Reiner Riedler was born in Gmunden, Austria and went to Vienna with the intention of studying ethnology. He then attended a College for photography (Graphische) in Vienna and decided to dedicate himself solely to photography. Master Studies of Image Sciences at the Danube University of Krems.

He is a documentary photographer and deals with important topics of the present day. His view always centers on human beings and their environment. The main focus of his documentary work is to challenge our value systems. As a traveller he visits the periphery of our habitats, always searching for the fragile beauty of human existence with its desires and abysses. His recent conceptual works question the nature of photography and the way, how we look at the world surrounding us.

Reiner Riedler’s work has been shown in numerous countries at photo festivals, galleries and museums. He has been working for periodicals and magazines.

Riedler has produced a series of photographs followed by photobooks. An example of one of his books was one named ‘Sweat’. I really liked how his photographs turned out within this photobook as they produce an almost nightmarish looking series of photographs that were just produced from the formation of his sweat.

Within this photobook, Vreni Hockenjos stated that “Reiner Riedler has discovered sweat as an artistic form of expression. Fascinated by the image captured by the sweat on his T-shirt after jogging – like a spontaneous self-portrait – he has used the sweat produced by others to create a series of images. In order to achieve this, he approached the renowned Fraunhofer Institute in Munich which provided him with a special sensory material that could be placed above or underneath his perspiring models. In doing so, Riedler used the sweaty body as a kind of rubber stamp to create life-size negatives. He then photographed these and transformed them into monochrome paper prints.“

Image analysis

PICTORIALISM

Time Period:

1880’s-1920’s

Key characteristics/ conventions :

Aimed to make photography an art form, hands on process, aim was creating photos that resembled paintings/art using different techniques, floating existence, similar to music, ‘floating romance’?, dreamlike, staged images,

Artists associated:

Alfred Stieglitz, Julia Margaret Cameron, Peter Henry Emmerson & his theory on natural photography, the Vienna camera club, the brotherhood of the linked ring, Frank Eugene, Sally Mann [modern take on pictorialism]

Influences:

Allegorical Painting:

Key works:

Methods/ techniques/ processes:

Smearing Vaseline on lenses [making the images looks soft/fuzzy], manipulated images/negatives in the dark room [using chemicals], scratch the images/negatives using different tools,

REALISM / STRAIGHT PHOTOGRAPHY

Time Period:

1920’s

Key characteristics/ conventions :

Sharp focus images that are full of detail, shadows, abstract forms, architecture, geometric forms, structured images

Artists associated:

Edward Weston, Walker Evans, Paul Strand, Alfred Stieglitz, Ansel Adams

Influences:

Picasso, Cubism:

Key works:

Methods/ techniques/ processes:

No manipulation, clear focus, ‘face reality,

Social Reform Photography

Time Period:

Early 1900’s

Key Characteristics:

Photos on issues happening at the time, documenting the urbanisation, not meant to look nice/pretty

Artists associated:

Dorothy Lange, Lewis W Hine, Jacob Riis,

Influences:

Key Works:

Methods/ techniques/ processes

Documentary photography, raw/real images,

MODERNISM

Time period:

Late 19th century – Early 20th century [photography itself was a modernist invention]

Key characteristics/ conventions :

Photojournalism, emphasised the truth/materiality of a work of art, believed meaning was embedded in work/created by the artist themselves [not interested in context], tried to produce timeless pieces that did not link to history/tradition, rejected older concepts + movements,

Artists associated:

Margaret Bourke-White, Ansel Adams,

Influences:

Against the enlightenment [pro science and technology], dadaism [Hannah Hoch], expressionism, surrealism,

Key works:

Methods/ techniques/ processes:

Form, composition, focuses on object rather than content,

POST-MODERNISM

Time Period:

1900s – 1960s

Key characteristics/ conventions :

Believed in individuals creating their own meanings for art, came about as a reaction to modernism, a backlash against modernity, references things outside of the artwork [i.e: context such as politics, psychology etc], a mix of various styles,

Artists associated:

Heidegger, Derrider, Lyotard

Influences:

Mix of different concepts, disenchantment from WW2

Key works:

Methods/ techniques/ processes:

Nihilistic, rationality, objectivity, universalism, relativism, identity, colonialism, eclecticism,

Art Movements & Isms

Time period :

1880s-1920s

Key characteristics/ conventions :

trying to make photography more of an accepted art form.

