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Journal articles on the topic 'Artistic photographers'
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1
Swensen, James R. "New cartographics: Photography and the artistic mapping of the American West, 1969‐79." European Journal of American Culture 39, no. 1 (March 1, 2020): 83–104. http://dx.doi.org/10.1386/ejac_00012_1.
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This article examines the work of a diverse group of photographers who in the late 1960s and 1970s employed mapping techniques and devices as a means of artistic creation. Products of photography’s unprecedented growth, photographers John Pfahl, Michael Bishop, Kenneth Josephson and the participants of the Rephotographic Survey Project employed cartographic and topographic strategies as part of their exploration of the history of their medium and the American West. These artist-photographers, moreover, responded to the nineteenth-century surveys of the West as well as its relation to other, better-known contemporary movements like ‘New Topographics’. In all, this article provides the first exploration of this distinctive group of American photographers which may be collectively termed: ‘new cartographics’.
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Pfautsch, Anne. "Documentary Photography from the German Democratic Republic as a Substitute Public." Humanities 7, no. 3 (September 10, 2018): 88. http://dx.doi.org/10.3390/h7030088.
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This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photography, despite having had a different status to literature in the GDR, adopted similar traits and also functioned as part of a substitute public sphere. These photographers aimed to expose the existing gap between the propagandised and actual life under socialism. They embedded a moral and critical position in their photographs to comment on society and to incite debate. However, it was necessary for these debates to occur in the private sphere, so that artists and their audience would avoid state persecution. In this paper, I review Harald Hauswald’s series Everyday Life (1976–1990) to demonstrate how photographs enabled substitute discourses in visual ways. Hauswald is a representative of artistic documentary photography and although he was never published in the official GDR media, he was the first East German photographer to publish in renowned West German and European media outlets, such as GEO magazine and ZEITmagazin, before the reunification. In 1990, he founded the ‘Ostkreuz–Agency of Photographers’ with six other East German documentary photographers.
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Ekimov, Evgeniy P. "Foreign photographers in Siberia: photography as a mean of dehumanization." Neophilology, no. 20 (2019): 566–73. http://dx.doi.org/10.20310/2587-6953-2019-5-20-566-573.
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This cultural research is the analysis of the foreign photographers’ activities in Siberia from the second half of the 19th century to the present time. We consider the issue of dehumanization of Russian society and culture by means of foreign photography. On the basis of real photographs published on the Internet, the author compiled a list of all Western photographers who visited Siberia and proved their destructive and countercultural, political, and non-artistic goals aimed at weakening the Russian state and Russian people dehumanization; we confirmed it by the final relevant foreign publications. Some research materials are documents of the State Archive of the Republic of Buryatia and are the first time in scientific discourse. Until now, researchers consid-ered the activities of foreign photographers in Eastern Siberia mainly in the specialty of history, exclusively as a source base positively. The novelty of this cultural research lies in the fact that foreign photography of Eastern Siberia is considered from the perspective of the tasks set for for-eign photographers by their foreign customers, as well as from aesthetic and artistic positions. Thus, we prove the negative nature of the foreign photographers’ activities in Eastern Siberia.
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Xue, Xinyi. "Photography in the Late Qing Dynasty: A Comparative Study." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 1–15. http://dx.doi.org/10.54097/ehss.v8i.4218.
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Photography was introduced to China in the early 1840s. The early Western photographers in China were mainly driven by artistic pursuit or curiosity of the Orient. This paper argues that the artistic value of photography was higher and the purpose of photography was simpler during the first years of its introduction to China than the late nineteenth century when photography was increasingly associated with colonialism. The situation of Western photography in China changed profoundly in the latter decades of the nineteenth century: photography began to serve colonialism, and photographers became accomplices of the colonizers. In addition, this paper also addresses the experience of Zou Boqi, the first Chinese photographer, who combined traditional Chinese knowledge with Western science and produced the first Chinese camera in 1844. Both Chinese and Western photography have evolved as the technology advanced over time. However, Chinese and Western photographers differed greatly in their techniques, motivations, and choices of subject.
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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.
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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.
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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (October 1987): 510–18. http://dx.doi.org/10.2307/1159896.
