Fragmentation and Construction
In Photography
By
Michael R. Brink
"Mibo"
Mibo, Blackfriar Hammer, 1995
Abstract
A major ideological split from the turn of the century to the 1950's is represented by the "straight" photographers and the "photomontage" artists. The straight photographers, Edward Weston, Ansel Adams, and Minor White were concerned with making photographs that were free from non-photographic manipulation. The photomontage artists rejected the purity of media that the straight photographers endorsed. Francis Picabia, Man Ray, Andre Breton, John Heartfield, Raoul Housmann, Lazlo Moholy-Nagy, and many others projected their vision by manipulating the materials of photography.
One artist in particular was able to manipulate the media while retaining a sense of visualization. Jerry Uelsmann conceived of a new way of thinking about the production of photography. Post-visualization allows the artist to use any means, photographic or not, to manifest the artists vision.
I have produced an exhibition of "assembled" photographs that were conceived through the building of a multiplicity of formal conditions. The conditions contributed to a sense of a "transcendental" vision.
Historical Introduction
The end of the nineteenth century brought to a crossroads a medley of ideologies within the photographic field. Henry Peach Robinson, Oscar Riejlander, and P. H. Emerson had all endeavored to breach the wall that kept photography from being considered art. But photography, for the most part, was still employed as a means of recording graphic representation of "reality". And Alfred Stieglitz was about to show " An Exhibition of Photography Arranged by the Photo-Secession", which would bring into question what constituted a photograph.1 To Stieglitz, the photograph was an "equivalent":
Alfred Stieglitz, Equivalent, 1930
" I have the desire to photograph. I got out with my camera. I come across something that excites me emotionally, spiritually, aesthetically. I see a photograph in my mind's eye, and I compose and expose a negative. I give you the print as the equivalent of what I saw and felt."2
"If I succeed, the viewer accepts the image as its own fact, and responds emotionally and aesthetically to it. It is safe to assume that no two individuals see the world about them in the same way."3
Two men in particular were affected by Stieglitz and the shows that were held at the "291" Gallery: Edward Weston and Man Ray.
Edward Weston had occasion to meet Stieglitz and to Show him his portfolio at the 291 gallery. Stieglitz was brutal in his criticism of Weston's photographs, throwing them aside as he went. Weston was both relieved and invigorated when his meeting with Stieglitz was through; relieved to have survived Stieglitz's critical barrage, and invigorated to apply what he had learned to his work. Weston was affected by his idealism:
"Stieglitz is absolutely uncompromising in his idealism... Stieglitz has not changed me - only invigorated me..."4
Man Ray went to many of the shows at 291. He kept his distance from Stieglitz, preferring to absorb the aesthetics of the many varied artists who exhibited there. Man Ray observed encounters between Stieglitz and those who would challenge him, and considered the responses of Stieglitz as visionary. Man Ray was affected by his passion:
"A man, lover of all through himself stands in a little grey room. His eyes have no sparks - they burn within... The words he utters come from everywhere and their meaning lies in the future."5
Weston and Man Ray helped define a general split in the aesthetic of photography that lasted nearly fifty years. This was a split between a purist ideal of photography as an artist's media, and a pragmatic ideal that considered the media as a source of raw material. They were the progenitors of two separate lineages of ideology.
Within the three chapters that follow, the first is a condensation of some of the ideologies which kept these lineages separate. This condensation is to be considered as a general description of the ideas and practices that define and distinguish the "straight" photographers from the "photomontage" photographers. In the second, Jerry Uelsmann is the protagonist who successfully reunites these ideologies to form a unique philosophical approach to the making of photographs. He defined a new way of working:
:... for me, the darkroom experience seems to relate to the cosmos outside - in fact, the experience seems to relate to an internal/external dialog in the darkroom... a turning inwardly relative to what has been discovered outside... the two coming together."6
The third chapter helps explain this exhibition and gives insight to my approach with photography. I touch upon my previous work and how it led me to the ideological basis for the creation of this exhibition. The processes and methods that I use are described in order to illuminate how I work. And, I write of my experience and intuition that goes into the making of my "art".