1880s’- Photography was seen as less serious, photography is a optical process, the painters, sculptures saw photography as a quick way to create art (lazy). Painting, sculptures etc saw photography as a threat as they would’ve had to spend years on their practice.

Kodak- box camera, photography became popular and easy…

Machine process, was believed to be an unhuman art form so not accepted.

Influences:

Allegorical paintings

Peter Henry Emmerson- Emerson’s Naturalistic Photography

In 1889 Peter Henry Emerson (1856-1936) expounded his theory of Naturalistic Photography which the Pictorialist used to promote photography as an art rather than science. Their handcrafted prints were in visual opposition to the sharp b/w contrast of the commercial print

Artists associated:

Alfred Stieglitz

Clarence H White- represents female clothes, landscape

Frank Eugene- represents women sexualised, male gaze, naked.

Key works:

Methods/ techniques/ processes:

scratching the negatives- create fake brush strokes

Vaseline on the lenses – blurry, dream like

chemical process- in the dark room place tint over negative… manipulate tonality.

Realism/ straight photography

Straight Photography…were photographers who believed in the intrinsic qualities of the photographic medium and its ability to provide accurate and descriptive records of the visual world. These photographers strove to make pictures that were ‘photographic’ rather than ‘painterly’, they did not want to treat photography as a kind of monochrome painting. They abhorred handwork and soft focus and championed crisp focus with a wide depth-of-field.
Realism… (closely associated with ‘straight photography’) photography grew up with claims of having a special relationship to reality, and its premise, that the camera’s ability to record objectively the actual world as it appears in front of the lens was unquestioned. This supposed veracity of the photographic image has been challenged by critics as the photographer’s subjectivity (how he or she sees the world and chooses to photograph it) and the implosion of digital technology challenges this notion opening up many new possibilities for both interpretation and manipulation. A belief in the trustworthiness of the photograph is also fostered by the news media who rely on photographs to show the truth of what took place.

Time period:

1915- modern day

Key characteristics/ conventions :

Capturing things as they are

creating an abstract art from through shape.

Observations.

detailed sharply focused photos without manipulation.

Influences:

Cubism

Paul strand – cubism

people wanted to go back to the documentary side of photography

Artists associated:

Paul strand

Stieglitz

 Paul Strand and Alfred Stieglitz pioneered Straight photography in New York while the Hungarian-born László Moholy Nagy exploited pure photography to maximize the graphic structure of the camera-image. These straight or pure approaches to photography continue to define contemporary photographs, while being the foundation for many related movements, such as Documentary, Street photography, Photojournalism, and even later Abstract photography.

walker evans

“To photography truthfully and effectively is to see beneath the surfaces and record the qualities of nature and humanity which live or aren’t latent in all things”

Edward western

Key works:

Straight photography emphasizes and engages with the camera's own technical capability to produce images sharp in focus and rich in detail. The term generally refers to photographs that are not manipulated, either in the taking of the image or by darkroom or digital processes, but sharply depict the scene or subject as the camera sees it.