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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa. The information presented here is based on ten years of searching for nineteenth-century photographs made by Sierra Leonean photographers. To locate these pictures, I have visited Freetonians and viewed their family portraits and photograph albums, interviewed contemporary photographers throughout Sierra Leone, and researched in the various colonial archives in England to locate photographs preserved from the period of colonial rule. I have discovered that a community of African photographers has worked in the city of Freetown since the very invention of photography. The article reviews the first phase of this unique photographic tradition, 1850–1918, and focuses on several of the African photographers who worked in Freetown during this period.
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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky." Art & Culture Studies, no. 4 (December 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.
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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.
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Yaman, Hakan. "The Perception and Views of Photographers on Artistic Photography in Turkey." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 77–84. http://dx.doi.org/10.15294/harmonia.v18i1.14667.
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The purposes of this study are to know generally the perception and view of photographers on artistic photography in a purposeful sample in Turkey. Participants were purposefully selected (purposive sample) from the community of photographers because it would represent diverse photographers in Turkey. The survey included 19 questions and divided into three parts. Findings of our study revealed that most of the participants were at their middle-age, male, married, university graduates, private sector employed, DSLR users, amateur/ traveling-landscape-portrait photographers, and they shoot their photos to be happy, to document anything, and for spending time (Hobby). They mainly thought that photos should be taken for documentary reasons. The creativity is mainly dependent on perspective (or photographic seeing). Good photography could be achieved with good photographic technique, a good photo is relying on the influence to the spectator, photo critics/reading should be mainly based on technique, the most influential movement is realism, artistic photography will improve, photography in future will improve, and some are participating in photographic projects. The results show that good grounds exist in Turkey to shape artistic photography for the needs of the 21st century.
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Colner, Miha. "Bojan Salaj, photographer: The Ambivalent Eclecticism of Contemporary Photography." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 14–19. http://dx.doi.org/10.47659/m1.014.rev.
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The article that aims to analyse the artistic production of photographer Bojan Salaj is based on conversations and reviews of his archive. Among Slovenian photographers, Salaj is the one who has been seen as an embodiment of the decisive shift in perception of the photographic medium that occurred in the late 1980s and early 1990s. He has never worked as documentary photographer or photojournalist; his authorial practice has always been primarily focused on the context of exhibition and against unconventional solutions. Salaj is one of those photographers who are characterized by the deep reflection of the meaning and perception of image from different, mainly philosophical, viewpoints, while at the same time following the objectivistic principles of photography. At a glance, his practice is extremely eclectic and post-modern, which is due to the fact that he is not looking to find an individual and recognizable artistic voice; he dedicates his focus to individual projects, bringing into his work various different references and themes. Nevertheless, a central motive can still be perceived throughout his output. In the past 25 years, Salaj has mostly been attracted to the here and now; this includes the fundamental problems of representation of photography in mass media, iconography of power structures, models of construction of history, and ways of establishing national and cultural identities.
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Grossmann, Rebekka. "Image Transfer and Visual Friction: Staging Palestine in the National Socialist Spectacle." Leo Baeck Institute Year Book 64, no. 1 (2019): 19–45. http://dx.doi.org/10.1093/leobaeck/yby022.
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Abstract This article highlights modes of image transfer between photographers in Palestine and photo agencies and editors in 1930s Europe. It argues that Jewish photographers—who had shaped the central European photographic and photojournalistic scene before 1933, and were now excluded from it—continued to influence the international news and press market through their works. Palestine, a place to which several of these journalists fled, had been known in the European spectacle as the timeless ‘Holy Land’; now, through political upheavals, it entered the news. The photographic documents of the clashes between Arabs, Jews, and British troops during the 1930s and taken by German-Jewish photographers in exile became valuable commodities internationally and entered a plethora of national markets, including that of National Socialist Germany. Many of the photographers who had been banned from the German photojournalistic scene in fact remained part of the visual discourse negotiated in German illustrated newspapers. The experience of exile of the photographers and photo agents involved in the international image transfer of photographs from Palestine can be seen as a catalyst for the contingencies in international photo trade, the loss of control of news photographs, and ultimately the crossing of the aesthetic and artistic borders of National Socialist Germany, which were believed to be closed to outside influences. The various views and the ways in which they were used trigger questions about the nature of the photographic gaze and the possibility or impossibility of distorting visual content via textual frameworks in photo essays and newspaper articles.