The Chasm
Working from the Photo-Secession" ideal of photography that was not diluted by other graphic media, Edward Weston set about to define the "proper limitations of the medium". He believed that the camera could not record an abstract idea, and should always have to do with recording objects. He did not, however, restrain himself to the copying of nature.
Edward Weston, Point Lobos, 1951
The number of possible camera positions and angles are infinite, and different focal lengths could be used. A change in light and colored filters could be used to change values. And those values could be manipulated by development, choice of emulsion and exposure, and by letting less or more light affect areas during printing.7 But, most significantly, he believed that photography:
"... is a marvelous extension of our vision; it sees more than the eye sees; it renders as can no other medium the most subtle nuances of light and shade, the most delicate of textures... Whether the (photograph)... be significant or not depends upon the man behind the camera."8
Man Ray wrote of his passion to make equivalents:
"I have tried to capture those visions that twilight, or too much light, or their own fleetingness, or the slowness of our ocular apparatus rob our senses of. I have always been surprised, often charmed, sometimes literally 'enraptured'."9
But he was not disposed to elevate the photography to the stature of "Art":
Man Ray, Le Violon de Ingres, 1924
"I am not one of those who say: 'that watering can is blue, that house is pink, ' or those who say: 'nothing is beautiful but the truth, only truth is pleasant.' There are better things to do in life than copy."10
Man Ray did not support the photographic medium's "purity". As a painter, he had manipulated his paintings with both handwork and "ready-made", in order to express his ideas. He felt that the same could be done with light and chemistry, to the extent that a photographer's manipulation would:
".. so deform the subject as almost to hide the identity of the original, and create a new form, the ensuing violation of the medium employed is the most perfect assurance of the author's convictions."11
Weston regarded the optics of the camera as an eye that would see objectively all it surveyed. The lens would strip away the artificial or the trivial to expose a sense of the subject's reality. To the extent that the camera could hinder the representation of trivial or artificial aspects, he felt that " the loss is slight when weighed against the advantages..."12 Ansel Adams believed as Weston did, except that the loss could be regained. Since you cannot eradicate the trivial or the artificial, a choice could be made either to emphasize or minimize them.13 To Adams, every aspect of the photographic process must be mastered, in order to control the extent to which a photographer's vision is realized.14
A new form, as Man Ray anticipated, was developed by Raoul Housmann, John Heartfield, Hanna Hock, Kurt Schwitters, etc. The "Dada" artists used fragments of photographs as the elemental structure in their works, and named them "photo-montages". The term photomontage was invented to describe this process by these Berlin artists and in German means "fitting" or "assembly line".15
Paul Citoren, Metropolis, 1923
For Heartfield, the change in the meaning of the original photograph was of more interest than the technical processes of photography. This produced a dissected reality, which more adequately projected their ideas.16 Andre Breton wrote:
"It is the marvelous faculty of attaining two widely separate realities without departing from the realm of our experience, of bringing them together and drawing a spark from their contact: of gathering within reach of our senses the same relief as other figures and disorienting us in our own memory by depriving us of a frame of reference."17
Adams was resolute in his concept of visualization as a "bridge to reality". He felt that "it is futile to visualize the mechanically impossible", and that "great photographers violated 'pictorial' rules" in order to "see, visualize, and produce".18 Adams' bridge to reality exists due to the accepted symbols of the "literal" photograph. But, he says, "The difference between the creative approach and the factual approach is one of purpose, sensitivity and the ability to visualize an emotional and aesthetically exciting image."19 He professes that "perception" and "experience" will advance art, and the most highly valued expression is the "individual concept and spirit."20
The "wildly separate realities" of the "monts", (the original photomontage artists used the "mont" abbreviation) were quickly recognized for their representational and material qualities.21 John Heartfield, Johannes Barrgeld, George Grosz, and Raoul Housmann all utilized the subversive iconographie's of the new form.22 Max Ernst considered photomontage to be a "poetic procedure" and often added lengthy inscriptions and titles, in order to increase a work's "poetic power".23 A Czechoslovakian group made "tourist picture poems" that were allegorical.24 The Russian and Polish constructivists adopted photomontage for its material qualities, using "geometric abstraction" and/ or "sequence or series" photography.25 Lazlo Maholy-Nagy used "repetition" in order to create a "space-time" motif.26
