Photography and art
This section will discuss the capacity of a photograph to combine elements of different art-forms. This creates a reflexive atmosphere where photography, in the modern trajectory, plays with the constraints of its form. Photography as it is displayed in this exhibit looks as much back in time as it does forward. It is a space where high-art and low-art can be combined producing narratives that are more inclusive.
ParagonE
Paragone arose out of the philosophical debate over which art form can capture life the most accurately. Due to the fact that each art-form and each genre has its own unique qualities, the attempt to achieve paragone resulted in different the blending of art-forms as they tried to recreate the missing aspects of another. Photography emulates aspects of both sculpture and portraiture but can feature cubist and modernist trends.
Photography aims to add movement to sculpture and bring its figures to life. Being able to capture movement in a still photograph is indicative of portraying time. In the context of this exhibit, the use of time is important in portraying the essence of a subject as dynamic. It implies a balanced importance on the past, present, and future. It allows room for transformation of identity over time.
Paragone in photography also combines sculpture with painting by composing images where the subjects are physical structures yet they are also embedded in a fabricated background like a portrait.
Photography aims to add movement to sculpture and bring its figures to life. Being able to capture movement in a still photograph is indicative of portraying time. In the context of this exhibit, the use of time is important in portraying the essence of a subject as dynamic. It implies a balanced importance on the past, present, and future. It allows room for transformation of identity over time.
Paragone in photography also combines sculpture with painting by composing images where the subjects are physical structures yet they are also embedded in a fabricated background like a portrait.
Vera Hernandez Correa
As discussed earlier, Hernandez Correa takes a snapshot while the subject is moving. This results in the entire photo having movement because she captures non particular moments. Hernandez Correa’s photos are an exploration of potential rather than essence. We can see the bodies past, present, and future.
These portraits relate to sculpture because of the iconic white cloth on the ground of the studio. There are allusions to the Belvedere torso because of the focus on the bent over upper body. She challenges the confines of sculpture by portraying a living breathing man who is capable of moving. She also challenges the confines of sculpture by playing with perspective. Having a downward angled camera, as well as, in the photograph on right, placing the subject in the top left corner, creates distance from the subject giving the impression that we are observing him behave. This is different from sculpture because it is not aimed at seeing man in noble positions but observing him naturally. Much like Mapplethorpe’s work in Bob Love or Manfred, these photos present man in the space rather than in just in position.
These portraits relate to sculpture because of the iconic white cloth on the ground of the studio. There are allusions to the Belvedere torso because of the focus on the bent over upper body. She challenges the confines of sculpture by portraying a living breathing man who is capable of moving. She also challenges the confines of sculpture by playing with perspective. Having a downward angled camera, as well as, in the photograph on right, placing the subject in the top left corner, creates distance from the subject giving the impression that we are observing him behave. This is different from sculpture because it is not aimed at seeing man in noble positions but observing him naturally. Much like Mapplethorpe’s work in Bob Love or Manfred, these photos present man in the space rather than in just in position.
Ajitto
This is an example where photography combined painting and sculpture. Ajitto is inspired from Jean-Hippolyte Flandrin's painting Jeune homme nu assis au bord de la mer. The choice to capture this painting inside a studio with the iconic cloth underneath the model sets the young man as sculpture. This meant to show the body off as a specimen instead of a character yet at the same time portray that he is a real life human.
The dichotomy between human and object is asserted in several ways. Although it is omitted in the original painting, there is no effort to cover the genitalia in Mapplethorpe’s photograph. This is decision to recreate the painting was meant to show the reality of the human. On the other hand, delivering a series of photos of the same subject in different angles is an attempt to emulate the 360 degree experience of sculpture. This choice further objectifies the body as a specimen. |
Flandrin's piece is an important part of homoerotic art, inspiring other artists to respond with their creations as well. Of these two examples, Mapplethorpe straddles the conflict in between. He portrays man as both human and object. Day objectifies the black body by contrasting his dark skin and dark background to the white stone. He also seats the subject on an animal print cloth a racist stereotype implying a black bodies primitive nature. Gloeden attempts to humanize the painting by turning it into a portrait. He captures the closed off and pensive nature of cain. |
Chiaroscuro
Mapplethorpe composes what looks like the equivalent of painting in these photos through his use of framing and color. The portraits are as much about the environment around them rather than just their bodies. In the portraits of Alexander, Mapplethorpe uses chiaroscuro in order to confuse the background and form by shading Alexander’s head. This choice combined with the blurriness of the photo flatten the portrait to seem like more like a painting with limited depth. A similar technique is used in the portrait of Felix making his head melt into the background. In this case, the circle creates further depth to the painting.
Chiaroscuro is used heavily in the portrait of Vibert by the obstruction of light to cause unnatural shading. This shading molds Vibert's face with the background of the portrait. The shadows also cause the shape of his jaw to be imposed on his left shoulder. These unnatural shadows segment his body and accentuate random muscles. In the context of a portrait, shading draws attention to the construction of Vibert's body. It also is a continuation of Mapplethorpe's obstruction of view for the black male portrait.
In Tom’s portrait, what looks like a geographical structure but is a cut in the frame of the photo outlines the body and also plays into a confusion of the depth of the photo. This is once again an example of chiaroscuro in photography because this area should be dark or at least have some sort of shade implying the physics of the action. Taking this away leaves the action in abstract space. These nods to cubism allow us to see the body as something that exists abstractly.
Chiaroscuro is used heavily in the portrait of Vibert by the obstruction of light to cause unnatural shading. This shading molds Vibert's face with the background of the portrait. The shadows also cause the shape of his jaw to be imposed on his left shoulder. These unnatural shadows segment his body and accentuate random muscles. In the context of a portrait, shading draws attention to the construction of Vibert's body. It also is a continuation of Mapplethorpe's obstruction of view for the black male portrait.
In Tom’s portrait, what looks like a geographical structure but is a cut in the frame of the photo outlines the body and also plays into a confusion of the depth of the photo. This is once again an example of chiaroscuro in photography because this area should be dark or at least have some sort of shade implying the physics of the action. Taking this away leaves the action in abstract space. These nods to cubism allow us to see the body as something that exists abstractly.