Biographicall data, excerpts from essays written about the artist and 20 examples of his/her landscape photography work.
BRENDT AND HILLA BECHER
HENRY HAMILTON BENNETT
HENRI CARTIER BRESSON
YAO JUI-CHONGYEONDOO JUN
SZE TSUNG LEONG
RAQS MEDIA COLLECTIVE
TIMOTHY O. SULLIVAN
ISOBEL CROMBIE – SENIOR CARTOR OF PHOTOGRAPHY AT THE NATIONAL GALLERY OF VICTORIA
DUSSELDORF SCHOOL OF PHOTOGRAPHY
A group of students a the Kunstakademie Dusseldorf in the mid 1970s who studied under the influential photographers Bernd and Hiller Becher, known for their rigorous devotion to the 1920s German tradition of Neue Sachlichkeit (New Objectivity). The Becher’s photographs were clear, black and white pictures of industrial archetypes (pitheads, water towers, coal bunkers). Andreas Gursky, Candida Hofer, Axel Hutte, Thomas Ruff and Thomas Struth modified the approach of their teachers by applying new technical possibilities and a personal contemporary vision, while retaining the documentary method their tutors propounded.
AMERICAN SOCIAL REALIST PHOTOGRAPHY
During America’s Great Depression of the 1930s and 1940s, photographers were employed by the Farm Security Administration (FSA) to document the rural poverty and exploitation of sharecroppers and migrant laborers in an attempt to garner support for Presidential Franklin D. Roosevelt’s New Deal. The photographs were distributed free of charge to newspapers across the country and brought the plight of displaced farming communities to the public’s attention. The most famous images were made by Dorothea Lange and Walker Evans, whose black-and-white stills of starving fruit pickers in California became iconic symbols of the Great Depression.
The rise of conceptual photography in the 1960s coincided with the early exploration into video art. Using cameras, artists like Richard Long and Dennis Oppenheim began recording their performances and temporary art works in a manner that is now often described as deadpan. The aim was to make simple, realistic images of the artwork that looked as documentary as possible. It was the pedestrian nature of photography, its unshakable capacity to photograph everything the same that the artist liked, believing it was the art depicted in the photograph that was important. Precedents for conceptual photography can be found as far back as the early twentieth century when Alfred Stieglitz photographed Marcel Duchamp’s readymade made from a urinal, Fountain, for an exhibition in New York. The original Fountain was lost, but the photographs by Stieglitz remain and have become works
of art in themselves.