Methods/ techniques/ processes:

Modernism

Time period:

Key characteristics/ conventions :

Artists associated:

Key works:

Methods/ techniques/ processes:

Post Modernism

Postmodernism was the collective name given
to the shattering of modernism. In
photography this was the direct challenge to
the ideal of fine art photography whose values
were established on an anti-commercial stance.
At the end of 1970s artists suddenly began to
use the codes and conventions of commercial
photography against itself

Postmodernists see all kinds of things as text, including photographs, and insist that
all texts need to be read critically. For postmodernists a text is different from
modernists’ notion of a work. A work is singular, speaking in one voice, that of the
author, which leads the reader to look for one meaning. For postmodernists many
readings (interpretations and understandings) of a text or a work of art are
desirable - no single reading can be conclusive or complete. Postmodernism also explores power and the
way economic and social forces exert that
power by shaping the identities of individuals
and entire cultures. Unlike modernists,
postmodernists place little or no faith in the
unconscious as a source of creative and
personal authenticity. They value art not for
universality and timelessness but for being
imperfect, low-brow, accessible, disposable,
local and temporary. While it questions the
nature and extent of our freedom and
challenges our acquiescence to authority,
Postmodernism has been criticised for its
pessimism: it often critiques but equally often
fails to provide a positive vision or redefinition
of what it attacks.

 2nd world war disrupted modernity project. Anything that was new at beginning of 20th century e.g. tech, knowledge - Modernity used industrial revolution - industrial revolution turned humans against each other e.g. war, bombs, nuclear weapons - sceptics, no belief, no universal truth, - Post modern art, underlined as political motivation.

While reproduction is photography’s main
contribution to postmodernist practice, a
photograph is also readily adaptable; it can
be blown up, cropped, blurred, used in
newspapers, in a book, on a billboard. Other
formal devises used by postmodernists
practitioners are seriality, repetition,
appropriation, simulation or pastiche (which
is opposite to principles of modernity: the
autonomy, self-referentiality and
transcendence of the unique and precious
work of art.)

Time period:

1960s- now

university’s, America and Europe, people begin questioning the failing modernity project.

Key characteristics/ conventions :

Postmodernism makes references to things outside the
art work…e.g. political, cultural, social, historical,
psychological issues

Postmodernism favours the context of a work including
examining subject and the reception of the work by its
audience.

Postmodern work are aware of and make reference to
the previously hidden agendas of the art market and its
relation to art museums, dealers and critics;

Postmodern work often uses different approaches in the
construction of the work such as…eclecticism,
intertextuality, collaboration, pastiche, parody, recycling,
reconfiguration, bricolage

Artists associated:

Cindy Sherman

Her numerous alter egos cast doubts upon a definitive sense of self, and her copies of sourceless material subscribe to postmodernism's claim that originality has ceased. Deconstructing the myths we have about ourselves and our surroundings, Sherman's work is an ideal example of postmodern art.

Richard Prince

Barbara Kruger

Associated with postmodern Feminist art as well as Conceptual art, Kruger combines tactics like appropriation with her characteristic wit and direct commentary in order to communicate with the viewer and encourage the interrogation of contemporary circumstances.

Sherrie Levine

Where is originality? Parody of walker Evans

In 1981, Levine photographed reproductions of Depression-era photographs by Walker Evans, such as this famous portrait of Allie Mae Burroughs, the wife of an Alabama sharecropper. The series, entitled After Walker Evans, became a landmark of postmodernism, both praised and attacked as a feminist hijacking of patriarchal authority, a critique of the commodification of art, and an elegy on the death of modernism. Far from a high-concept cheap shot, Levine’s works from this series tell the story of our perpetually dashed hopes to create meaning, the inability to recapture the past, and our own lost illusions.

Laurie Simmons

Martha Rosler

Walter Benjamin

In the 1930s, cultural theorists, Walter
Benjamin wrote two essays on photography
that are frequently cited by current critics.
In these essays Benjamin stressed aspects
of the photographic medium different from
those that modernist photographers, like
Paul Strand and Edward Weston were
advocating. While they heralded the
honesty of the medium and the infinite
detail of the negative and the beautiful
photographic print, Benjamin pointed out,
that unlike the painting, the photograph is
infinitely reproducible.

