Art | June 01, 2009
Terrible Beauty: The Visual Poems of Clarence John Laughlin
The full text of this feature is not currently available online.
Before falling for photography, Clarence Laughlin had wanted to be a poet. As a young man he immersed himself in the French symbolists, particularly Baudelaire. Unable to sell his prose poems and wanting to quit his job as a bank teller, he bought an inexpensive camera, built a homemade darkroom and taught himself the fundamentals of photography. His goal was to be the Baudelaire of the camera. He called his early results “visual poems” and meant for the images to be explicated like poetry. For Laughlin, objects possessed an intricate web of psychological associations and a multitude of meanings.
If you are a student, faculty member, or staff member at an institution whose library subscribes to Project Muse, you can read this piece and the full archives of the Missouri Review for free. Check this list to see if your library is a Project Muse subscriber.
Want to read more?Subscribe Today
SEE THE ISSUE
May 16 2022
Transformations: Creating Character in Contemporary Photography
Transformations: Creating Character in Contemporary Photography Kristine Somerville Vain trifles as they seem, clothes have, they say, more important offices than merely to keep us warm. They change our view
Jan 05 2022
The Art of Indifference: Duchamp and the Legacy of Readymades
The Art of Indifference: Duchamp and the Legacy of Readymades I believe art is the only form of activity in which man shows himself to be a true individual. —
Aug 18 2021
The Charm Offensive: Magritte’s Influence on Contemporary Art
The Charm Offensive: Magritte’s Influence on Contemporary Art Kristine Somerville “All I know of hope, I place in love.” —René Magritte During the World War II, René Magritte aimed