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Bayu Pramana, I. Made. "Photography As A Bridge To Intercultural Interaction In Bali During The Netherland Indies Colonial Period Of The 1920-1930S." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 2 (November 19, 2019): 54–58. http://dx.doi.org/10.31091/lekesan.v2i2.888.
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This article presents the process of commencing inter-cultural interactions and artistic collaboration between Balinese and western photographers through photography. In the beginning, the photography project only showed visual record of the Kings, the royal family along with the royal government apparatus in Bali. Beginning with Gregor Krause, a colonial doctor who practiced photography, the others photographers then began exploring nature, culture, art and Balinese society into recording their photographic works. The activity then continued to be an artistic collaboration between westerners as photographers and Balinese as photo models. Not only that, the collaboration also extends to the incorporation of many western cultural elements into photography properties. In addition, the models that appear in photographic works are not only from the royal community, but begin to spread to ordinary residents, artists and their environment. Through the bridge of photography, many western artists combine their ideas with Balinese artists to design and create works of art in the needs of photographic documentation. The collaborative work then attracted tourists to Bali to enjoy the exotica of Bali which was first collaborated by western photographers and writers.
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Vasily Andreevich, Gusak, and Eremenko Evgenii Dmitrievich. "Features of the photographer’s work and a graphic designer in the creation of soviet cinema advertising." Vestnik of Saint Petersburg State University of Culture, no. 2 (51) (2022): 35–42. http://dx.doi.org/10.30725/2619-0303-2022-2-35-42.
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The article examines the historical and cultural context of propaganda, ideological, aesthetic qualities of posters and photographs in Soviet cinema advertising. An advertising image from a photograph or movie poster is considered as the main «supplier» and/or «intermediary» of the broadcast meanings. The phenomenon of two creative professions is analyzed – a graphic designer and a cinema photographer. We are talking about work that meets the advertising goals of film distribution and, at the same time, about a kind of manifestation of the content side of Soviet films through their artistic interpretation. The main part of the posters for cinemas and houses of culture was «handmade», created in one copy (along with posters replicated on copying equipment). For many decades of the twentieth century, designers and photographers functioned as intermediaries between the authors of screen content and recipients, creating a variety of interpretations of works of cinema.
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Casadei, Eliza Bachega, and Mariana Duccini. "Violent objects: the forms of pathos in Yael Martinez, Glenna Gordon and Eugênio Grosso’s compositions." Comunicação e Sociedade 31 (June 29, 2017): 213–24. http://dx.doi.org/10.17231/comsoc.31(2017).785.
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This article aims to investigate the photographers’ Yael Martínez, Glenna Gordon and Eugenio Grosso artistic works. Their photographs highlight the violence in representation of consumer goods which evoke the extended relations between the subjects and their personal belongings. This is a way to discuss the iconological status in such objects which are then converted in other significations patterns. The study of these artists’ composition strategies allows us to analyze the pathos-forms achieved by the anachronistic and dialectical montage which links the referential aspects and the decrease of iconological status in these images.
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Buchloh, Benjamin H. D. "Photography's Exiles: from Painting, Patriarchy, and Patria." October 173 (September 2020): 3–6. http://dx.doi.org/10.1162/octo_a_00401.
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This issue is the second part of a two-part October project dealing with the photographic practices of women in Weimar culture and in exile from it. Focusing on seven crucial figures (Ellen Auerbach, Ilse Bing, Anne Fischer, Gisèle Freund, Lotte Jacobi, Germaine Krull, and Grete Stern), the essays collected here address a wide range of productive changes and destructive conflicts challenging traditional models of the photographers' social, artistic, and professional identities. Some of these changes resulted from the impact of emerging technologies (both in the infrastructural organization of everyday life and in photography's own newly evolving technologies of cameras and color) and some from the dismantling of the liberal democratic nation state either by the rise of state socialism in the Soviet Union or of fascism in Germany. When these Weimar photographers had to find refuge in France, in the United States, in South Africa, or in Argentina, they found themselves not only confronted with the demands of a rapidly advancing and controlling culture industry but also with the caesura of cultural discontinuity and the disillusioning effects of living in exile.