Key works:

Tableaux-

Tableaux photography is a style of photography in which a pictorial narrative is conveyed through a single image as opposed to a series of images which tell a story such as in photojournalism and documentary photography. This style is sometimes also referred to as ‘staged’ or ‘constructed photography’ and tableaux photographs makes
references to fables, fairy tales, myths and unreal and real events from a variety of sources such as paintings, film, theatre, literature and the media. Other tableaux photographs offer a much more ambiguous and open-ended description of something that are subjective to
interpretation by the viewer. Tableaux photographs are mainly exhibited in fine art galleries and museums where they are considered alongside other works of art.
Tableau photography involves a performance
enacted before the camera and embraces
studio portraiture and other more or less
elaborate peopled scenarios in constructed
settings directed or manipulated by the
photographer to suggest a story. The word
tableau derives from tableaux vivant (plural)
which in French means ‘living picture’ and the
term describes staged groups of artist’s
models often using dramatic costumes,
carefully posed, motionless without speaking
and theatrically lit, recreating paintings ‘on
stage’. Before radio, film and television,
tableaux vivants were popular forms of
entertainment in the Victorian and Edwardian
era.

Methods/ techniques/ processes:

PICTORIALISM

time period : 1880 – 1920

Key characteristics/ conventions : to make photography an accepted art form – was influenced by allegory paintings – was to separate photography as an art form from photography used towards various scientific and documentary purposes.

Artists associated: Louis Dagueree, Alfred Stieglitz,
Henry Peach Robinson, Clarence Hudson White

Key works: Daguerreotype, Calotype

Influences: One of the key figures in establishing both the definition and direction of pictorialism was American Alfred Stieglitz, who began as an amateur but quickly made the promotion of pictorialism his profession and obsession.

Methods/ techniques/ processes: gum printing, putting Vaseline on a lens, using specific chemicals

REALISM / STRAIGHT PHOTOGRAPHY

Time period: 1915 – up until this day

Key characteristics/ conventions : to photograph things as they were without any manipulation

Artists associated: Paul Strand (inspired by cubism), Walker Evans, Edward Western

Key works: Walker Evans – subway series, The Stone Breakers – Gustave Courbet

Influences: Within the Realism Art movement, artists moved away from the previously Romantic style that had dictated artistic creation in favor of capturing a truthful representation of life. This led scenes, objects, and subjects to be depicted in a meticulous, accurate, and detailed way.

Methods/ techniques/ processes: uses the camera and photograph to gather information

MODERNISM

Time period: 1910 – 1950

Key characteristics/ conventions : clean lines, sharp focus and repetition of form.

Artists associated: Olive Cotton, Alfred Stieglitz

Key works:

• Wall Street, 1915.
• Abstractions, Twin Lakes, Connecticut 1916.
• Chair, Abstract, 1916.
• Blind, 1916.
• House, Benbecula, Hebrides, 1954. .

Methods/ techniques/ processes: cropping and framing a single body part, distorting and accentuating its curves and angles.

POST-MODERNISM

Time period: 1950 – to this day

Key characteristics/ conventions : explores power and the way economic and social forces exert that power by shaping the identities of individuals and entire cultures

Artists associated: Lee Friedlander, William Eggleston, Jeff Wall, Andreas Gursky

Key works: Postmodernism makes references to things outside the art work…e.g. political, cultural, social, historical,
psychological issues

Methods/ techniques/ processes: Bricolage, surrealism, expressionism, intertextuality, eclecticism

As a teenager, Fred Mortagne shot his friends skateboarding through the historic city centre of his home Lyon. He grew to film and photograph some of skateboarding’s most iconic characters. Bit by bit, Mortagne began to blend still photography into his film. “I became used to visualising angles that would be good for photography, but didn’t necessarily work for video”, employing a 24-90mm lens with a high ISO so he can get a better grain within his images he has become known for picturing from angles no one else sees. Mortagne got one of his earliest shots of a skateboarder coursing through a hotels carpark while leaning off a balcony of a hotel room on the 17th floor.

Nearly 25 years since Mortagne started filming skaters he released his first photobook titled “Attraper Au Vol” (Catch in the Air) and features images of skaters on locations all over the world. “With skateboarding, you travel a lot trying to find new spots, we skate around modern buildings which often also happen to be very photogenic”. Mortagne explains that when you film skateboarders it is very close up so you lose the dimension of where the skateboarders fully are, and he wanted to recapture that dimension within his photography.

