Human Generated Data

Title

Introduction by Gene Thornton for, "Audrey Flack: 12 Photographs 1973 to 1983"
Date

1975, printed 1984
People

Artist: Audrey Flack, American 1931 -

Printer: Guy Stricherz,

Classification

Photographs
Credit Line

Harvard Art Museums/Fogg Museum, Gift of Sidney and Shirley Singer, 2013.177.13

Human Generated Data

Title

Introduction by Gene Thornton for, "Audrey Flack: 12 Photographs 1973 to 1983"

People

Artist: Audrey Flack, American 1931 -

Printer: Guy Stricherz,

Date

1975, printed 1984

Classification

Photographs

Machine Generated Data

Tags

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Imagga
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Amazon

AUDREY
AUDREY FLACK'S PHOTOGRAPHS:
PHOTOGRAPHS:
FLACK'S
APPRECIATION
AN APPRECIATION
AN
Thornton
Gene
B Gene Thornton
be
photograph
format
why vacy of
B
lifes.
say. compared paintings,
When
truthful.
When I look photographs of effect
painting
more images mass
to
I look
seems to everything ything study the
Audrey
smaller paintings
is they for photographs a scomplete
titled Leonardo's
deed. it
They
wider
trompe

Google

AUDREY FLACKS PHOTOGRAPHS AN APPRECIATION When I ook at the photographs of Audrey Flack, I w The photogmphs are scaled to create the same effect in the pri vacy of the connoisseur's study. And unlike the photographs of seems to me that the photographs alreacy say everything that Degas and Eakins, which are the merest preliminary sketches, the merest scribbles compared to the finished pairtings, Audrey why she goes to the trouble of making partings from them. It It is true that they ane, though large for photographs, machFlack's photographs are finished works coamplete in themscives smaller than the paintings, which are immease. It is true that the As a photographer Audney Fack wocks in an ancient tradi format is sometimes different-for exampie, the photograph en tion. Some of the very irst photographs, by LJ.M. Daguerre, were carefully arrarged studio stil lifes, and during the 19th cen- teledLeonardo's Lady square, while the parting is somewhat wider than it is high, and incdudes a heavy brocaded ribbon on the eft thet does not appear in the photograpi. It is also true thal ton) composed and photograıhed elaborate still ltes. The eatly photographers liked still life because it erabled then to achieve artistic effects they could not achieve with ive models or painting is greenish. And it is true that the phatographs do ot ut of doors "on location." Their equipment was heawy and buly and their process slow, and it was only when working in the su- dio with inanimate objects that they could achieve sobething like the control over picture making that comes naturaly to coeipe- here are, in sbort, differences between the painnings and nt painters. Even when equipment became handier and proo- esses faster, stil life remainerd the area where the photographer which at their greatest might be compared to the differencesas the most control, and in the 20ch century, with the advent of stye and feeling between the rge-scale tbeatricabty of Italian color photograpby and coor peinting, it began to ourish in the magazines where it was employed to celebrate the good things ot there are sometimes color changes-the background in the pho- tograph Tine to Saw is reddish, whie the background in the hiarve the gn or striped borders of many of the paintings, and therefore ack the trowpe l'ot cfect of objects bursting out of the picture into real space that these borders malke possible. the photograpbs, besides the obvicus dierence of medium, Barcque mural painting and the stmall scale dkmesticity of Dutch easel painting. And yet these differences seem to me to be mini life from fne watches to food Audrey Fack has drawn on these photographic traditions. Though the photographs are mach smaller tham tbe paint- Bu to them she has added something that dates back to the great dags of still ife painting in the 17th century: a sense of oral ngs, the cbjects in them are still sumewhat rertha life sie and when they are viewed from the normal viewing distance foe photographs-less than ams length the photograpbs fill up the ern magazine photagraphs, celebralions of the good things of lifice ield of visicm, and seem immense, Even without the borders, the ut they olten also includked a memenbo mori- a skull, a burning candle, a butterly, a wer-something to remind the viewer color are on the whole insignificant. Viewed froem the right dis that life, though sweet, is short, and has a higher purpose than rompe lorsd