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Frolova, Ekaterina, and Irina Rutsinskaya. "Russian Orthodoxy in documentary projects of the Russian and English photographers." Культура и искусство, no. 7 (July 2021): 27–54. http://dx.doi.org/10.7256/2454-0625.2021.7.34125.
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This article is dedicated to the analysis of distinctive features of the image of Russian Orthodoxy in the works of the contemporary Russian and English photographers. The authors review various aspects of photography as a research tool. They determine the focus of attention of the English and Russian photographers with regards to Orthodoxy, which aspect of religiosity prevail in their works, and which artistic means of photography are used by the photojournalists to express their position. In the course of research of the existing photo projects, the question is raised of whether they seek to capture negative or rather positive aspects of the Russian religiosity. Analysis is also conducted on the degree of the influence of stereotypes upon photo images. Research methodology employs comparative analysis of the documentary photo projects of the Russian and English photographers. The photographers were selected by regional, professional, and objective-subjective criteria. This article is first to refer to the documentary photo projects for analyzing the perception of Russian Orthodoxy by the Russians and foreigners, which defines the scientific novelty and uniqueness of this research. The conducted analysis reveals the similarities and differences in the approaches of the Russian and English photographers. The conclusion is made that the object of research of the English and Russian photographers differ in themes and aspects they pay attention to. The English photographers are interested in religion as a part of the everyday practices of a modern Russian, while the Russian photographers attempt to demonstrate a profound connection of people with the spiritual world. At the same time, both English and Russians photographers capture Orthodoxy in a positive context, at times even romanticizing the image of Orthodox temples and rituals.
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Prasetyo, Martinus Eko, and Ika Resmika. "MEASURING THE AESTHETICS OF PHOTOGRAPHIC COMPOSITION USING CARTESIAN COORDINATE APPROACH TO PROVE VISUAL BALANCE." specta 8, no. 1 (June 2, 2024): 1–14. http://dx.doi.org/10.24821/specta.v8i1.12360.
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Photography is used for creative and reflective purposes, much like in fine art photography. The main goal of photographic aesthetics is to produce works that are not only technically sound but also have high artistic value. The research method used is qualitative descriptive. This study aims to measure the aesthetics of composition in photography with a focus on proving visual balance. Composition aesthetics are studied through the analysis of elements such as the golden ratio, symmetry, and tonal distribution. The research method involves collecting and analyzing data from sample photos with various compositions. The results show that visual balance can be measured using mathematical approaches and aesthetic principles, which influence the perception of beauty in a photo. The implications of this research are to strengthen understanding of how visual composition affects aesthetic judgment in photography. This research produces measures of aesthetic visual balance composition that will elevate case studies of six photographs from six professional photographers of different genres, whose works are internationally recognized, namely the works of photographers Natalie Dybisz, Lee Jeffries, Jimmy Nelson, Ansel Adams, Dorothea Lange, and Robert Capa, which will be measured visually using a three-to-two basic framing grid approach.
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Sánchez-Fung, José R. "Examining the life-cycle artistic productivity of latin american photographers: álvarez bravo, larraín, and salgado." Ciencia, Economía y Negocios 4, no. 1 (June 30, 2020): 85–119. http://dx.doi.org/10.22206/ceyn.2020.v4i1.pp85-119.
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The paper examines the life-cycle artistic productivity of three leading Latin American photographers of the twentieth century: Manuel Álvarez Bravo (Mexico), Sergio Larraín (Chile), and Sebastião Salgado (Brazil). The analysis constructs narratives using art books and other sources of expert commentary, following the approach in earlier contributions to the economics literature on the subject [David W. Galenson, 2007, Old masters and young geniuses: The two life cycles of artistic creativity, Princeton University Press]. The research identifies Manuel Álvarez Bravo as a ‘conceptual innovator’, a feature that caught the French surrealists’ attention early in his career. In contrast, Sergio Larraín and Sebastião Salgado accomplish their contributions to photography like ‘experimental innovators’. The investigation assembles and evaluates metrics from museum holdings and selected retrospectives to gauge the robustness of the conclusions emerging from the benchmark narratives. The results can be useful from the academic and public policy viewpoints: a better understanding of life-cycle artistic productivity can inform deliberations on the allocation of public funding for creative industries.
