The Exhibit Twilight Visions at the International Center of Photography

The medium of photography in the post World War I period was almost too deliciously convenient a vehicle for certain proponents of the Dadaists and the Surrealists. Cameras had been, since their invention, been shrinking to a manageable and portable size. The newly graspable medium offered these iconoclastic visionaries a range of possibilities for creating art that were available in no other way.Advertising We will write a custom essay sample on The Exhibit Twilight Visions at the International Center of Photography specifically for you for only $16.05 $11/page Learn More Through photography, the Dadaists could freely exercise the randomness, transgressiveness, immediacy, and populist tendencies they espoused. The Surrealists could snatch from around them scenes of impossibility and disturbing wonder, while showing bodies and settings with stark reality. Is it any wonder, then, that photography, Paris, Surrealism, and Dadaism are terms which go together ? The ability of photography to capture scenes of the moment allowed for an uncompromising observation of the world as it was, with all its warts, and was thus very appealing to a group which gloried in calling a spade a spade. After all, in the words of Tristan Tzara,â€Å"beauty is dead† (Tzara 249). Photography could catch the unwary subject in the midst of petty deception and hypocrisy. A photographer could make art from the flotsam and jetsam of the streets, whether human or object. A photograph was almost like performance art, involving the subject and the artist in an ephemeral, spontaneous, one-time-only event, very much in line with Tzara’s thinking (Tzara 253)[1]. Additionally, photography avoided entirely the hated tyranny of the art academy (Tzara 250). Further, the cumbersome process of using models, undergoing days or weeks of sittings, was avoidable when using photography. Rather than requiring a studio and years of training in drafting and painting, pho tography could be undertaken with only a modest closet for atelier. Additionally, in that less litigious age did not even require the consent of the subject to create a portrait. Furthermore, by placing the relatively inexpensive means of production of art in the hands of almost everyone, photography was enormously egalitarian and could theoretically be adopted by the masses for their own artistic expression, which was a goal of Dadaism (Darwent)[2]. What a perfect fit with the philosophy of the Dadaists! At the same time, photography had the enormous advantage that pictures could be modified from their recording of strict reality. They could, for example, be altered by changing lenses or using mirrors, as in Distortions (1933-1934) by Andre Kertesz, a Hungarian born expatriate who made Paris his home (Andre Kertesz). Photographs may also be modified chemically during processing, by changing the exposure or by retouching, to create entirely fantastic and appealingly dreamlike effect s.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Entirely surreal images could be produced out of a darkroom, even at the hands of a person who had no drafting or painting skills [3]. Such dreamlike effects were much valued by the Surrealists. Andre Breton wonders in his Surrealist Manifesto whether dreams are not equal in significance to waking life (Breton 434-437). He also has great respect for madness, and for hallucinations. In fact he regards hallucinations as pleasant enough to seduce the madman to remain in that condition (Breton 433). All these states of being can distort perception in the same way that a distorted photograph modifies reality. How appealing it must have been to know that one could print on paper the contents of one’s dreams, as Breton could readily have accomplished with his simple but striking personal dream image of a man being cut in two by a window (Breton 436-437). The exhibit Twilight Visions at the International Center of Photography shows a range of photos from the practitioners of this medium in the 1920’s and 30’s. One notable example, Brassai, the nom de shutter of Hungarian born Gyula Halasz, specialized in images of a very anti-establishment cast of â€Å"prostitutes, pimps, madams, transvestites, apaches, and assorted cold-eyed pleasure seekers† (Brassai). Brassai’s photo of the Angry Couple at the Bal Musette (1932), suspends the quarreling and not terribly elegant couple in suspended animation between moments of blame and insult. The unsparing picture certainly exemplifies the Dadaist view of Tristan Tzara in his Dada Manifesto, 1918; demonstrating â€Å"no pity† (Tzara). This depressing but basically realistic photo contrasts nicely with another Brassai, Bal Musette (1932) that combines the low-life grittiness of two bored prostitutes (or at least ladies of easy virtue) hugging a cheerfu l young man, with the hallucinatory surprise of finding in the mirror the image of a much older man and his companions. It is almost as if the viewer were seeing the young man’s dissolute future. Another piece, Girl Playing Snooker (1933), possesses all the dignity of an odalisque or any portrait of John Singer Sargent, but was of course snapped in a dark bistro of an undoubted prostitute. Brassai’s gaze, like that of the young woman in the photo, is â€Å"straightforward as a hammer† (Brassai). This portrait of a nameless pool hustler delivers a Dadaist poke in the eye of traditional formal portraiture. The can-can dancers move blurrily in Ilse Bing’s picture, French Cancan Dancers, Moulin Rouge, Paris (1931). Bing was unusual among this group of photographers, In that she had actually had some art and design-related training (Ilse Bing Biography).Advertising We will write a custom essay sample on The Exhibit Twilight Visions at the International Ce nter of Photography specifically for you for only $16.05 $11/page Learn More In spite of the blurring of this photo, it is a vivid image, and it is interesting to compare this with the many images of the demi-monde of the dance hall from the Impressionists. No color is in the photo, of course, and we are able to see the faces full on, unlike many backstage views by the previous generation of artists. How odd it is to confirm that the Impressionists actually were accurate in portraying the cancan performers as entirely composed, disinterested and almost expressionless. The word jaded might have been invented for these faces. Perhaps, as Breton suggests, for these women, â€Å"existence is elsewhere† (Breton 439). Breton would probably have encouraged these dancers to absent themselves as much as they could from the real world, since he affirmed that Surrealism was such a potent way of dealing with daily problems (Breton)[4]. Dadaism and Surrealism embr aced photography with enthusiasm, and created some remarkable works in the medium. They recorded the realities of street life and the underclass, and their dreams and nightmares as well. They used all the unique features of the medium to look at grit and turn it into fantasy. Bibliography â€Å"Andre Kerteszâ€Å", 2010. Explore Photography. Web. Brassai, 2010. Web. Breton, Andre. â€Å"The First Manifesto of Surrealism.† Art in Theory: 1900-1999: An Anthology of Changing Ideas. Ed. Charles, and Woodll, Paiul Harrison. Oxford: Blackwell, 432-439.Advertising Looking for essay on art and design? Let's see if we can help you! Get your first paper with 15% OFF Learn More Darwent, Charles. Well-chosen works show how De Stijl – ‘The Style’ – movement led to a revolution in European art that still resonates today: Van Doesburg the International Avant-Garde, Tate Modern, London. 2010. Web. â€Å"Ilse Bing Biography.† 2010. Victoria and Albert Museum. Web. Tzara, Tristan. â€Å"Dada Manifesto.† Art in Theory: 1900-1999: An Anthology of Changing Ideas. Ed. Charles, and Wood, Paul Harrison. Oxford: Blackwell, 248-253. Footnotes Tzara expresses it thus: â€Å"Dada: absolute and unquestionable faith in every god that is the immediate product of spontaneity† (Tzara). Along with overturning everything that constituted order, the Dadaists believed that art had the power to uplift the oppressed and demoralized, and to accomplish this the art had to be accessible to them (Darwent). Kertesz certainly had little professional art training (Andre Kertesz). Breton contends of Surrealism that â€Å"It tends to ruin, on ce and for all, all other psychic mechanisms and to substitute itself for them in solving all the principal problems of life† (Breton). This essay on The Exhibit Twilight Visions at the International Center of Photography was written and submitted by user Organa to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Teenage Driving essays