elects are strilking, and the differences in focmat and tance, the photograph World war Π is as disturbig as the paint ing. Never mind that the little drops of candle wax at the bottom of the picture are different. The eSect is the same Audrey Flack's potographs do the same thing today. They are stulled with 20th century guodies in bright, even glaring cul This should not be surprising, because the photographs were ors, Eke the advertisements in a consumer magazine. But they also imchode a death's head, a buttery, a photograph of prisoners as and Eakins, who on occasion also painted from photograpts,intration camp reminders that all the good things of Fe come to an end with death, and that, kor some, lHe itself is a kind of death. Tus is something quite diflerent fromm the current fad in more than gigantic enlargenments made by hand rather than by ar photogaphy for "appeopriating the images of the mass me- dia, something more unsettling, something more truthful, some- thing chser to the grand traditions of painting of which taken to be painted from, and unike such earlier painters as De Audrey Fack aimes in her paintings for a photographic look, In- deed, it sometimes seems to me that her paintings are nothing photographic methods. She does not agree, and I do not press the point, because in the end it soems to me to be irrelevant. The paintings are scaled to create their effect in large piblic spaces.
AUDREY
FLACKS
PHOTOGRAPHS
AN
APPRECIATION
When
I
ook
at
the
photographs
of
Audrey
Flack,
w
The
photogmphs
are
scaled
to
create
same
effect
in
pri
vacy
connoisseur's
study.
And
unlike
seems
me
that
alreacy
say
everything
Degas
and
Eakins,
which
merest
preliminary
sketches,
scribbles
compared
finished
pairtings,
why
she
goes
trouble
making
partings
from
them.
It
is
true
they
ane,
though
large
for
photographs,
machFlack's
works
coamplete
themscives
smaller
than
paintings,
immease.
As
a
photographer
Audney
Fack
wocks
an
ancient
tradi
format
sometimes
different-for
exampie,
photograph
en
tion.
Some
very
irst
by
LJ.M.
Daguerre,
were
carefully
arrarged
studio
stil
lifes,
during
19th
cen-
teledLeonardo
's
Lady
square
,
while
parting
somewhat
wider
it
high,
incdudes
heavy
brocaded
ribbon
on
eft
thet
does
not
appear
photograpi.
also
thal
ton)
composed
photograıhed
elaborate
still
ltes.
eatly
photographers
liked
life
because
erabled
then
achieve
artistic
effects
could
with
ive
models
or
painting
greenish.
phatographs
do
ot
ut
doors
"on
location."
Their
equipment
was
heawy
buly
their
process
slow,
only
when
working
su-
dio
inanimate
objects
sobething
like
control
over
picture
comes
naturaly
coeipe-
here
are,
sbort,
differences
between
painnings
nt
painters.
Even
became
handier
proo-
esses
faster,
remainerd
area
where
greatest
might
be
differencesas
most
control,
20ch
century,
advent
stye
feeling
rge-scale
tbeatricabty
Italian
color
photograpby
coor
peinting,
began
ourish
magazines
employed
celebrate
good
things
there
changes-the
background
pho-
tograph
Tine
Saw
reddish,
whie
hiarve
gn
striped
borders
many
therefore
ack
trowpe
l'ot
cfect
bursting
out
into
real
space
these
malke
possible.
photograpbs,
besides
obvicus
dierence
medium,
Barcque
mural
stmall
scale
dkmesticity
Dutch
easel
painting.
yet
seem
mini
fne
watches
food
has
drawn
photographic
traditions.
Though
mach
tham
tbe
paint-
Bu
them
added
something
dates
back
great
dags
ife
17th
century:
sense
oral
ngs,
cbjects
sumewhat
rertha
sie
viewed
normal
viewing
distance
foe
photographs-less
ams
length
photograpbs
fill
up
ern
magazine
photagraphs,
celebralions
lifice
ield
visicm,
immense,
without
borders,
olten
includked
memenbo
mori-
skull,
burning
candle,
butterly,
wer-something
remind
viewer
whole
insignificant.
Viewed
froem
right
dis
life,
sweet,
short,
higher
purpose
rompe
lorsd
elects
strilking,
focmat
tance
World
war
Π
as
disturbig
paint
ing.
Never
mind
little
drops
candle
wax
bottom
different.
eSect
Flack's
potographs
thing
today.
They
stulled
20th
century
guodies
bright,
even
glaring
cul
This
should
surprising,
ors,
Eke
advertisements
consumer
magazine.
But
imchode
death's
head,
buttery,
prisoners
who
occasion
painted
photograpts,intration
camp
reminders
all
Fe
come
end
death,
that,
kor
some,
lHe
itself
kind
death.
Tus
quite
diflerent
fromm
current
fad
more
gigantic
enlargenments
made
hand
rather
ar
photogaphy
"appeopriating
images
mass
me-
dia,
unsettling,
truthful,
some-
chser
grand
traditions
taken
from,
unike
such
earlier
painters
De
aimes
her
paintings
look,
In-
deed,
nothing
methods.
She
agree,
press
point,
soems
irrelevant.
piblic
spaces.