I was most interested in the story about Brancusi throwing out the professional photographer because he attempted to eradicate the glare in his photographs of Brancusi’s sculpture. Both Brancusi and the photographer were concerned with telling their own versions of the “truth.” A human eye would not see a glare when viewing a Brancusi, but at the same time, covering the sculpture with powder to prevent a photographic glare is a form of deception. Brancusi also sees the photograph as an individual artwork, as opposed to simply being a secondary tool for conveying a sculpture. The instances of fuzz and glare are unique to each photo. A professional photographer wishes to convey an image that matches the human eye’s perception as closely as possible, thereby seeing the photo as a media tool, not a unique work of art.
Here are two examples of different ways to photograph dioramas:
Sculpture as Photography in Expanded Field Reading
What I took from this reading is that photography allowed artists to take little souvenirs of their spaces and happenings and bring them back to the gallery. This liberated what could be shown or shared as pieces of culture. The first example that comes to mind is Hamish Fulton’s walking art, although he also uses a lot of graphic design to convey his experiences. His artwork is immaterial so he has to imply it through photography and text.
Photography has been a liberator and a guiding force for sculpture since it’s invention. It makes me think of ways in which individuals have become progressively more aware of photography and self representation. Bezzola gives many examples of how photography has allowed artists to turn happenings, installations, and even pre-existing objects into static art images. Photography is a tool for creating a static, factual image, whether it be in regards to a human being or a sculpture.
“Constanze Mozart, wife of Wolfgang Amadeus Mozart, at 78 years of age, pictured front left in black 2 years before her death. (Her maiden name was Weber). Bavarian composer Max Keller is seated center front, and to his right is his wife Josefa. From left to right in rear: family cook, Philip Lattner (Keller’s brother in law), Keller’s daughters Luise and Josefa. The print is a 19th century copy of the original daguerrotype photograph taken October 1840, at the home of composer Max Keller. This copy was found in the Altötting state archive in 2004.”
info taken from Wikipedia
This is a recent photo of my friend’s coworkers. You can see a huge difference in the subjects’ awareness of being photographed between this photo and the first one. In the more recent photo, the sitters are aware that they are being stamped into a permanent image, so they construct themselves by smiling or making a face. The sitters in the first photo don’t even smile.