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• W2992745238 abstract "Like other fine arts, the general practice of photography always produces a subjective document, a still moment that has been abstracted from a larger objective reality. By the 1950s, art critic Clement Greenberg used a subjective method of critique, which he had adopted from Immanuel Kant's The Critique of Judgement (1790). (1) Consequently, this form of aesthetic practice focused strictly upon the artistic medium and denied all figurative imagery as a form of art. As recently as 1983, Greenberg stated that photography could only be considered art once it was as good as painting. However, Greenberg's antiquated theory of beauty, as outlined by Kant, was no longer an integral aspect of artistic imagery by the late twentieth century, and it fell far short of properly addressing the presence of beauty within contemporary photography. (2) While the realist image transports the observer's mind further into the depths of imagination, the sensationalist locates the viewer's attention within the horrors of reality. (3) An investigation into the opposing genres within the photographic styles of documentary, fashion, portraiture, and war will reveal that reviling and evocative imagery can indeed be beautiful. Disfiguration became an artistic phenomenon in the wake of World War I. Surrealism dismembered the human figure into separate objects playing upon psychological and sexual metaphors that grew out of the anxiety of the moment. Hans Bellmer, for example, staged sculpted caricatures of violently contorted female bodies that alluded to a sadistic desire for either murder or rape. Two gelatin silver prints from Bellmer's 1934 anonymous book The Doll (Die Puppe) depict a figure in various prostrate positions. In the first instance, the artist draped one flimsy doll across a broken chair, as if it had been thrown against a studio prop. The second image captures a female body that does not consist of a face but instead morphs further, growing additional breasts and buttocks. As Hal Foster wrote, For Bellmer these variations of the first poupee produced a volatile mixture of joy, exaltation, and fear, an ambivalence that sounds fetishistic in nature. (4) Bellmer's work expressed the aggressive tension that underlies desire and was well received in Paris during the late 1930s, although most surrealists preferred not to work with the same visceral subject matter. (5) [ILLUSTRATION OMITTED] Bellmer's contemporary Man Ray was also working in Paris, creating photographs that depicted fragmented female forms but without the kind of aggression that had characterized Bellmer. Anatomies (1930) and Lee Miller (Neck) (1930), for example, represent the head of a woman that is tipped back and turned away from the camera so that all one sees is the neck's expanse between chin and shoulders. Man Ray's subtle interest in sexual fantasy and gender identity continues in Lee Miller (Torso) (1930), which captures the bare chest of the artist's muse but denies any representation of the sitter's face. Anonymity prevails while minimal form takes on its own aesthetic. Six years prior, Man Ray captured the shapely back of Kiki de Montparnasse in Le Violon d'Ingres (1924), adding a pair of decorative F-holes that suggested the model was not just a woman but also an instrument available for play. Man Ray's interest in nuance appeared through his articulation of shadows, used as a contrast that gave shape to form. (6) Moreover, his ability to repeatedly capture the lyrical, passionate pose of each sitter--reclining either as a delicate nude or dressed in light negligee--found a demand outside of surrealism within the pages of Harper's Bazaar, Vanity Fair, and Vogue, where the body was broken down further into various sites for consumption. By the late 1930s Man Ray's uncanny artistic process had already attained significant stature within Modernist artistic discourse since it bridged fashion with art, transforming both into chic and stylish mediums. …" @default.
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• W2992745238 date "2006-05-01" @default.
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• W2992745238 title "Mining the Beautiful" @default.
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