Instagram, meet your ancestors: an exhibit’s digital version bridges the generations of old school photo manipulation and our social media-fueled image sharing obsessions.
There’s an astounding display of pre-computer-era photomontage and photomanipulation now exhibiting at The Metropolitan Museum of Art in New York City: Faking It: Manipulated Photography Before Photoshop. It’s got everything from vintage trickery to surrealist expressions, all done before the advent of digital tools like Photoshop. In a beautiful irony, the exhibition is made possible by Adobe, makers of the Photoshop software.
But you don’t have visit NYC to see it…
What’s amazing to me, and what inspired this post, is that there’s an equally astounding digital representation of the works available for your browsing pleasure – more than 200 in all. Online, for free. Which is pretty darned sweet.
Click this link at the site and enjoy.
An innocuous “Works in the Exhibition” link just above the fold at The Met’s website takes you to an incredible look at what’s inside. I call it incredible not just for the content (which is beyond incredible to me), but because it exists online for our easy perusal and sharing. I’m thrilled not only to see such amazing art here, but also to see The Met’s embracing of the digital community in order to promote the exhibit.
The site features an elegant photo slide show, complete with sharing functionality to Pinterest, Tumblr, StumbleUpon and other networks. They even offer hi-res jpegs of some of the works for extra-close viewing or downloading via fullscreen mode.
There’s an app for that, of course
Perhaps you would prefer to view these works on your iPad? No problem. The free iPad app accompanying the exhibition offers easy browsing of a handful of the included works and an interactive quiz exploring the motivations and techniques.
The app’s target audience seems to be the kids, and I bet this would make a fascinating case to a young creative mind about the power of photo manipulation as art and the importance of questioning what we see – with the latter becoming ever more important considering the issues raised by digital photo editing and popular notions of beauty.
More than just “fakes”
Long before Instagram or Photoshop, there was darkroom wizardry. What got me interested in the exhibit in the first place was its inclusion of amazing photomontage art from the likes of Jerry Uelsmann (my all-time top inspiration) and Angus McBean:
Jerry Uelsmann, “Untitled,” 1976. Angus McBean, “Christmas Card,” 1949,
In my opinion, the app and companion website add tremendous value to the whole endeavor, allowing people to connect and interact with historically relevant art in ways that are common these days because of experiences like Instagram, Pinterest – and especially Photoshop. Huge props to Adobe for sponsoring this.
Thanks to the Met’s generous actions in the digital realm, I’m even more inclined now to physically visit the museum, see these works in person and probably buy a catalogue in the meantime (and speaking of catalogues, check out these other more than 300 Met Museum catalogues downloadable for free).
Having been a graphic artist for many years, I’ve practically lived in Photoshop as an operating system, and working there is my favorite part of design, more so than typography or arranging layouts – leading right up to today with my own iPhone photomontage creations:
I’m happy to have signed up for a My Met membership thanks to this excellent digital representation, and I’m looking forward to seeing more of what’s to come – something I hadn’t much considered until discovering the online component of this exhibit. Props to The Met for harnessing and embracing the power of the Internet for cultural benefit. Now go visit The Met’s site, metmuseum.org and discover something cool for yourself.
What do you think? Does such open sharing increase or decrease the value of museum offerings? Or is that a non-issue in our world of mobile photography, photo-sharing networks and interconnectedness? Share your thoughts in the comments.