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14th Annual 4-H Girls Convention Iowa State College by George W. Cushman 1941 Collection Jim Linderman
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Jim Linderman blog about surface, wear, form and authenticity in self-taught art, outsider art, antique american folk art, antiques and photography.
My 15 Nanoseconds of Fame
I made it onto Google Street View while riding my bike in the vicinity of the Brooklyn Museum. (Full disclosure: I saw the Google car and followed it for a few of blocks because that’s the kind of cheap, internet fame whore I am. Sorry, Joerg.) The whole thing inspired me to look up some of the addresses I’d lived in over the course of my life on GSV— the vast majority of which aren’t online because my family had a penchant for inhabiting incredibly bizarre, out-of-the-way places. It was a trip back in time, except it wasn’t, because I’m seeing all of these spots in the pseudo-present. (A selection: the place I was born in, the road leading to the house we lived in when I was 10, the donut shop where I used to ditch high school English class and the college dorm that was the site of various inebriated indiscretions.) Which brings me to this highly interesting essay — which I discovered by way of Conscientious — about photography in the age of GSV.
Excerpt from the June 13, 2011 C-Monster.net HERE
"Have you ever thought about the painted backgrounds in antique and vintage photographs?
No?
Well, you aren’t alone.
Until I read The Painted Backdrop: Behind the Sitter in American Tintype Photography, by Jim Linderman (with an essay by Kate Bloomquist), I hadn’t either.
In fact, the story of and between 19th century painters and American photography really has never been told — or, I should say, “hasn’t been explored” until Linderman came along and looked into it via his collection of antique tintype photographs."
"The author / collector states: “This is an art book about painting and photography (or vice-versa) and how they met in a certain time and place.” Ever since the camera arrived, the debate about the merits of photography as an art form has raged (admittedly Ansel Adams helped sway a lot of people that it is), and this book and its 75 antique tintype images certainly is part of that debate. It also raises the question about whether or not the painted backdrops used behind the people in the photographs are art, folk art, or ephemera from the photographic industry. But it’s that last part, “how they met in a certain time and place,” which really gets to the core of things, the thrilling things, for me. That’s where we get to the historical cultural contexts."
READ THE ARTICLE IN FULL HERE