“Attraper Au Vol”

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Attraper au vol (Catch in the Air) is the culmination of Mortagne’s photographic career, from 2000 to 2015. A feast of lines and angles, his black-and-white compositions blend his subjects into their environments, offering an abstract perspective on architecture, geometry and the human figure. “Well, it’s my first major book. We didn’t even really have to talk about it but it was obvious we would just go dig through my whole photo library. So I dug out a lot of things. Obviously all the famous stuff. And then actually there’s also a lot of new material that I shot that makes up almost half the book too.”

There are three island territories within the British Isles that are known as Crown Dependencies; these are the Bailiwicks of Jersey and Guernsey which make up Channel Islands, and the Isle of Man. The Crown Dependencies are not part of the United Kingdom, but are self-governing possessions of the British Crown.

FINANCIAL RELATIONSHIP

Independent research demonstrates that Jersey adds a net £14 billion to the UK economy every year, supporting an estimated 250,000 British jobs. This economic benefit is dependent upon Jersey’s independence in setting political and fiscal policy. Jersey’s banks attract over £80 billion of funding from markets outside the UK sterling zone and provide 1.5% of the funding of the whole UK banking sector. The Island is also a conduit for almost £0.5 trillion of foreign investment into the UK, much of which might may not reach the sterling zone otherwise.

ECONOMIC RELATIONSHIP

Jersey necessarily imports an array of goods and services to meet the needs of the population. The vast majority of these imports come to the Island from the United Kingdom. Reciprocally, the UK is also a major export market for many of the goods and services provided by businesses and industries in Jersey, including high-value produce such as Jersey Royals, oysters, and dairy products. The majority of Jersey’s communications links (flight paths, shipping routes and digital traffic) are with the UK. Jersey has strong links with the UK business community and, in particular, the City of London in its capacity as an International Finance Centre. Jersey provides vital liquidity and makes a significant contribution to the UK’s economy.

HISTORY AND BACKGROUND

The United Kingdom is Jersey’s closest international partner. Deep social, cultural, economic and constitutional links between us have been built up and maintained over hundreds of years. Jersey’s relationship with the English Crown began with the Norman invasion of England in 1066, after which William the Conqueror sat as both William I of England and Duke of Normandy, the latter of which Jersey was a part. The cultural links between Jersey and the UK have developed significantly since the end of the Second World War. Nearly a third of the resident population in Jersey were born in other parts of Britain meaning there are strong family links between this Island and the UK. The majority of international phone and digital traffic from the island goes to the UK.

Carolle Benitah

Carolle Bénitah was a French Moroccan photographer, who worked for ten years as a fashion designer before turning to photography in 2001 she explores memory, family and the passage of time. Often pairing old family snapshots with handmade accents, such as embroidery, beading and ink drawings, Bénitah seeks to reinterpret her own history as daughter, wife, and mother.

Benitah took old family photos and made them into new ones but with her version of the story and her feelings towards the people and the photos. She used different styles to re-interpret her own history. For example, she used embroidery on many of her pieces as a way to express her thoughts and experiences, or on some, she used gold paint to cover a part of somebody or she would cover everyone and leave the background black and white.

“Those moments, fixed on paper, represented me, spoke about me and my family told things about my identity, my place in the world, my family history and its secrets, the fears that constructed me, and many other things that contributed to who I am today”

Benitah started to become interested in her old family photos when she was looking through a family album, the photos she was looking at were taken 40 years earlier, but she could not remember the moments that were in these images and what followed those special moments. Benitah felt that those photographs represented her, showed things about her family as well as told people about their identity and her place in the world. She stated those photos “contributed to who I am today”.

