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Lisette Model and the Inward Tum of Photographic Modernism.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Lisette Model and the Inward Tum of Photographic Modernism./
作者:	Sands, Audrey.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
面頁冊數:	370 p.
附註:	Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
Contained By:	Dissertations Abstracts International81-03A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13809611
ISBN:	9781088320303

Lisette Model and the Inward Tum of Photographic Modernism.
Sands, Audrey.

Lisette Model and the Inward Tum of Photographic Modernism. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 370 p.

Source: Dissertations Abstracts International, Volume: 81-03, Section: A.

Thesis (Ph.D.)--Yale University, 2019.

This item is not available from ProQuest Dissertations & Theses.

The established story of photography's ascent toward acceptance as art in America begins with pictorialism, followed by the Photo-Secession and 291 gallery, and culminates with the Museum of Modern Art establishing the nation's first Department of Photography in 1940, which crowned the medium a viable and autonomous aesthetic form. One century after its invention, photography had arrived as a modern art. And yet, in wartime America, photography was more commercially and politically embedded than ever before. The Museum's favorite artists-Walker Evans, Irving Penn, Edward Weston, and Lisette Model, to name a few-all still relied on outside assignment work to make a living. They worked for tabloid magazines. They shot for government commissions and science textbooks. They taught. And all of this work trickled into the museum. How did the specific political, commercial, pedagogical, and formal demands of these external institutions and frameworks inform the work that hung on museum walls? With the rising acceptance of photography as art in the mid-twentieth century, how did these colliding and consolidating contexts lead to a redefinition of photography in the postwar era?This dissertation positions Lisette Model at the forefront of this major period of transition in American photography. Model, an Austrian Jew who immigrated to New York via Paris in 1938, became a staple in the American photographic scene, where her mannerist, sardonic street portraits were embraced by both the popular press and the museum. Her career in photography emblematically straddled the political, the personal, and the commercial.Across all these areas of her work, Model advocated for a photography that was subjective in nature. Her own call for the medium's place among the arts both catalyzed and reflected the ascendance and increasing insularity of art photography in mid-century America. This inward turn was pervasive in photography of the 1940s-1960s-whether expressed as a redirection of the documentary aesthetic to reflect an inner psychology, as in the work of Robert Frank, Lee Friedlander, and Model's most famous student, Diane Arbus, or as a rejection of content altogether in favor of formal abstraction, as seen in the later work of Aaron Siskind, Harry Callahan, and Model's mentor, Sid Grossman. In this way, modernist photography shared many parallels with concurrent trends in painting, as Abstract Expressionism too constituted both a formal and political turn inward. In photography, as in painting, I demonstrate that this new formal and psychological emphasis was a direct response to the postwar and Cold War political climate of this period.This project focuses on the four chronological stages of Model's career-her political photography, her magazine work, her pedagogy, and her gallery printing. I balance close reading of her photographs with an interrogation of the networks that sustained her-the communist-leaning Photo League, which first embraced her avant-garde creative work and hosted her inaugural solo exhibition; the fashion magazine Harper's Bazaar, which employed her as an assignment photographer throughout the 1940s; and the New School for Social Research, where she taught for thirty years. Finally, I consider her 1976 portfolio produced by Harry Lunn and printed by Gerd Sander. Here, I turn to the question of Model's materiality, looking at how her approach to her own prints evolved as she transitioned from a magazine photographer to a self-understood museum artist between the 1940s-1970s-a period dedicated to the question of so-called "creative photography" and its aesthetic, institutional, and economic evaluation.To understand this period and Model's broader influence, I turn not only to her own printed and published photographs, but also and essentially, to the work of her circle: her colleagues, her mentors, her intellectual partners, and her students. Addressing the broader cultural implications of Lisette Model's inward turn, I take stock not only of photography evolution in the twentieth century, but also of the status of biography as a form of historiography.

ISBN: 9781088320303Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Diane Arbus

Lisette Model and the Inward Tum of Photographic Modernism.
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245 1 0 $a Lisette Model and the Inward Tum of Photographic Modernism.
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300 $a 370 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-03, Section: A.
500 $a Advisor: Armstrong, Carol.
502 $a Thesis (Ph.D.)--Yale University, 2019.
506 $a This item is not available from ProQuest Dissertations & Theses.
506 $a This item must not be sold to any third party vendors.
520 $a The established story of photography's ascent toward acceptance as art in America begins with pictorialism, followed by the Photo-Secession and 291 gallery, and culminates with the Museum of Modern Art establishing the nation's first Department of Photography in 1940, which crowned the medium a viable and autonomous aesthetic form. One century after its invention, photography had arrived as a modern art. And yet, in wartime America, photography was more commercially and politically embedded than ever before. The Museum's favorite artists-Walker Evans, Irving Penn, Edward Weston, and Lisette Model, to name a few-all still relied on outside assignment work to make a living. They worked for tabloid magazines. They shot for government commissions and science textbooks. They taught. And all of this work trickled into the museum. How did the specific political, commercial, pedagogical, and formal demands of these external institutions and frameworks inform the work that hung on museum walls? With the rising acceptance of photography as art in the mid-twentieth century, how did these colliding and consolidating contexts lead to a redefinition of photography in the postwar era?This dissertation positions Lisette Model at the forefront of this major period of transition in American photography. Model, an Austrian Jew who immigrated to New York via Paris in 1938, became a staple in the American photographic scene, where her mannerist, sardonic street portraits were embraced by both the popular press and the museum. Her career in photography emblematically straddled the political, the personal, and the commercial.Across all these areas of her work, Model advocated for a photography that was subjective in nature. Her own call for the medium's place among the arts both catalyzed and reflected the ascendance and increasing insularity of art photography in mid-century America. This inward turn was pervasive in photography of the 1940s-1960s-whether expressed as a redirection of the documentary aesthetic to reflect an inner psychology, as in the work of Robert Frank, Lee Friedlander, and Model's most famous student, Diane Arbus, or as a rejection of content altogether in favor of formal abstraction, as seen in the later work of Aaron Siskind, Harry Callahan, and Model's mentor, Sid Grossman. In this way, modernist photography shared many parallels with concurrent trends in painting, as Abstract Expressionism too constituted both a formal and political turn inward. In photography, as in painting, I demonstrate that this new formal and psychological emphasis was a direct response to the postwar and Cold War political climate of this period.This project focuses on the four chronological stages of Model's career-her political photography, her magazine work, her pedagogy, and her gallery printing. I balance close reading of her photographs with an interrogation of the networks that sustained her-the communist-leaning Photo League, which first embraced her avant-garde creative work and hosted her inaugural solo exhibition; the fashion magazine Harper's Bazaar, which employed her as an assignment photographer throughout the 1940s; and the New School for Social Research, where she taught for thirty years. Finally, I consider her 1976 portfolio produced by Harry Lunn and printed by Gerd Sander. Here, I turn to the question of Model's materiality, looking at how her approach to her own prints evolved as she transitioned from a magazine photographer to a self-understood museum artist between the 1940s-1970s-a period dedicated to the question of so-called "creative photography" and its aesthetic, institutional, and economic evaluation.To understand this period and Model's broader influence, I turn not only to her own printed and published photographs, but also and essentially, to the work of her circle: her colleagues, her mentors, her intellectual partners, and her students. Addressing the broader cultural implications of Lisette Model's inward turn, I take stock not only of photography evolution in the twentieth century, but also of the status of biography as a form of historiography.
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653 $a Modernism
653 $a Museum
653 $a Photography
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