The "straight" photographers' creativity was guided by a sense of balance between internal and external "events". The external events are " phenomena of space and time in the external world".27 This is what would cause a "seer" to become excited, and have a visualization. The internal events are the "imaginative equivalents" which recognize a visualization and the approaches that will produce the best reproductions of the external events.28 Minor White said that he was "merely letting the camera visualize...(his) inner wishes."29 Awareness of the internal events leads to an awareness of the "self". Introspection will lead to this awareness, if an appropriate external analysis accompanies it. Minor White wrote in his diary:
"Self discovery through a camera? I am scared to look for fear of discovering how shallow my 'self' is. I will persist however... because the camera has its eye on the exterior world. Camera will lead my constant introspection back into the world."30
In 1966, White writes about the sense of "self" he has gained: "Exploring the breadth of the words 'Equivalent" and 'Equivalence', I have found a craftsmanship of feeling, and best of all, freedom from the tyranny of ecstasy."31
The ideological split that exists between these groups is expansive. The straight photographers were driven by a need to create "art". By purely photographic means, they set out to find a transcendental reality and transmit it through a photograph. Perception and emotional aesthetic experience, together with technical mastery, produced exceptional pre-visualized images. The photomontage photographers were driven by a need to make statements; social. political, philosophical, and poetic. Any means, especially the most direct, could be used, in order to complete their representation of reality.
Both lines of thought branched out into a myriad of creative responses, but the ideological gap between these two lineage's seemed to be too great to bridge: for about fifty years.
The Bridge
A student of Minor white, with a questioning attitude, stepped forward to bridge the ideological gap between straight photography and photomontage. Jerry N. Uelsmann did not set out to do this. He learned well the lessons of his teacher (Minor White), but could not accept the determinisms of the "straight" discipline. To him, the end did not justify the means:
"... photography, along with most other media has become product oriented... The goal has become far more important than the process... It is important to realize that all aspects of the photographic process carry the seeds of revelation."32
He believed that re-evaluation and exploration of the photographic process opened up the media and created a sense of adventure.33
"The contemporary artist in all other areas is no longer restricted to the traditional use of materials... he is not bound to a fully conceived pre-visioned end."34 "I'm really very concerned with helping to create an attitude of freedom and daring toward the craft of photography."35
Uelsmann's "attitude of freedom" also extended to his social and political beliefs. He was aware of the circumstances that were uncontrollable, which kept an individual from reaching his/her potential.36
The route to fulfillment of Uelsmann's visual goals was through an open questioning of both the hypothesis and the conclusion. He wrote of the barrier to creativity that can only be breached by inquisitiveness:
"It is important that we maintain a continual dialogue with our materials and process; that we are constantly questioning and in turn being questioned... I have found the recognition of questions more provocative than the provision of answers. Often confident that we have the right answers, we fail to ask the enough questions, and then our seeming confidence fogs our vision and the inconceivable remains truly un-concieved."37
Charles T. Tarted increases the magnitude of the conception when he writes:
"... in-process discovery is more than a harmonious relationship between medium and cognition. It is in essence a gestalt position, in which creativity is viewed in terms of ones ability to associate dissimilar elements in meaningful ways to restructure the entire stimulus field."38
Jerry N. Uelsman, Symbolic Mutation, 1961
The straight photographer's attitude toward "darkroom ritual" obscured the internal concepts of "mystery, enigma, and insight" for Uelsmann.39 A "pre-visioned" print is not his goal. Rather, his goal is to establish a "working rapport" between his materials and his aesthetic and emotional self.40 This is the essence of "post-visualization". In Uelsmann's terms:
"By post-visualization I refer to the willingness on the part of the photographer to revisualize the final image at any point in the entire photographic process."41