Teenage Driving essays Many laws have yet to be settled on whether they should rise or lower the driving age. My opinion is that it should neither be raised nor lowered. Honestly, I myself am a 16 year old driver, and a safe one at that. So why should safe drivers be penalized? Here are a few reasons on why I believe the driving age shouldnt change at all; because if it goes up then most 16 year olds wont be able to work, also if it lowers there will be a lot of inexperienced drivers on the road, and it would make things a lot easier and fair if things wouldnt change. Initially, if the driving age were to change it wouldnt be fair to the kids that either have to wait when there brothers or sisters didnt have to. It also would make a lot more sense to keep it the same so that its easier and so that you wouldnt have to go through the hassle of public complaints and law rethinking. Furthermore, if the driving age lowers, can one imagine how many wrecks that there would be because of the inexperienced drivers? I would hope that no one would be as stupid as to lower the driving age, because there would be less people alive today. In addition, if the driving age raises most 16 year olds will be out of a job and not able to learn responsibility. Without responsibility young adults would not be able to learn to grow up and move out on their own. Finally, its believed to be that 65% of high school students would agree with my decision, and out of teens all over the world about 60% agree with me. The driving age should not change for better or worse. I say, Forget the hassle and keep things the same. 16 years old is a responsible and mature age to be driving. Believe me I know because I am a 16 year old driver. ...

Mental Health psychosocial intervention assignment Essay

Mental Health psychosocial intervention assignment - Essay Example The patient stated that he also hears voices that he can control as long as he does not drink and stays on his medications. Patient had stated that he had bouts of depression and has had suicidal ideations. The patient knows that he needs to be compliant with his medications and has been known not to take his medicine. In thinking about new therapies for this patient you as the nurse, doctor or as a therapist should think to include more psychosocial interventions to make him feel comfortable, so that he will want to continue to take his medications and not want to drink that he knows causes his various problems. The caregivers should think about Social training groups, relaxation skills, and various activities that will improve coping skills. When the patient first arrives at the hospital for the coming admission you could ask him if he remembers doing any of this before to see about his level of consciousness. Working with any patients like Gary the caregivers should try to figure what Coping Mechanisms should be used and not used. You will have to identify the problem and set up a goal that will help the patient learn how to deal with his problem or problems. You know that the patient has recurring depression, is an alcoholic, and he says that he hears voices and can at time become violent due to these voices. The caregivers can think of ideas that can give the patient social support and strength so that he will not rely on the voices he hears. You can check into the resources that did not work and find out why he did not use them and then you can try to find new resources that may work. Case Study Gary a 51-year old male with previous admissions, but has decided to discharge himself from the hospital AMA (Against Medical Advice). The patient has a history of Depression due to financial stress and due to this stress he drinks alcohol so much that he suffers from alcoholism. The patient admits to have suicidal ideations and has even taken an overdose of his m edications. This is the reason that is being admitted this time. Due to this overdose due to feeling stress of his financial problems and then he drinks and aggressive issues arise and the patient gets into fights when the patient hears the ‘voices’ in his head telling him to hurt other people. The patient does admit that he can control the ‘voices’ when he is compliant with his medications, but when the patient is intoxicated his mental status decreases and could become violent. The patient does not always seek help in the community due to his past behaviors. Discussion of Psychosocial Interventions A review of psychosocial interventions begins with Erikson and for this patient, Gary, he needs to work on trust versus mistrust. The patient must want and feel trust with the caregivers while in the hospital and then he must feel comfortable in his community when he is discharged from the hospital. The patient must also work on autonomy versus shame and doubt. The patient can do this by wanting to learn about the how and why that his medications must be taken regularly and that he can learn to do this on his own and that he does not have to worry about his financial problems, because he will be given ideas that will help him in the community. The patient feels alone and this brings on depression and then the drinking and all the other problems and if the patient