László Moholy birth name László Weisz; 20 July 1895 – 24 November 1946) was a Hungarian painter and photographer and teacher at the Bauhaus school. He was heavily influenced by constructivism and was a strong advocate of the integration of technology and industry into the arts. Art critic Peter Schjeldahl calls it "relentlessly experimental" due to its pioneering work in painting, drawing, photography, collage, sculpture, film, theater and writingbirth name László Weisz; 20 July 1895 – 24 November 1946) was a Hungarian painter and photographer and teacher at the Bauhaus school. He was heavily influenced by constructivism and was a strong advocate of the integration of technology and industry into the arts. Art critic Peter Schjeldahl calls it "relentlessly experimental" due to its pioneering work in painting, drawing, photography, collage, sculpture, film, theater and writing.He also collaborated with other artists, including his first wife Lucia Moholy, Walter Gropius, Marcel Breuer and Herbert Bayer.Perhaps his greatest achievement was the Chicago School of Design, which still exists today as part of the Illinois Institute of Technology, which art historian Elizabeth Siegel has called "the original work of art of he".He also wrote books and articles advocating a kind of utopian high modernism.
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Milton Ernest "Robert" Rauschenberg (October 22, 1925 - May 12, 2008) was an American painter and graphic designer, whose works first predicted the Pop art movement. Rauschenberg is best known for his Combines (1954-1964), a group of artworks that combine everyday objects as art materials and blur the distinction between painting and sculpture. Rauschenberg was both a painter and a sculptor, but he also worked with photography, printing, papermaking and performance.
Rauschenberg has received numerous awards during his nearly 60-year artistic career. Among the most important were the International Grand Prize for Painting at the 32nd Venice Biennale in 1964 and the National Medal of Arts in 1993. Rauschenberg lived and worked in New York and on Captiva Island, Florida until his death on May 12, 2008. |
Key Light - main light
Filament lamp.- large light, gets hot quickly. Soft box - confines light from an artificial source into a wire framed box Diffusion - Layer of translucent cloth used to make light less harsh. Measure each in LED Lights - easier to work with, don't get as hot. Can change the intensity on the arrows on the back. You can clip Gels - coloured acetate - with bulldog clips on to change colour of the light. Two toning - using two different colour gels on one subject For darker skin tones - best to use warm tones such as orange. There is a light scale called the Kelvin scale which measures light. |
He Was Sold Africa to the Colonists, Samuel Fosso uses his physical body and identity to conceptualize the theme of selling Africa, both through the visual consumption and construction of Africa and through historical caricatures of authoritative figures who literally sold people and resources for personal gain Figure 1. He places himself in the center of a rich, vibrant room with a background of multi-patterned fabrics reminiscent of earlier African studio portraiture such as Seydou Keita. His body is distinctly outlined from the background fabric and he is sitting on a leopard skin throne.
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Some of his earliest self-portraits from the mid-1970s, however, also demonstrate an outwardly transgressive nature in altering or augmenting his identity and gender, such as Self-portrait, 1976, where he assumes the character of a sailor Figure 2. These works were made on the end of his film rolls after closing up his photography studio, Studio National, in Bangui. Fosso said of his work that I dont put myself in the photograph my work is based on specific situations and people I am familiar with, things I desire, rework in my imagination and afterwards interpret.
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These ideas also apply to portraits that involve his personal history, such as the series Le Rve de Mon Grand-Pre from 2003, in which he pays homage to his grandfather who was a healer in Biafra Figure 3. Ingrid Holzl in discussing the performativity of Fossos photographs refers to what she calls the autoportraitistic pact, in which she writes that the photographic self-portrait is a performative sign, not a representation but an act.
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