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Representation” in the late 1990s, accuses photography of being a surrogate of an object. A surrogate, as he defines it, is the capturing of an object or person on film that is exactly the same in reality. 2 To simplify his theory, if one takes a picture of a toadstool per se; it is the surrogate of the toadstool that is displayed on film. Since the surrogate has no expression behind it, neither the photograph nor the object represented has artistic value. In paintings, the observer may look for the creator’s motivations in the properties of the works of art. If the photograph is a surrogate, Scruton believes the aesthetic interest is diminished to appreciating only the object represented. 3 I dispute this by pointing out the influence photography has had on other mediums. Degas's painting of The Place de la Concorde imitates a photograph in his depiction of the candid pose of the pedestrians. The subjects are captured in a photograph-like manner. The spatial arrangements of the off-center Parisians have a snapshot appearance. They are depicted as walking off the canvas with their minds cluttered with thoughts. With this idea, Degas’ painting may be looked at as a surrogate as well, capturing people and objects on canvas that mimics the actual scene. Perhaps Degas captured the surrogate by painting this particular still framed moment he witnessed without manipulating the scene. Alfred Stieglitz’s The Street captures similar candidness along the snowy urban streets. The off-center tree leads the eye down to the horse and carriage. The carriage, with only the front wheel apparent to the viewer, has not yet come into the picture. The horse-drawn vehicles disappearing into the blustery weather was created by Steiglitz for purely aesthetic purposes. He shot this scene to record the feeling of the place and the busy feel of the street corner mid winter. Degas’ painting embodies similar informality of the Parisians walking in and off the scene. The still-framed shot of Degas’ The Place de la Concorde and Stieglitz’s The Street intentionally incorporated the candid feel of the place exemplified as art. Although images of horse-drawn buggies and moon lit skies are created though a series of chemical reactions, the artistic intent can still e included to make the work art. However, individuals, both contemporary and past, have favored photography to be as science as opposed to an art. The technical processes of a camera are simple enough for a child to press a button with a picture immediately being taken on film. This stigma of the simplicity of photography still looms. However, compare the technical processes of a photographer to that of a sculptor or a painter. All use outside mechanisms to create their finished product. Ansel Adam’s camera, Michelangelo’s chisel and Picasso’s brush are all tools used to aid in the making of art. Think of Rembrandt's wood cut prints and Whistler’s etchings. Surely these are more than mechanical processes that lack artistic intent. Photographers, printers, sculptors, and painters alike strive for the concrete essence of their intention. Though a painting is different from a photograph that is in turn unlike sculpture, all have an artist or a collaborative group to strive for the vision each individual intends. Intention in photography has changed dramatically through time, from capturing a seated family dressed in their Sunday best to the compound eye of a fruit fly. The beginnings of the Brownie camera led to posed and literal “still-lifes” of objects with people stopped in motion. We have now progressed into the evocative, to produce photographs that invoke the mind. Photographers now strive to capture the fleeting moment that those before us never thought possible. Science is caught on film, such as the uniting of the sperm and egg. Life being created is visible to the world through the aide of a camera and film. The essence of life is created before our eyes and is trapped in history for the viewer to wonder in amazement. Photography can epitomize the brief fleeting seconds that happen so quickly one forgets to take notice. Through the photographic documentation of these moments, the world will learn, become informed, persuaded, and convinced. 12
A photographic image can be fused into an individual’s memory as quickly and irrevocably as it is captured on film at the click of a shutter. The power of a photograph can evoke feeling, emotion, and desire in a viewer. Photographs can transport the viewer to the heat of the Sahara desert to the depths of the blue sea. They show the poverty stricken, as well as the innocence of a child and the gaze of two people in love. Photographs can take a viewer back in time, to get a glimpse of society before we knew it, or to show minute life that cannot be seen with the naked eye. Photography is an art form that documents existence. These photographs lead you by the hand, showing the beauty of life. All you have to do is open your eyes. NOTES 1. Monk, Lorraine. Photographs that Changed the World. Doubleday. New York, New York, 1989. 2. Scruton, Roger. “Photography and Representation.” Arguing About Art. Alex Neill and Aaron Ridley. Second Edition. Routledge, London, 2002, pp. 195-213. 3. Ibid. 13
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SECTION 1: Keynote Address Undoing
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THE SCHOOL OF VISUAL ARTS NATIONAL
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[Both please.] There’s another pa
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actually this mountain on top is an
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detail. This is from a digital high
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that those religious mysteries whic
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scream into clarity and the effect
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a nutshell our conflicted attitude
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Dr. Stafford: Well, I’m trying re
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CROSS DISCIPLINARY STRATEGIES TO RE
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layering of dissonant imagery of th
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TRANSLATIONS OF MEMORY: PERSONAL ES
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When I asked my students to write p
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FACE VALUE: PORTRAITS AND MEMORY Da
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emotional expression in the human f
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A first step might be a rejection i
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THE ART OF THE NAME OR THE NAME OF
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“ST. JOHN THE EVANGELIST,” OR
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elationship with Jesus than does Pe
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There are several different philoso
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has not been explicitly named by th
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THE ROLE OF MEMORY IN CULTURE Rapha
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Dreaming without lucidity of any ki
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imitative learning. Grazio Fiorito
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ain organization, hormone-disruptin
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once, but most of the time it is a
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species evolving objectivity and lo
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institutional frameworks and laws t
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Memories of the intellectual past s
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But an important variable is being
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surfaced again and continues to ass
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In an abstract of an article entitl
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cognition in more or less dominance
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This is a description of some 4 mil
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complex semantic and syntax with wh
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monkey only correspond to the much
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primitive ceremonial burial of some
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BOXES OF REMEMBRANCES: THE JEWISH R
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Page 79 and 80: IV. BINDING AND PRAYING: THE TEFILL
Page 81 and 82: Symbolic as these words are, they b
Page 83: 8. The Eternal Present, the Beginni
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Page 94 and 95: THEIR FACES BRIEF AS PHOTOS (John B
Page 96 and 97: in the Ghetto’s orphanages and ch
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Page 100 and 101: Wiesel Elie. Night. New York: Banta
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Page 106 and 107: SEWING PLANTS: THE INTERTWINED HIST
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Page 112 and 113: Lang, L. (2001, January/February).
Page 114 and 115: difficult to find a full reconcilia
Page 116 and 117: 6. COLLABORATION Quite by accident
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Page 120 and 121: EXHIBITING 9-11: A HISTORIOGRAPHY L
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Page 126 and 127: PHOTOGRAPHY THROUGH DOCUMENTATION A
Page 130 and 131: MERITORIOUS OR MERETRICIOUS Jacquel
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Page 136 and 137: However, when an artist placed the
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Page 142 and 143: REMEMBERING RABINDRANATH TAGORE Mar
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Page 146 and 147: Let me conclude with two poems from
Page 148 and 149: MONUMENTS IN MINIMALISM: SAFELY UNI
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Page 166 and 167: MOURNING, ABSENCE, AND TRAUMA: REPR
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WITH A PEN AS HIS WORD AND ME AS HI
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FROM IDEALISM TO TOTALITARIANISM: T
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embodiment of the age of enlightenm
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Yale University Press, 1986), p. 10
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“yes well, to be sure they all mi
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characterized various ancient civil
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(whichever “them” is most handy
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There are those who would dismiss s
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TEACHING ART EDUCATION IN A STUDIO
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artworks motivate and inspire stude
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VERS COLLAGE: THE REMEMBRANCE WORK
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On that day when the wall is breach
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often enough to become a social tru
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define his identity and function in
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SECTION 1 - via - School of Visual Arts

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