The final image is little affected by the original motives and subject matter when a photographer can accept "secondary" motives, which are "relevant" and "intense".42 Natan Lyons has said that the eye and the camera see more than the mind knows. Uelsmann reverses this with the question: "Is it not also conceivable that the mind knows more than the eye and the camera see?"43
Jerry N. Uelsmann, Untitled, 1971
Metaphor, by definition, is a figure of speech in which one thing is spoken of as if it were another. This is a function of language. To Uelsmann:
"Language is at best but a metaphor for what is experienced through vision. When we describe something we have seen, we compare it to something else. In any form of communication... symbols are used to represent feelings and ideas."44
He has been developing an internal "visual dictionary" which helps him become aware of his "existence". This, for him, is an unconscious and natural building of "patterns of expectancy" of the subjects and objects that surround him. He intended to use multiple images to create an object; a print that would symbolically overshadow the original images. He found that the "unresolved" multiple images were of equal symbolic value.45
Jerry Uelsmann is considered, by most, as a surrealist. He should be considered as a pioneer. He produces works that are, at the same time free from and in adherence to, both straight photography and photomontage. He has constructed a sense of self through his photography, and set future photographers free to find their own:
"We wander through this varied landscape as contemporary archeologists, poets, and explorers essentially searching in our own internally directed way."46 (Jerry N. Ulesmann)
The Tourist
I was not born a tourist. My childhood, adolescent, and early adult drawings and paintings were motivated by a need to make them "better". Better than the last one I made; better in the representation of an object; better in the expression of my sense of reality or vision.
As an undergraduate student I studied the images and writings of the straight photographers and tried to emulate them. Beginning with Ansel Adams' zone system and his approach to printing, I attempted to produce prints that followed the idioms of pre-visualization.
Mibo, Sleeping Bear, 1985
Mibo, South Harbor Jetty, 1987
Mibo, Henge, 1989
Once I had mastered these photographic techniques, I began to search for other outlets for my visual, technical, and engineering skills. I experimented with lens arrangements of my own design, in order to project the full extent of the lenses optical range onto film. With a research of Dada and surrealist artists and a study of double exposures, this more than anything else, the discoveries I made became the catalyst for the work in this exhibition.
It was while making double exposures that I first discovered the joy and value of making something unexpected or "new" (new to me). I misplaced some sketches that I had made to help compose a second exposure. I decided to make the second exposure without them. Without my sketches I did not know which image would mix with which. The results were as, or more, interesting to me that the double images that I had pre-visualized. My search for photographic expression changed with this revelation.
Mibo, Untitled, 1987
I must search, but not in a fully directed way. A directed search always finds whatever it is directed toward. It would be illogical to expect to find anything "new" by this methodology. Only by abandoning direction is the "new" discovered. Examples of this are the "happy accidents" that proceed most interesting new work.
A non-directed search exhibits opposite and yet some of the same problems. A non-directed search creates almost infinite confusion, and anything new can only be found by a function of providence, or by searching for the proverbial needle in a haystack. Conversely, there is no pure randomness in the production of art or craft. For if one decides to make art or craft, each step they take leads them in one direction or another.
It is more inventive and less frustrating to set conditions to the directed or non-directed. A balance of vision and practice can resolve the frustration and lead to discovery. This is the vehicle that took me across Jerry Uelsmann's bridge and motivated my own work.
While I was pondering how to teach the principles of aesthetic balance, I found that I began to apply them to almost every problem. Aeshtetic or not, these problems can usually be balanced by either symmetrical or asymmetrical means. Ideology, aesthetics, techniques, processes, etc..., can all be balanced by their oppositions. These oppositions need not always constitute a duality. A matrix of these balanced or imbalanced groups "grows" and begins to take form. The form is a multiplicity, a form that made up of various parts, which interact with each other in a multitude of ways. This is the kind of thing that happens when you abandon the principles of reduction and negation that the straight photographers practiced. In particular, the reduction of the visualization to the transcendental nature of the subject, and the negation of any symbols with a non-literal nature. It was in this spirit that I began the body of work represented in this exhibition.
