best so!" If I admire my arms, my face, my shoulders, flanks, buttocks again the yellow drawn shades,--
Who shall say I am not the happy genius of my household?
Girl with a Mirror- Henrich Kuehn
1906
Alice Boughton 1909
“Queen-Ann’s-Lace” (1921)Her body is not so white asanemony petals nor so smooth—norso remote a thing. It is a fieldof the wild carrot takingthe field by force; the grassdoes not raise above it.Here is no question of whiteness,white as can be, with a purple moleat the center of each flower.Each flower is a hand’s spanof her whiteness. Whereverhis hand has lain there isa tiny purple blemish. Each partis a blossom under his touchto which the fibres of her beingstem one by one, each to its end,until the whole field is awhite desire, empty, a single stem,a cluster, flower by flower,a pious wish to whiteness gone over—or nothing.
Nude against the light Constant Puyo 1906
Alice Boughton The Seasons
1909
Ignored Relationship Letters in 1922 (Yale
Stieglitz file), Marsden Hartley’s Adventures in the Arts,
John Marin Painting Cover up in Williams
Autobiography