Evaluating the Importance of Avant-Garde Photography (Essay Sample)

Exhibition Title: New Ways of Seeing: The Avant-Garde Photography
Curator:
Exhibition concept: Evaluating the importance of Avant-Garde Photography
In Alexander Rodchenko's adage, "to educate man to a new longing, familiar everyday objects must be shown to him with totally unexpected perspectives and in unexpected situations." Rodchenko reminded us that new objects should be shown from various perspectives to satisfy the actual object's satisfactory purview. This adage settles the debate regarding the value of seeing and words. Based on the photographic view, seeing comes ahead of terms because one would see before speaking in ordinary circumstances. After all, it sees establishes one's position in contemporary society. Eugene Atget's photography detailed the unique pioneering status in documentary photography. Although most of the documentary photography of Atget's era venturing more on architecture, Atget featured tiny ornamental details, doorways of palaces, and churches alongside the boulevards of Haussmann in Paris. In this paper, I will discuss the modernity alongside other major themes established by Atget’s photography to perfect the “New way of seeing concept.”
Themes
The anonymous multiple and the eyes of the poor
Despite its brevity and influence, ‘the eyes of the poor’ can cover fashionable social relationships, class privilege and conflict, and the urban surrounding of mid-Haussmannisation Paris. According to Baudelaire, when they are somehow tired in the evening, they crave to rest while seated in front of the newly built café that established the corner of a novel boulevard, which is then still sprinkled with the debris is already manifesting its incomplete fineries. Moreover, the café becomes glittering, with the gaslight solely sending forth all the enthusiasm of the debut and ignited with all the force walls striking through their whiteness, page-boys with chubby cheeks being pulled by dogs on the chains, laughing young women with their wrist holding suspensions of falcons, the cornices’ and rods gold, dazzling mirror sheets, goddesses and nymphs weeping on their goddesses, fairies, and wrist having poultry, fruits, and pies on their heads. Besides that, Ganymedes and Hebes show in out-elastic arms little amphoras covered with bi-colored ice cream obelisks and Bavarian cream, with all the accounts and mythology at the gluttony’s service.[Brion, Katie Hartsough. Eugène Atget and the fin de siècle Interior: Revelatory excess. Ann Arbor, MI:MPublishing, University of Michigan Library, 2005.] [Ibid]
On the sidewalk, in front of the viewers, a valuable person in his middle ages standing with a greying beard, a tired facial expression, and carrying in one of his hands, a diminutive individual who is too weak to walk, and on the other hand, a little boy. Moreover, he is suiting a nanny’s role and has taken the young individuals out for a walk in the late air. As the three faces are all in rags, they are earnest. Their six eyes anticipated the new-fangled café earnestly with the same courtesy, however, transformed dissimilarly regarding their ages.[Krauss, Rosalind E. The originality of the avant-garde and other modernist myths. MIT press, 1986.]
However, an individual can be stimulated by the assembly of eyes and experience of little shame of glasses and carafes, which are larger than the thirst. Thus, according to him, when he turns his head towards her dear love intending to read his thoughts there, he encounters into her so curiously and beautifully gentle eyes, which are green and stimulated by the moon and occupied by Caprice. In response, he perceives that the lover cannot sustain the persons nearby, as they look with eyes broadly open like carriage gates.[Rizov, Vladimir. "Eugène Atget and Documentary Photography of the City." Theory, Culture & Society 38,no. 3 (2021): 141-163.]
There are many vital basics in the poem that can be applied to depict Atget’s photograph. Initially, it can be derived