I set multiple conditions to the production. I set them at different times and for different reasons. The first condition I set was to cut a straight edge or some form of an arc for my montages. I traveled to Scotland and England with fifty rolls of film, and no limitation on who, what where, how, and why I collected images. These images ranged from pictorial to abstract, subtle to blatant, comic to sublime, etc... Another condition was that I would not use any non-photographs manipulations, such as drawing, painting, or scratching the negatives. I printed a selection of about a hundred of these images to the best of my ability on black and white fiber based printing paper. They were all the same size; 16 by 20 inches. I then set my conditions for my approach for the cutting, collage, and mounting stages of the process.
I limited myself to formal means, and attempted ignore the pictorial aspects of the photograph. Instead, I considered the photographs for their material qualities of texture, value, shape, line, and perspective. I cut from space to space within the photographs. Sometimes I cut around or through specific areas in order to emphasize or minimize them, or, I might follow or depart from the material qualities during the cutting. Then I focused my attention on the abstraction created by the cut edges and mounted them into place.
This multiplicity of processes was built up over time in a non-directed way. And I was, by all means, unable to adhere to this design system in any pure sense. These lapses in adherence explicate the fact that certain pieces can be grouped into three general categories. First, by their graphic character to the extent that their material qualities dominate the image. Secondly, by their accessibility, or by the ease to which one can approach its pictorial aspects. And thirdly, some of them are categorized by their unresolvability, referring to the difficulty experienced when one tries to resolve them pictorially. Many of the images are similarly related to several of the above criteria.
When I produced the work, I discovered something very interesting. As I began working under my own process conditions, I found that each work required its own set of questions and solutions. Each piece became an individual. Whether one looks at them for their formal, visual, or tactile content, once the fragments of photographs were mounted, their character started to emerge. As the work proceeded, I found it more and more difficult to ignore this. I came to a precarious balance of restraining my conditions and recognizing a piece's emerging character. It made me feel alive. It injected life into the work.
Mibo, Bovine Circle, 1991
In "Bovine Circle", I had selected images for their textural elements and value. The stones in the wall were dark and jagged. The sky, grass, cow, and stones in the other image were light and their edges smooth. The difference in contrast gave the final piece its graphic character. The visual strength of the cow, stone, and bird help to subdue it.
Mibo, Steamstroller, 1994
"Steamstroller" was a study of line and perspective. I selected the images for their common vanishing point and their vertical lines. I attempted to find areas where the lines from one photograph corresponded to lines in the other. While I was making a piece that was essentially a composition of vertical and horizontal lines, I noticed that the three figures on the right appear to be looking in the direction of the two seated figures on the left. This was an unexpected interaction between the two photographs. That is, unexpected since I had not paid any attention to the figures of either photograph. In addition, the word "stop" appears in the upper right, and interjects itself ambiguously within the scene.
Mibo, Collumnscape, 1994
Opposing perspectives, straight edges, and the spiral of the staircase were the elements I selected for "Collumnscape". Within the cityscape image I cut through the sky cranes somewhat horizontally, and in the city below, I cut to mimic the spiral of the staircase in the other photograph. The depth of the city image is defeated, and the whole piece becomes relatively two dimensional, as well as mostly unresolvable.
When I mention resolvability or unresolvability, I am referring to a feature of the photomontage. (See figures 4 and 13) There are essentially at least three things within my work that can be resolved visually: The abstraction, created by the cut edges; photograph A ; and photograph B. To the extent that a figure arises or not from the montage determines it's resolvability. If the montage is unresolvable, no element dominates the field of view. A "visual" field can be thought of as pictorial, and inviting to the viewer; a tactile field may be abstract, and uninviting to the viewer. Edward Hall describes this effect in this way: "Tactile space' separates the viewer from the objects, while 'visual' space separate objects from each other."47 The tactile space in an unresolved montage can cause physical affectation to a viewer.