Benitah decided to explore the memories of her childhood so that she could understand who she was and define her identity. She started by looking into the photos that she found in her family albums. She chose snapshots because they related to memories and to loss. She saw these photos as fragments from her past, she ordered them, scanned them and printed them so that she didn’t do anything directly to the original photographs. Once Benitah made the image choice she wanted to start telling her version of the story, she then turned her attention to her own history with a new perspective as there were 40 years of distance and life experience.

“I make holes in paper until I am not hurting anymore.”

One of Carolle Benitah’s most unique features of her work is the way she manipulates the photos, she uses needlework, embroidery, beads and ink. She wanted to use embroidery as it is a primarily feminine activity and in the past women embroidered hoping for the man’s return to the home. This style was linked to when she grew up as a girl in a “good family” and used to learn how to do this. Even though Benitah knew that there was nothing subversive about embroidery she wanted to twist it with her purpose. she uses this style of work as a decorative function so that she could re-interpret her own history and expose its failings. The activities she put into her work to dispute the stereotype of embroidery being a sign of a good education with well-behaved girls, a wise spouse and a loving mother.

Carolle Benitah believed that each stitch she made with the needle, that each hole is putting death to her demons and she states that it’s like an ‘exorcism’.

Carolle Benitah – Information

Image analysis

I like how this photograph is manipulated in such a smile way, such as the stitching around each person and the shadows but can convey such a powerful message. Benitah claimed that she liked to use stitching in her photos as she felt that with each hole she was putting death to her demons. When I look at the picture I think that when growing up she had strict parents which had a very specific way they raised their children which could have led to Benitah feeling suffocated and trapped within her family. I enjoy that she is able to portray this through a simple activity such as the stitching with red string. Another feature that I feel brings the full manipulation together is the colour of the sting, red. Red is a colour that can be linked with anger, danger and love which I think a the feelings she wanted to put forward in her projects as she wanted to show case her family and how she grew up and was raised.

Joachim Schmid

Joachim Schmid is a Berlin-based conceptual artists who collects and re-uses photographs that other people throw away. He uses these discarded, ripped and mundane images as a way to create artwork that is alluring, intriguing and captivating. He says that he has a passion for ‘visual trash’. He enjoys using other peoples photos that they throw away in public especially if it to be seen to be done with animosity and intense feeling.

“People are doing it everywhere in the world now!”

Schmid is very much a modern-day anthropologist who tries to understand contempered cultures by studying its visual rubbish. One of the projects he started was Pictures from the Street, (Bilder von der Straße, in German). This was in the early 1980s and it still is continued today. For this project he keeps and classifies each photograph or fragment of a photograph he finds in a public space, the collection now has more than 900 images. If one of the images Schmid finds has been ripped to pieces, he will re-assemble what he can so that he can be re-photographed. Schmid notes the date and place here each photo was found, this helps with imaging the stories behind the images. By looking at this collection it is impossible not to think of the back story, about who once owned these photographs, who’s in the photos and why they were thrown away.

“For the first time in the history of photography, we can study the real-time production of snapshot making – globally!” – Joachim Schmid

Another project that Schmid created came out of a prank which he started by posting what looked like a serous notice in a public newspaper about the ecological dangers of unwanted photographs and negatives. He went on to create an “institute” that offered to safely recycle or re-use dangerous film and photos. This “institute” became publicised worldwide and Schmid was bombarded with parcels of photos and negatives that people wanted to dispose of.

In one of these parcels, he discovered decades worth of medium format negatives from a professional photo studio. But they were all sliced in half in an effort to destroy their value. Schmid found that he could put together the left half of a negative with the right half of another negative to come up with a bizarre composition that was uniformly lit and fit together. It was also helpful that the photo studio always positioned its lights in the same way for years and never moved the camera closer or further way from the model.

Image analysis

This image is a mix of two halves of different negatives to create one final piece, I like how this manipulation of a photo allows for there to be many different elements in one smile photograph. This image consists of one side of the negative being a women in black and white with glasses with a wide smile compared to the other half which is presented as an older man in a smart suit with a closed lipped smile. I like how different each side of the image is but also how they seem to fit together and create a good composition making it pleasing to the viewer. Another element of the final piece which I find intriguing is how the left side of the photo is bigger then the right, this makes me think that Schmid wanted the women and her facial features to be more present in the photograph compared to the mans features.

