1. Photography through the lens of: Ray K. Metzker Harry Callahan Aaron Siskind Presentation by Sonia Hankova, s3917102

2. Modernism Late 19 th, beginning 20 th century – the tradition of the new Alternative ways of interpreting reality Despises traditional genre and form Contains elements of de-creation as well as creation, modifying or overturning existing modes of representation Aesthetically radical, striking technical innovations, emphasis on spatial as opposed to chronological form Experimental, formally complex, extreme, obscure, interpreting and changing, abstract, introspective Notions of artist’s freedom from realism, materialism Notions of cultural apocalypse and disaster, ironic models, dehumanisation of art

3. Ray K. Metzker 1931- ‘Why one picture stands out among many others is always a mystery. In the beginning the subject is never quite known, but in the course of working something shows up on the film or in the print that speaks to me. I can never predict when this will happen. However, when it does there is an excitement—there is the ecstasy of recognition. And this is one of the things that keeps me going.’ ~ Ray K Metzker

4. History 1931 - Born in Milwaukee, USA Began to take photographs at the age of 14 1956-1959 Institute of Design, Chicago – Photography Mentored by Henry Callahan and Aaron Siskind Teaching career: 1962-1980 Philadelphia College of Art 1970-1972 University of New Mexico 1980-1983 Columbia College Chicago 1983 left teaching in order to photograph full time

5. Metzker’s titles and groups his works based on their location and technique; His most significant bodies of work are: 1956-1959 Chicago 1960-1961 Europe 1961-1964 Early Philadelphia 1964-1969 Double Frames and Couplets 1964-1984 Composites 1968-1977 Sand Creatures 1971-1980 Pictus Interruptus 1980-1983 City Whispers 1985-1986 Landscapes 1996-2009 Late Philadelphia

6. Untitled, Chicago 1959 5 ¾ x 8 ¾” Gelatin Silver print printed 1985, Edition Number: 8/28

7. Chicago, 1959 10 x 8” Vintage gelatin silver print Signed on verso, One of two known vintage prints

8. Frankfurt, Germany, 1961 8 x 10" vintage silver print, Edition 25

9. Major American museums started showing his work in the 1960s During the 60’s he shifted away from single frames, his curiosity led him to experiment with high contrast, selective focus and multiple prints in various forms of repetition and on a increased scale Highlights and shadows are pushed to extremes in multiple frames, combined in innovative ways Whether documenting everyday life in an urban environment or experimenting with nature and landscapes, Metzker’s photographs always include elements of abstraction Encourages the use of experimental techniques to push the medium beyond documentation His photographs create a graceful choreography of human interaction against urban settings

10. Philadelphia, Penn Center, 1965 6 x 6"" silver print

11. Philadelphia 1965 (Double Frame) 10 x 8" Gelatin silver print Edition 25 Philadelphia 1965 (Double Frame) Gelatin silver print (printed 1984)

12. Parking Pavilion 1967 Composite of 14 mounted prints 30 x 22” Signed on recto Unique Nude 1966/1985 Composite of 7 mounted prints 32 x 21” Signed on recto #13/20 (only 14 completed)

13. Pictus Interruptus: Mykonos, Greece, 1979 printed 1989, Gelatin silver print.

14. Philadelphia, 1983 From the series City Whispers 14 x 11" silver print, Edition 30

15. Recognition Recognised as one of the great masters of American photography, a virtuoso who has passionately pursued his chosen medium for over 60 years. He was known for his luminous black and white images that feature subjects ranging from cityscapes to landscapes and nature, all demonstrating the inventive potential of the photographic process. As well as for his large ‘composites’ – assemblages of printed strips and single frames. His extraordinary photographs strike an instinctive balance between formal brilliance, optical innovation and deep human regard for the objective world.

16. Harry Callahan 1912-1999 ‘ I wish that more people felt that photography was an adventure the same as life itself and felt that their individual feelings were worth expressing. To me, that makes photography more exciting’ ~ Harry Callahan

17. Detroit 1943

19. Chicago 1948

20. Eleanor, Chicago 1952

21. Eleanor, Chicago 1954Eleanor, Chicago 1952

22. Aix-en-Provence 1958

23. Aaron Siskind 1903-1991 ‘As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as they approach, group and regroup as you shift your position. Relationships gradually emerge and sometimes assert themselves with finality. And that's your picture’ ~ Aaron Siskind

24. The Harlem Document, 1938-1940

25. Unnamed, 1940s

26. Terrors and Pleasures of Levitation, The Divers, 1972 Gelatin silver print "Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever. It remembers little things, long after you have forgotten everything” ~ Aaron Siskind

29. References: Aaron Siskind Foundation (n.d). Aaron Siskind Foundation, New York, viewed 9 April 2013, http://www.aaronsiskind.org/index.html Art Blart (n.d.). Art Blart: Art Blog by Dr Marcus Bunyan, viewed 9 April 2013, http://artblart.com/2010/06/21/exhibition-harry-callahan-american- photographer-at-the-museum-of-fine-arts-boston/ Callahan, H. (1984). Eleanor, The Friends of Photography, Callaway Editions, New York. Childs, P. (2000). Modernism, Routledge, Taylor & Francis Group, London and New York. Davis, D. (1993). Photography as Fine Art, Thames and Hudson, London. Laurence Miller Gallery (2012). Laurence Miller Gallery, New York City, viewed 9 April 2013, http://www.laurencemillergallery.com/artist_metzker.htmhttp://www.laurencemillergallery.com/artist_metzker.htm Modrak, R. & Anthes, B. (2011). Reframing Photography: Theory and Practice, Routledge, Taylor & Francis Group, London and New York. Museum of Modern Art (1979). Aaron Siskind: Photographs 1932-1978, Museum of Modern Art London/Zwemmer, London. Mutual Art Services (2013). Mutual Art, viewed 9 April 2013, http://www.mutualart.com/Artwork/Untitled—Chicago-/EA5B31E35EB85480 Rosenblum, N (2007). A World History of Photography, 4th edn., Abbeville Press, New York. The J. Paul Getty Museum (n.d). The J. Paul Getty Museum, Exhibitions: Ray K. Metzker’s Photographic Journey, viewed 9 April 2013, http://www.getty.edu/art/exhibitions/metzker/metzker.html Turner, P. ed. (1985). American Images: Photography 1945-1980, Penguin Books, Middlesex, England. Zhang, M. (2012). Peta Pixel, Study of Light Shaddows and Framing: Street Photography by Ray K. Metzker, viewed 9 April 2013, http://petapixel.com/2012/12/21/a-study-of-light-shadows-and-framing-street-photos-by-ray-metzker/