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Victorian photography studios loved a good illusion, whether it was to accommodate the long exposure time, or play with it.
While spirit photography is pretty well-known (thanks in large part to Lincoln’s “ghost”), here are a few other tricks that you might not know about. Recently, Linda Fregni Nagler published a book called The Hidden Mother where she compiled over a thousand photographs of a parent masquerading as a chair beneath a cloak. As the exposure could take a good part of a minute, and children aren’t exactly thrilled to sit still for their portraits, parents would hide and hold them still. But the results were kind of creepy — like specters looming up behind the uneasy kids. There was always this sense of a high mortality, too, especially for children, making the ghostly presences especially ominous.
Below are some of these “hidden mothers” (and possibly fathers, although it’s hard to tell, of course), as well as other Victorian photography tricks and illusions, where death was always around the corner, and the medium of photography was just starting to be a part of life. And other things that we might not consider as tricks now — like coloring photographs — was as fantastic as a person holding their head (well, almost).
In addition to the exposure time, Victorians also experimented with aligning two different exposures. Curiously, what seemed to fascinate them most was creating decapitations.
However, sometimes it wasn’t always so creepy, at least in the disembodied way, as people also had photographs taken with themselves through double exposures.
Many people didn’t get their photograph taken until they weren’t around to appreciate it, but that didn’t stop them from looking alive, or as close to it as painted eyes can get you.
The Painted Backdrop
And finally, something that might not seem like a trick, but reflects how the medium of painting was still very much present in the way photographs were stage (in addition to the painted eyes).
Every utopia is a social experiment, the artist suggests in this commission for the Performa performance art biennial, and we’re ultimately the guinea pigs.
“You can’t live in a house that’s built upon your back.” This is one of the more memorable phrases spoken by the scripted lovers of Tschabalala Self’s Sounding Board, what Performa describes in its promotional materials as an “experimental play.” That phrase, uttered by one romantic partner to the other, operates as guidance, warning, dictate,…
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
A commitment to trans subjects, and their queer communities, is manifested as a holding environment made approachable by our concern, grounded in intimacy and legacy, enfolding any viewer who will stop, listen, and receive love.
Todd Chandler’s documentary Bulletproof looks at the many people monetizing the societal rot of school shootings.
In Philadelphia, a series of solo shows delves into the interdisciplinary practices of graduates whose work explores identity, familial bonds, political constructs, and nature’s fragility.
On November 14, join Columbia University School of the Arts for virtual information sessions with the program chair, faculty, and staff.
The artists released the risograph-printed booklet series Organizing Power to assist in the arduous process of assembling a bargaining unit and negotiating.
From 1963 through 1968, Warhol produced nearly 650 films, including hundreds of Screen Tests and dozens of full-length movies.
Melvin Edwards, Maren Hassinger, and Alison Saar are among the artists kicking off the Destination Crenshaw initiative.