JUDE RAE.
OLIVIA PARKER. JAN GROOVER. 8,542 Artists and 51,755 Works Online SaveNot on view Untitled 1975 SaveNot on view Untitled 1977 SaveNot on view King's Red Vertical with Clapboard 1977 SaveNot on view Untitled 1977 SaveNot on view Untitled 1977 SaveNot on view Untitled 1978 SaveNot on view Untitled 1978 SaveNot on view Untitled 1979 SaveNot on view Untitled 1979 SaveNot on view Untitled 1980 SaveNot on view Untitled 1981 SaveNot on view Untitled 1983 SaveNot on view Untitled 1983 SaveNot on view Untitled 1985 SaveNot on view Untitled 1987 SaveNot on view Untitled 1987 More Works View more works » If you are interested in reproducing images from The Museum of Modern Art web site, please visit the Image Permissions page (www.moma.org/permissions).
For additional information about using content from MoMA.org, please visit About this Site (www.moma.org/site). © Copyright 2011 The Museum of Modern Art. IMOGEN CUNNINGHAM. AUDREY FLACK. MAN RAY. JERRY TAKIGAWA. EDWARD WESTON. ANDRE KERTESZ. Perhaps more than any other photographer, Andre Kertesz discovered and demonstrated the special aesthetic of the small camera. These beautiful little machines seemed at first hardly serious enough for the typical professional, with his straightforward and factual approach to the subject. Most of those who did use small cameras tried to make them do what the big camera did better; deliberate, analytical description.
Kertesz had never been much interested in deliberate, analytical description; since he had begun photographing in 1912 he had sought the revolution of the elliptical view, the unexpected detail, the ephemeral moment ___ not the epic but the lyric truth. When the first 35mm camera ___ the Leica ___ was marketed in 1925, it seemed to Kertesz that it had been designed for his own eye.
Like his fellow Hungarian Moholy-Nagy, he loved the play between pattern and deep space; the picture plane of his photographs is like a visual trampoline, taut and resilient. " by John Szarkowski. KARL BLOSSFELDT. JOSEF SUDEK. JAMES WELLING. ADAM FUSS. Photography is a dialogue between the natural and the unnatural. Born of the camera obscura, transformed by the photogram, and ultimately developed into a chemical process, photography has traveled the distance from the phenomenal to the scientific.
Today there are artists whose work reminds us that photography is prized equally for its ability to capture reality and to transcend that reality. The debate that has consumed photography from its inception was encapsulated in the title of one of the medium's earliest masterworks - William Henry Fox Talbot's "The Pencil Of Nature. " Talbot may have wished to provide exact, scientific renderings of nature, but he hedged the promise of his new medium by suggesting the images would provide an experience of versimilitude.
Photography has always harbored an inherent contradiction: Is it Science or Art? Fuss used the pinhole camera to "reject photography but still hold onto it. " Fuss has continued to explore variations on this theme.