ARTH 101 MIDTERM

"This being a world war, a world map that does not demonstrate the continuity of the main land and water masses is misleading... the entire conflict profits around the U.S."

"One World, One War" Richard Edes Harrison

"In the creation of such an exhibition, resources are brought into play that are not available elsewhere. The contrast in scale of images, the shifting of focal points, the intriguing perspective of long-‐‐ and short-‐‐range visibility with the images to come being glimpsed beyond the images at hand—all these permit the spectator an active participation that no other form of visual communication can give."

"The Family of Man" Edward Steichen

the fact of destruction incipient modification and cultural dilution, are customs, costumes, and religious rituals of the dominated finally seen as picturesque sublimated homoeroticism

"snake charmer" Jean-Léon Gérôme late 1860s

"The worldliness of photography is the outcome, not of any immanent universality of meaning, but of a project of global domination. The language of the imperial centers in imposed, both forcefully and seductively, upon the peripheries."

Allan Sekula

In...physiognomy and phrenology...was a method for quickly assessing eh character of strangers in the dangerous and congested spaces of the nineteenth-‐‐century city. Here was a gauge of the intentions and capabilities of the other."

Alan Sekula

She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the diverse people of the city; the places they live, work and play; and their daily activities. It was intended to empower people by making them realize that their environment was a consequence of their collective behavior

Berenice Abbott Abbott, Berenice Photo Mural, New York

"In commercial and artistic portraits, question of fashion and taste are all important. Judicial photography, liberated from these considerations, allows us to look at the problem from a more simple point of view: which pose is theoretically the best for such and such a case?

Bertillon

"The classic package of perspective enclosed by the Beaux-‐‐Arts frame makes it possible for pictures to hang like sardines. There is no suggestion that the space within the picture is continuous with the space on either side of it."

Brian O'Doherty

"Orientalism is a cultural strategy for defining the presumed cultural inferiority of the Islamic Orient... part of the vast control mechanism of colonialism, designed to justify and perpetuate European dominance"

Edward Said

"What you see is what you see."

Frank Stella

"We need to know with whose gaze we are looking on scenes of dying."

Griselda Pollock

"Woman then stands in patriarchal culture as a signifier for the male other, bound by a symbolic order in which man can live out his fantasies and obsessions...by imposing them on the silent image of woman still tied to her places as bearer, not maker, of meaning."

Laura Mulvey, 1975

"When I got back to my neighborhood, the Lower East Side in New York, I decided to shoot pictures of men who made comments to me on the street. I had always hated this invasion of my privacy and now I had the means of my revenge. As I walked along Houston Street with my fully automated Nikon, I felt armed, ready. I passed a man who mupered "Wanna f***?" This was standard technique: the female passes and the male strikes at the last possible moment forcing the woman to backtrack if she should dare to object. I wheeled around, furious, "Did you say that?" He looked around, surprised, then defiant, "Yeah, so what...if I did?" I raised my Nikon, took aim, began to focus. His eyes darted back and forth, an undercover cop? CLICK."

Laurie Anderson Fully Automated Nikon

Friedlander's style focused on the "social landscape". His photographs used detached images of urban life, store-front reflections, structures framed by fences, and posters and signs all combining to capture the look of modern life.

Lee Friedlander

It is the frame "which gives rise to the work. It is no longer merely around the work."

Jacques Derrida

"The frame of a work of art is what separates the work from what is extrinsic to it, and yet the frame maintains a discourse between this interior and its exterior."

Jae Emerling

"...our perception or appreciation of an image depends also upon our own way of seeing"

John Berger

"every image embodies a way of seeing.."

John Berger

The Women's Page, from 1905, depicts just the sort of scene Sloan might have observed from his apartment window. In the scene, a woman dressed in a rumpled slip or nightgown sits in a rocking chair with her back to the viewer. In the background, a little boy on an unmade bed plays with a cat. The room is littered with domestic objects: a vase, a towel, a pail, and a pair of stockings hanging in the window. The woman's attention is completely absorbed by a newspaper section entitled "A Page for Women," a section that would have offered tips on fashion and housekeeping. At the center of the newspaper page, there is a large illustration of a stylishly dressed woman. The irony is that while the lady of the house pours over fashion and decorating suggestions, she herself is disheveled, her home is untidy, and her child is ignored. In fact, her washboard and washtub rest unattended on a table at left.

John Sloan, The Woman's Page, 1905

"Every narration places the spectator in a position of agency; and race, class, and sexual relations influence the way in which this subjecthood is filled by the spectator."