Mibo, Vertigostair, 1995
His/her eye may jump around from light to dark, image to image, edge to shape, etc... If this occurs, the person may actually feel a slight pain and be forced to look away. This can be unsettling; or, as in the case of "Vertigostair" dizzying. What appears to be the foreground represents a greater distance than what appears to be the background. Both images were taken from a vertical angle, and the abstraction reveals the spiral. The act of focusing from foreground to background and perceiving the vortex of lines and edges at the same time can enervate a sensitive viewer. I actually became dizzy while making this piece.
Mibo, Blackfriaf Hammer, 1995
Some of the works are pictorially accessible. In "Blackfriar Hammer", the arrangement is very simple. The lines of the buildings in both images compliment each other while their values are in contrast, and neither image is radically fragmented. Consequently, the image of the sculpture of the hammer thrower dominates the visual space and defeats the graphic nature of the abstraction.
Mibo, Faceguards, 1995
Even within the more chaotic "Faceguards", the powerful stare of the central face has a subordinating effect on the activity around it. The interrelationships of line also help reduce the activity of the abstraction. But, the pictorial elements and the abstract elements are in a balance, which allows both visual and tactile fields to coexist.
Mibo, Tidy Thames Augustus, 1995
With "Tidy Thames Augustus", I removed my limitations and attempted to compose pictorially. The areal perspectives were reversed. While the image of the statue dominates the piece, the background consists of three general areas of depth: within the foreground space is the image with the greatest depth of field; the buildings occupy a medium distance; the background or "sky" space is occupied by the image with the shortest depth of field. The two statues and Big Ben remain in correct areal perspective. Different periods of time are suggested by Augustus (past), the garbage barge and buildings (recent past) and the ivy (present). This suggests a crass throwing away of the old (classical) for some utilitarian purpose.
All of the pieces are capable of similar or additional metaphorical representations. Not necessarily deliberate representations that I pre-visualized, but representations within viewers of the pieces. Within "Bovine Circle", for example, the archetypes of earth and sky are presented with the handiwork of ancient man and with the cow and the bird. This could be a metaphor for the fragility of man and the durability of nature. But, I did not include these icons to make a specific representation and I cannot always foresee what these representations will be.
This series of photographs contains images of many of the tourist attractions and popular icons found in London. These attractions and icons, however are not of major consideration in the creation of the final montages. The image of Big Ben in "Tidy Thames Augustus", for instance, was included to provide a sense of depth that was lacking in the montage up to that point. One of the photographs used in "Faceguards" is of the general scene in front of the "Horse Guards" and many tourists can be seen milling around the attraction. The image of the tourists was used, along with the image of the motorcycles, to balance against the weight of the view through the bus driver's window.
Despite the fact that these icons were used for compositional purposes, I have chosen to include them. And, as such, they provide a documentary aspect to the series as fodder for metaphor. The photographs in this group of work are, after all, a document of my trip. Information that is specific to Scotland and England are recognizable within the montages and are set against non-specific information, such as, trees and buildings. This is not unlike being there yourself. As a tourist approaching an attraction, you must travel through streets and paths that are unknown to you until the attraction is revealed. Upon my first view of an attraction, I am usually struck by the thought that it seems smaller than I had expected. This generally means that I am still some distance away and that the attraction exists in a larger undiscovered world or the wide-angle lens of the human eye. The diminutive treatment of the attractions or icons in my work results because I was less interested in "attractions" or "icons" and more interested in exploring the areas in the periphery of them with my camera.
This body of work has, on reflection has come to have meaning for me beyond travel fetish and symbolic metaphor. The work has supplanted my memory. During the years it took to produce this series, my memory of the actual trip has become fragmented. The images have kept some memories stronger than others. Memories of these multiple images, taken out of time and space, are more vivid than my actual ones. In a sense, this body of work has become equivalent to my memories. This is the representation and the metaphor for me.
