White, the presence of all colors, and black, the absence of color, have been paired throughout art history to dramatic effect. Throughout his many phrases, from Cubism to his allegorical piece de resistance, Guernica, Pablo Picasso used black and white as a device to highlight elemental forms. Suprematist Kazimir Malevich reduced abstraction to a black square on a painted white background as a way to achieve pure feeling—the black symbolizing feelings, and the white, nothingness. Similarly, Abstract Expressionist Franz Kline used the monochrome to depict positive and negative space, his brushstrokes reminiscent of one of the earliest black and white art forms, calligraphy. After the daguerreotype was invented in 1839, the black and white motif came to define an entire art medium, photography. Modernist photographers such as Alfred Stieglitz, Paul Strand, and Ansel Adams elevated the medium through their formal explorations of landscapes and city life, marked by black and white film’s clarity, depth, and quality of light. Even after color photography was made widely available by the Kodachrome, contemporary photographers have continued their explorations of black and white—from Cindy Sherman’s cinematic Untitled Film Stills, to Robert Mapplethorpe’s highly stylized floral still lifes and nudes, to Sally Mann’s intimate portraits of young children.