Manthia Diawara

"one function of Orientalist paintings is to suggest that their law is irrational violence; our violence, by contrast, is law."

Linda Nochlin

"Where there is power, there is resistance."

Michel Foucault

.."this resistance is never in a position of exteriority in relation to power."

Michel Foucault

less a reflection on the heroic-tragic dimension of the underlying myth than a transcription of the strange sensation of "already having been" which is brilliantly evoked by Breughel in the view of a world serenely pursuing its own concerns, completely oblivious to the almost invisible tiny pair of legs waving pathetically out of the water, the only record of the apocalyptic event being a pair of feathers floating disconsolately down in the wake of their erstwhile owner

Peter Bruegel the Elder Landscape with the Fall of Icarus 1590

"In a world ordered by sexual imbalance, pleasure in looking has been split between active/male and passive/female. The determining male gaze projects its fantasy on to the female figure, which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be-looked-at- ness." Laura Mulvey, 1975

Pierre-Auguste Renoir, La Loge

"Advertising is...the official art of modern capitalist society....It is what we put up in our streets and use to fill up half of our newspapers and magazines: and it commands the services of perhaps the largest organized body of writers and artists... in the whole society."

Raymond Williams, "Advertising: The Magic System"

"Soon ager almost every disaster the crimes begin: ruthless, selfish, indifferent to human suffering, and generating far more suffering. The perpetrators go unpunished and live to commit further crimes against humanity. They care less for human life than for property. They act without regard for consequences. I'm talking, of course, about those members of the mass media whose misrepresentation of what goes on in disaster often abets and justifies a second wave of disaster. I'm talking about the treatment of sufferers as criminals, both on the ground and in the news, and the endorsement of a shift of resources from rescue to property patrol. They still have blood on their hands from Hurricane Katrina, and they are staining themselves anew in Haiti.

Rebecca Solnit

"I cannot recall anyone questioning the philosophical basis and values of the Family of Man. It propagated what all of 'us' wanted, recognition of the commonality of humankind, rather than racial superiority."

South African Photographer

"To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder -‐‐ a soft murder, appropriate to a sad, frightened time." "

Susan Sontag

"To suffer is one thing; another thing is living with the photographed images of suffering, which does not necessarily strengthen conscience and the ability to be compassionate. It can also corrupt them. Once one has seen such images, one has started down the road of seeing more -‐‐ and more. Images transfix. Images anesthetize."

Susan Sontag

A way of looking at images with a heightened, informed sensitivity to the social and historical conditions of their production, distribution, and reception

Visual Culture

a way of looking at the world historically, which is to say that it requires that we understand that ways of seeing correspond to specific historical (i.e. economic, social, and technological) conditions

Visual Culture

a way of looking at the world that recognizes that different people inhabiting distinct historical, social, and cultural positions, will see the world differently—indeed there is no single and unified "out there" there to meet the eye.

Visual Culture

"During long periods of history, the mode of human sense perception changes with humanity's entire mode of existence. The manner in which human sense perception is organized, the medium in which it is accomplished, is determined not only by nature but by historical circumstances as well.... [Changes] in the medium of contemporary perception can be comprehended as decay of the aura...."

Walter Benjamin

"Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was subject throughout the time of its existence."

Walter Benjamin

"In principle a work of art has always been reproducible.."

Walter Benjamin

"Mechanical reproduction of a work of art, however, represents something new....For the first time in the process of pictorial reproduction, photography freed the hand of the most important artistic functions which henceforth devolved only upon the eye looking into the lens."

Walter Benjamin

"The presence of the original is the prerequisite to the concept of authenticity....Confronted with its manual reproduction, which is usually branded as a forgery, the original preserved all its authority; not so vis-‐‐à-‐‐vis mechanical reproduction."

Walter Benjamin

"The technical reproduction... enables the original to meet the beholder halfway...the cathedral leaves its locale to be received in the studio of a lover of art..."

Walter Benjamin

"All they saw was an evanescent landscape.. Through the train compartment window... the depth perception of pre-industrial consciousness was, literally, lost: velocity blurs all foreground objects, which means that there is no longer a foreground-exactly the range in which most of the experience of pre-industrial travel was located."

Wolfgang Schivelbusch

Sardanapalus- last king of Assyria ordered his possessions destroyed and concubines murdered before killing himself because of military defeat Rich, warm colors

Death of Sardanapalus Eugene Delacroix 1827-1828 Paris, Louvre