"Metaphor nourishes the imagination. It gives concrete life to abstract terms. Metaphor brings disparate elements together, which could not exist in the same sphere of reference, and makes a new reality from them. Metaphor is powerfully effective, because its unexpected combination of images and implications stimulates immediate response... Metaphor involves relationships that are not logical."48 (I. A. Richards)
I was unable to fully negate pre-visualization from my process, and my post-visualizations were not always dominant. So, the series exhibits both my pre-visualizations and my post-visualizatios in a variable abstraction, as well as a visual abstraction of intrinsic nature. All of this, in effect is a transcendental form of vision. Or, a vision that is abstract in origin, exceeds my literal impulses, and is in harmony with my spirit. By revealing the nature of the place, interpreting a visual dialogue, and exploring in a non-directed manner; I have gone beyond my own limits and have gained a greater awareness of my craft, my art, and myself.
E=M2C
Mibo, Symbolic Self Portrait, 1991
Photographs
Works Cited
1. Norman, Dorothy Alfred Stieglitz: An American Seer Random House, New York, 1960, p 48.
2. Adams, Ansel and Mary Street Alinder An Autobiography Little Brown and Company, Boston, 1985, p 78.
3.Adams, Ansel The Negative New York Graphic Society, Boston, 1981, p 1.
4. Bunnel, Peter ed. Edward Weston: On Photography Perigrine Smith Books, Salt Lake City,1983, (Manuscript Weston-Hagemeyer Collection), p 36.
5. Ray, Man Man Ray: The Photographic Image Barrons, New York, 1980, (on the occasion of an exhibition at 291, Camera Work, July, 1914.), p 211.
6.Uelsmann, Jerry N. Introduction by Peter C. Bunnel, Fables by Russel Edson Jerry Uelsmann Aperture Inc., 1973, introduction.
7. (from Encyclopedia Britanica) Photographic Art Encyclopedia Britanica Inc., 14th Edition, Volume 17, 1940, p 797.
8.Bunnel, Peter, op. cit., p 45.
9. Ray, Man op. cit. (text from the daily, Paris Soir, March 23, 1926.), 211.
10. ----I bid., p 212.
11.---- I bid., (from Photographs by Man ray: 1920 - 1934 Paris, 1934, preface.), p 211.
12. Encyclopedia Britanica, Photographic Art op. cit., p 798.
13. Adams, Ansel The Camera New York Graphics Society, Boston, 1980, p 1.
14. ----I bid., p2.
15. Ades, Dawn Photomontage Thames and Hudson, London, 1976, p 12.
16. ----I bid., pp 12-16.
17. ----I bid., p 115.
18. Adams, Ansel Camera and Lens New York Graphics Society, Boston, 1976, pp 14-15.
19. ----I bid., p 14.
20. ----I bid., p 15.
21. Ades, Dawn Photomontage op. cit., p15.
22.----I bid., p 24.
23. ----I bid., pp 15 and 111.
24. ----I bid., p108.
25. ----I bid., pp 147-157.
26.----I bid., p 153.
27. Adams, Ansel Camera and Lens op. cit., p 13.
28. ----I bid., p13.
29. White, Minor Rites and Passages: His Photographs Accompanied by Excerpts from his Diaries and Letters Aperture Inc., New York, Number 80, 1978, p 89.
30. ----I bid., p39.
31. ----I bid., p87.
32. Enyart, James L. Jerry N. Uelsmann, Twenty-five Years: A Retrospective Little Brown and Company, Boston 1982, p 57.
33. ----I bid., (from original manifesto) p 35.
34. Uelsmann, Jerry Jerry N. Uelsmann op. cit., introduction.
35.----I bid., introduction.
36. Enyeart, James L. Jerry N. Uelsmann op. cit., p 33.
37.----I bid., p42.