Birthe Piontek

Birthe Piontek is a German photographer who moved to Canada in 2005 after she received her MFA from the Folkwang University of the Arts in Essen, Germany. Piontek’s work has been exhibited internationally in both solo and group shows and is featured in many worldwide collections.

One of my favourite projects of Piontek is ‘Mimesis’ as she uses it as a way to make a fictional world that represents our relationship to reality and the way we perceive images of ourselves and other people. Piontek wanted Mimesis to expose how mirrors and pictures are just one version of the self, versions that can be cracked and reshaped. She reinterpreted the original photos through collage work and photoshop additions as her work invites viewers to look beyond the surface images, especially of ourselves and other people to help us realise that everyone has many sides to them.

Birthe Piontek – Mimesis

Birthe Piontek – Information

Another one of Birthe Piontek’s projects that I will be taking inspiration from is ‘Her Story’, I really like how she has manipulated the photos in each one of her final pieces as you can tell how the women are represented throughout the edits. Piontek created this project as an approach to the topic of her mother’s and grandmothers’ loss of memory due to Dementia and Alzheimer’s disease. Piontek stated that she had many thoughts about memory and memory loss, which seemed from her personal connection and emotional involvement with these topics. She also wanted to explore these subjects as she has always had the same question and fear that she might carry the disease, she also enjoyed how she could express her thoughts around the lineage and heritage not only within her family but also on a bigger scale: how humans interact and are connected by collective memory, as well as how our memories shape our identities. The nature of memory Birthe has always sounded fascinating and has always been a lifelong obsession of hers.

Birthe Piontek – Her Story

Birthe Piontek – Information

Image analysis

Above is a photo from Birthe Piontek which I think is able to portray a deeper meaning without having to have extravagant features with a lot of elements. Piontek used a single tool such as a pencil, pen or pin tack to create these holes in the photo of the woman. I like how much emotion this image conveys as there is clearly anger behind this, which makes the backstory even more interesting. Even though Piontek hasn’t released a meaning behind this photo being able to make a story in your head keeps viewers interested. One feature that I enjoy about this image is the contrast of light from the dots behind the photo compared to the darkness of the background and the actual photo o the woman.

PICTORIALISM

time period : 1880-1920

Key characteristics/ conventions : to make photography an accepted art form. Not considered art from orginally as all you had to do was click a button. A camera was seen as a mechanical devise. Photography was a threat to other art froms as they could make such perfect images.

Artists associated: Alfred Stieglitz

Key works:

Methods/ techniques/ processes: Scratching the negatives, vasaline on lenses

REALISM / STRAIGHT PHOTOGRAPHY

Time period:1915 – present

                                                                                                                    
Key characteristics/ conventions :realism, to photograph things as they were in the view finder without any manipulation

Artists associated: strand. – imspired by cubism, picasso, prague. Walker evens, Edward Western.

Inferences – Pictorialisms

Key works: Real, As seen,

Methods/ techniques/ processes: sharp images without any manipulation after the photo is taken.

MODERNISM

Time period:1900-1940s

Key characteristics/ conventions :

WWI and WWII, Self Conscientious

Inferences

Artists associated:

Key works:

Methods/ techniques/ processes:

POST-MODERNISM

Time period:

Key characteristics/ conventions :

Embrace of randomness. Postmodern works reject the idea of absolute meaning and instead embrace randomness and disorder. …

Playfulness. …irony and even humour…a subverting of grand narratives at times

Fragmentation. …provocative and disruptive

Intertextuality

Lack of grand narratives

Postmodern art rejected the traditional values of modernism, and instead embraced experimentation with new media and art forms including intermedia, installation art, conceptual art, multimedia, performance art, and identity politics.

Artists associated:

Key works:

Methods/ techniques/ processes: