art since 1945 final paper
TRANSCRIPT
Shane Godfrey
December 14th, 2008
Art Since 1945 Final Paper
A Reinterpretation of Photo Realism
Introduction and Conceptual Framework
Painting realistically has been something that artists have been struggling with since the
birth of painting. Artists have been trying to accurately depict a scene, person, or objects to
trick the eye to believe a painting to achieve a certain level of “realness” for decades. In the late
nineteenth to earth twentieth century, Trompe-l'œil (which literally translates from French to
English as “trick the eye”) painters came on the scene. Trompe-l'œil painters used still objects
and tricks of light, shadow, and 3-dementiality to try to convince the viewer into thinking the
painting was real. Their goal was to trick their viewers into thinking their paintings were actually
part of the scene it was placed in. (Milman, 1982) In figure 1, Richard LaBarre Goodwin’s
Hunting Cabin Door depicts this trickery by giving the flat painting a 3-dementiality through the
use of the duck placed on a painted wood door. Ideally, this painting would be placed in the
same setting to trick the viewer into think that the objects were really hanging on the wall.
Jasper Johns later brought this idea into question in the 1950’s. He took objects in his
studio, and recast them with the utmost care, to try to create exact replicas of his painting
instruments. In figure 2, Painted Bronze (savarin), the viewer can see the craft put into the
recreation of the paint can. It was expertly cast in bronze, expertly painted to look exactly like a
paint can would, and then placed in a gallery to question the idea of a paint can and the idea of
Trompe-l'œil applying only to paint. From afar, this paint can look like it is real. But once the
viewer gets close, the waviness of the text becomes apparent from painting the text onto the
can. This begs the same questions that the Trompe-l'œil painting does, except through use of
sculpture. (Which breaks every rule of Trompe-l'œil painting.) (Frankenstein, 1970)
In the late 1970’s, after the hegemony of Clement Greenberg and the abstract
expressionist painters had finally started to subside, Photorealism hit the art scene. Using
snapshots and painting them in a grand scale, they were bringing banal figures back into
painting, which had not been done in American art in several decades. Thanks to pop art and
minimalism in the 60’s, artists such as Ralph Goings could make paintings such as the one in
figure 3, Airstream. This painting is made from a snapshot and then painted in a grand scale of
around 5x7 feet. These paintings are made with such craft, that they appear to be straight out
of reality, like that of Trompe-l'œil paintings, but they were actually painted with such accuracy
that they become hyper real. The photo realist painters of the 70’s were actually predicting
what we now have today; hyper real images through the use of high definition images and
video. (Arthur, 1980) In this essay I will explore how a photographer, Sam Rosenholtz, is
reinterpreting and using a lot of these ideas in his current work made in 2008 through
photoshop and a high-resolution digital camera. (Jacobs, 2008)
Photography Lineage
Before talking about Rosenholtz’s images, I would first like to contextualize photography
into this lineage of photo realists. In the contemporary photography art scene, Gregory
Crewdson has been making fantastic images of the supernatural for the past two decades.
What he does is drives around and scouts out a location somewhere in New England. He then
gets an illustrator to draw out what the image that he wants to photograph in his head to look
like. Next the lighting director to goes into the scene that was scouted out and gives the scene
the proper lighting to make the scene look both cinematic and natural. And finally, Crewdson
and his crew go onto the location with a large format 8x10 camera and set up the shot. They
then include real actors into the scene and then take about forty sheets of film during twilight
hours of the day. After the shoot is over, the pictures are all scanned into a computer and
digital put together to achieve ultimate sharpness and commercial sleekness. These pictures
appear to be straight out of a movie, but like Cindy Sherman’s photographs of Untitled Film
Stills, these are more like Crewdson’s contemporary version of that idea through use of Science
Fiction films. These trick the eye to believe that the photographs are straight out of a film or
even real life, but in actuality are so digitally manipulated, lit with such precision, and are so
sharp, that Crewdson’s photographs have no chance of ever being considered real. (Fletcher,
2008)
Sam Rosenholtz re-imagining of photo-realism through photography
Referring to figure 4, Sam Rosenholtz’s Untitled, the image appears to be a strange
moment caught of white cars driving on the highway at the same moment. But in actuality it is
much different than that. Much like Trompe-l'œil painters, Rosenholtz is hoping to trick his
viewer to think many different things. His series of photographs are actually a re-interpretation
of collapsing space-time. As humans we are limited to only seeing what is going on at one
specific moment. These photographs are taking one scene, and compressing several hours into
one frame of time. He then goes in after making hundreds of photographs to digitally compile
them together to get one image to describe a scientific theory. So, Rosenholtz reads about
scientific theories, finds a place where he can demonstrate this theory visually (usually
collapsing space and time), photographs the same scene over and over again at different times
of the day, and then digitally compiles the different images together to make one photograph.
Each one of these white cars was, theoretically, in this frame of the world at one time. The cars
themselves are not moved from where it was when the photograph was taken, but rather
placed in its exact spot on a different plane of time.
Not only are these images digitally composted, but are taken with a high-resolution
digital SLR camera. In this way, he is using the technology that photo realists like Goings were,
whether they know it or not, predicting. These high-resolution files, after being placed into a
single file using photoshop, have a lot of post work done to them. The entire image is
manipulated to reach extreme focus, a lot of the images could be mistaken for movie stills
because of the heightened contrast, and they are printed upwards for 4 feet (though they could
be printed even larger with the use of the high resolution file). Like photo realist and Trompe-
l'œil painters, Rosenholtz is using photoshop to make his images hyper real. The amount of
texture and sharpness achieved from the file that comes out of the camera can be played with
in such a way that the viewer can see every little detail of each part of the image. Much in the
way that Goings’ or LaBarre’s paintings have a level of sharpness that is, without their hand,
unobtainable.
Comparison of Rosenholtz to Past Artists
This way of making photographs begs a lot of questions. Is this image really just an odd
moment caught at the right time? Is this image trying to sell me something? Are all these cars
paid drivers that were put together just to set up this photograph? Is this digitally manipulated
or does this scene just look that strange? All these questions are valid and challenge the viewer
in many of the same ways that all of the above artists are challenging the viewer’s eye as well
as perception of the real.
Each of these artists has a lot of things in common. First of all they all appear to be able
to be used in commercial applications. The Trompe-l'œil paintings were made to be hung in
spaces where they could be used to trick onlookers. John’s Paint Cans could be sold in any store
that has figurines. Goings’ paintings have a commercial sleekness to them that comes straight
out of pop art. And Rosenholtz photograph looks like an advertisement for a car company. But
at the same time they all subvert (with maybe the exception of Trompe-l'œil) what their real
application is for. The paint can is used to subvert the idea of Trompe-l'œil, by making it a
sculpture and putting it into the gallery, Johns is questioning the tradition as well as meaning of
the Trompe-l'œil tradition. Goings’ is part of a group of painters who are in retaliation against
pop and abstract expressionism, using paint as a way to make banal snap shots into big,
extremely sharp and hyper realistic images. And Rosenholtz’s photograph are questioning
space-time, as well as ones perception of what is considered real. Also, these photographs have
the same quality as a Going’s picture; they seem to be real but have more sharpness and detail
than the eye can see, pushing the idea of hyper reality.
Final Discussion and Conclusion
Rosenholtz is doing a lot of what photo-realist painters were doing in their day. Turning
seemingly banal imagery from “low art” to “hight art” through the use of a multitude of digital
images compiled together along with the postproduction work. Also the setting in which
Rosenholtz is placing the images, in an art school context opposed to a magazine or
advertisement, and asking viewers to deal with the way he is reinterpreting the conventional
use of a camera. This ties in with how Goings’ was using banal snapshot images and turning
them into something extraordinary through the use of airbrushing and large scale paintings to
turn snapshots (low art) into big meaningful works (high art). Today, when the lines between
different styles of photography such as fine art, commercial, advertising, and fashion are all
being blurred together; Rosenholtz is asking the question of where those lines stand today and
is exploring how to subvert them; much like Goings’ and John’s work. Another thing that
Rosenholtz’s photograph has is a coolness to it stylistically that lines up with the coolness of any
of the above-mentioned artists. Again, the sort of commercial or advertising style to
Rosenholtz’s photographs give it a feeling of being emotionally and visually cool. (Jacobs, 2008)
Rosenholtz runs into a lot of the same issues that photo-realist and Trompe-l'œil
painters have which is that they are strictly a visual exercise. That both the paintings, or in
Rosenholtz’s case, photographs, can be seen as a craft exercise. That these works are no more
than a visual “eye candy” (Jacobs, 2008) and there is nothing else to get out of them. Whether
or not the artists in this paper think the same way about these images as many critics as well as
myself do, is up for debate. Rosenholtz sometimes only describes them as visual manifestations
of scientific principles and nothing more, which makes them culturally and historically
uninteresting. Also, there is the question of whether or not this type of work is either good or
bad for the fine art world of photography. Are these type of hyper stylized images that appear
to be for an advertisement or commercial application dooming the future of the fine art world?
Much like fashion photographs out of Vogue or GQ magazine going into a fine art gallery are
questioned, these photographs could be asked the same thing. I would like to think that they
would fit in just as wel, but I am sure that a lot of more modernist photographers would argue
that yes, this type of work has no place in a gallery setting. Pushing these lines and boundaries,
and playing with the idea of a fine art photograph are much of what makes this type of work
interesting. I would like to think Rosenholtz is thinking about these blurred lines and pushing
the boundaries of photography and art in general.
Images
1.
Richard LaBarre Goodwin, Hunting Cabin Door, n.d. Oil on canvas, 52x32 inches. Approx:
1886
2.
Jasper Johns, Painted Bronze (Savarin). Bronze and Paint. 1960
3.
Ralph Goings, Airstream. Oil on Canvas. 60x85 inches. 1970
4.
Gregory Crewdson, Untitled. Digital Chromogenic print. 64 ¼ x 94 ¼ inches. 2004
5.
Sam Rosenholtz, Untitled, Inkjet Print. 24x36 inches. 2008.
References
1. Arthur, J (1980). Realism Photorealism. USA: The Williams Company of Tulsa.
2. Fletcher, K (June, 2008). Gregory Crewdson's Epic Effects. Smithsonian Magazine,
Retrieved december, 13, 2008, from
http://www.smithsonianmag.com/arts-culture/gregory-crewdson.html
3. Frankenstein, A (1970). The Reality of Appearance. New York, NY: New York Graphic
Society LTD.
4. Jacobs, J (2008).The Two Sides of Photorealism. Art & Antiques. 31, 70-81.
5. Milman, M (1982). Trompe-L'oeil Painting. New York, NY: Skira Rizzoli.