Editing Photogram (section)

===Modernism===
Photograms and artists who worked with(in)the medium have participated in/contributed to several studied/demarcated [[Modernism|modern art movements]], such as [[Dada]]<ref>{{Citation | author1=Dickerman, Leah | author2=Affron, Matthew |title=Inventing Abstraction, 1910-1925 : how a radical idea changed modern art |date=2012 |publisher=Museum of Modern Art |isbn=978-0-87070-828-2 }}</ref><ref name=":4">{{Citation | author1=Museum of Modern Art (New York, N.Y.) | author2=Umland, Anne | author3=Sudhalter, Adrian | author4=Gerson, Scott | title=Dada in the collection of the Museum of Modern Art | year=2008 | publication-date=2008 | publisher=Museum of Modern Art | isbn=978-0-87070-668-4 }}</ref><ref>{{Citation | author1=Elder, Bruce (R. Bruce) | title=Dada, surrealism, & the cinematic effect | date=May 2013 | publication-date=2012 | publisher=Wilfrid Laurier University Press |location=Lancaster | isbn=978-1-55458-625-7 }}</ref> and [[Constructivism (art)|Constructivism]],<ref>{{Citation | author1=Tóth, Edit | title=Design and Visual Culture from the Bauhaus to Contemporary Art : Optical Deconstructions | publication-date=2018 | publisher=Routledge | edition= 1st | isbn=978-1-351-06245-9 }}</ref><ref>{{Citation | author1=Hirsch, Robert | title=Seizing the light : a social & aesthetic history of photography | year=2017 | publication-date=2017 | publisher=Routledge, Taylor & Francis Group | edition= Third | isbn=978-1-138-94425-1 }}</ref> and in architecture in the formalist dissections of the Bauhaus.<ref>{{Citation | author1=Bergdoll, Barry | author2=Dickerman, Leah |title=Bauhaus 1919-1933 : workshops for modernity |date=2009 |publisher=Museum of Modern Art |location=London |isbn=978-0-87070-758-2}}</ref><ref>{{Citation | author1=Bauhaus | title=Bauhaus photography | year=1985 | publication-date=1985 | publisher=Cambridge, Mass MIT Press | isbn=978-0-262-13202-2 | url=https://archive.org/details/bauhausphotograp00bauh }}</ref>

The relative ease of access (not needing a camera and, depending on the medium, a [[darkroom]]) and perhaps the interactive to the point of feeling incidental<ref>and therefore, automatized or mechanical - see [[Dada]]</ref> nature of creating photograms<ref>imagine, you could be a photographer or hobbyist who leaves something accidentally on film/photosensitive paper in a bright room</ref> enabled experiments in abstraction by Christian Schad as early as 1918,<ref>{{Citation | author1=Neusüss, Floris Michael | author2=Barrow, Thomas F | author3=Hagen, Charles | title=Experimental vision : the evolution of the photogram since 1919 | year=1994 | publication-date=1994 | publisher=Roberts Rinehart Publishers in association with the Denver Art Museum | isbn=978-1-879373-73-0 }}</ref> Man Ray in 1921, and Moholy-Nagy in 1922,<ref>{{Citation | author1=Moholy-Nagy, Làszlò |editor=Witkovsky, Matthew S. |editor2=Eliel, Carol S. |editor3=Vail, Karole P. B. |author2=Pénichon, Sylvie |title=Moholy-Nagy : future present |date=2016 |publisher=Art Institute of Chicago |edition=First |isbn=978-0-86559-281-0}}</ref> through dematerialisation and distortion, merging and interpenetration of forms, and flattening of perspective.