38. Tarted, Charles T. Altered States of Consciousness Doubleday Anchor Books, New York, 1972, p 468.
39. Uelsmann, Jerry Jerry N. Uelsmann op. cit., introduction.
40. Enyeart, James L. Jerry N. Uelsmann op. cit., p 51.
41. Uelsmann, Jerry Jerry N. Uelsman op. cit., introduction.
42. Enyeart, James L. Jerry N. Uelsmann (from original manifesto) op. cit., p 37.
43. ----I bid., p 51.
44. ----I bid., introduction.
45. ----I bid., (from original manifesto) p 36.
46. ----I bid., p 46.
47. Hall, Edward T. The hidden Dimension Anchor Books, New York, 1969, p 60.
48. Richards, I. A. Principles of Literary Criticism Harcourt Brace and World Inc., New York, 1925, pp 239-242.
Bibliography
Adams, Ansel and Mary Street Alinder An Autobiography Little Brown and Company, Boston, 1985.
Adams, Ansel The Camera New York Graphics Society, Boston, 1980.
Adams, Ansel Camera And Lens New York Graphics Society, Boston, 1976.
Adams, Ansel The Negative New York Graphics Socity, Boston, 1981.
Adams, Ansel Natural Light Photography Morgan and Morgan, New York, 1952.
Ades, Dawn Photomontage Thames and Hudson, London, 1976.
Bunnel, Peter ed. Edward Weston: On Photography Peregrine Smith Books, Salt Lake City, 1983.
Enyeart, James L. Jerry N. Uelsmann, Twenty-five Years: A Retrospective Little Brown and Company, Boston, 1982.
Hall, Edward T. The Hidden Dimension Anchor Books, New York, 1969.
Harrison, Charles, Francis Frascina, and Gill Perry Modern Art Practices and Debates: Primitivism, Cubism, Abstraction: The Early Twentieth Century Yale University Press, Hew Haven, 1993.
Hoy, Anne H. Fabrications: Staged, Altered, and Appropriated Photographs Abbeyville Press, 1987.
Kulcher, Susanne, and Walter Melion Images of Memory: On Remembering and Representation Smithsonian Institution Press, Washington, 1991.
Lindstrom, Miriam Childrens Art: A Study of Normal Development in Children's Modes of Visualization University of California Press, Berkley, 1957.
Morgan, Barbara Photomontage Morgan and Morgan, New york, 1980.
Morgan, Willard D. ed. The Encyclopedia of Photography: The complete Photographer: The Comprehensive Guide and Reference for All Photographers Greystone press, New York, 1964.
Morris, Wright Time Pieces: Photographs, Writing, and Memory Aperture Foundation Inc., New York, 1989.
Norman, Dorothy Alfred Stieglitz: An American Seer Random House, New York, 1960.
Pavio, Allen Imagery and Verbal Process Holt Reinhart and Wilson, New York, 1971.
Ray, Man, Janus ed. Man Ray: The Photographic Image Barrons, New York, 1980.
Richards, I. A. Principles of Literary Criticism Harcourt Brace and World Inc., New York, 1925.
Tarted, Charles T. Altered States of Consciousness Doubleday Anchor Books, New York, 1972.
Tucker, Marcia James Rosenquist Whitney Museum of American Art, New York, 1972.
Uelsmann, Jerry N. Introduction by Peter C. Bunnel, Fables by Russel Edson Jerry N. Uelsmann Aperture Inc., 1973.
White, Minor, "Aperture" Number 95, Summer 1984.
White, Minor Rites and Passages: His Photographs Accompanied by Excerpts from his Diaries and Letters Aperture Inc., New York, Number 80, 1978.
White, Minor Zone System Manual: Previsualizing, Exposure, Development, Printing Morgan and Morgan, New York, 1968.
White, Minor, Richard Zakia and Peter Lorenz The New Zone System Manual Morgan Press, 1976.
Worringer, Wilhelm Abstraction and Empathy: A Contribution to the Psychology of Style Routledge and Kegen Paul Ltd., London, 1908.