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Kukanova, Viktoriya V., Aleksandra T. Bayanova, and Larisa B. Mandzhikova. "Газетные фотографии: использование приема гиперболизации (на материале публикаций в газете «Хальмг үнн» («Калмыцкая правда») в 1957–1961 гг.)." Oriental Studies 13, no. 6 (December 30, 2020): 1579–93. http://dx.doi.org/10.22162/2619-0990-2020-52-6-1579-1593.
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Introduction. Photography is a visual source of information, and its unique character has been recognized by numerous researchers. Newspaper photographs tend to mirror both a historical era proper and daily life of its inhabitants. Goals. The paper aims at analyzing the ‘essential messages’ of photographs published by Khalmg Ünn (‘The Kalmyk Pravda’) newspaper in 1957–1961. The periodical is an ethnic-oriented print media to have published — and still does — Kalmyk language materials. Materials and Methods. The continuous sampling method was employed to extract photographs from newspaper issues of 1957–1961. So, a total of 4,000 units were analyzed, but the study primarily focuses on pictures that were taken by local photographers in the territory of the Kalmyk ASSR. Photographs by TASS were involved to trace similar trends through comparison with regional photographic images. Conclusions. The study shows that photographic materials of Khalmg Ünn (‘The Kalmyk Pravda’) highlight different artistic trends manifested in the eclectic patterns compiled from both Socialist realism and the ‘severe style’ (the latter characterized by romantic heroification of strenuous laborers). Just in two years the newspaper images rapidly evolutionized from mere shots to photographic pictures created through the use of diverse means and methods, e.g., that of hyperbolization achieved via different camera angles and glass prism techniques. Newspaper photographers turned to common laborers to show their joys and hardships, everyday life of citizens not involved in party or any other administrative activities. The Khrushchev era gave rise to most essential changes in newspaper photography and the images examined. Further analysis of newspaper materials shall facilitate the development of both regional print media and anthropological studies at large.
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Volkova, Galina V. "RUSSIAN ÉMIGRÉS – PHOTOGRAPHERS IN THE USA: PATH TO ART AND BUSINESS (1930s-1960s)." Articult, no. 4 (2020): 113–21. http://dx.doi.org/10.28995/2227-6165-2020-4-113-121.
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The article is devoted to the Russian diaspora in the USA as one of the centers for the development of photography as an art and a type of private enterprise. The author examines the destinies and creative heritage of the leading masters of photography in Russian America, revealing their interaction with the world of innovative art of the Russian artistic emigration. The author's hypothesis is that the main factors of the outstanding achievements of the leading figures of Russian-American photographic art were the synthesis of artistic and aesthetic innovations of European and Russian art, perceived or directly created by Russian émigré photographers in the 1920s, and the capabilities of the American publishing industry, the ability of its leaders to take creative experimentation and commercial risk for future success. The article also examines the social environment and personalities of the development of photography as a service sector, which has become an integral part of the life of the Russian diaspora in the USA in the twentieth century.
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Van de Casteele, Marlène. "Collaboration, competition and conflict: The collective labour of fashion photography at US Vogue (1940‐42)." International Journal of Fashion Studies 8, no. 2 (October 1, 2021): 195–211. http://dx.doi.org/10.1386/infs_00050_1.
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While the figure of the fashion photographer has been widely discussed, little has been written on image-making as a collective endeavour. Fashion photography indeed results from technical innovations, publishing strategies, editorial policies, behind-the-scenes negotiations and, ultimately, decision-making. This article analyses ‘The Condé Nast Papers’ ‐ a series of internal documents held at the Condé Nast archives in New York ‐ together with US Vogue and Harper’s Bazaar’s editorials and covers to explore how fashion photographs resulted from the collective labour of photographers, editors, artistic directors and many others in the early 1940s. Through these unique historical sources, this article gives a voice to the workers involved in the making of fashion images and shows how decision-making and creativity were distributed across occupations. It also unpacks the negotiations, arbitrations and power relations that underpinned work relations at US Vogue, showing the collaboration, competition and conflict between the different actors. Drawing on art sociologist Howard Becker’s concept of ‘art worlds’ while combining methods from fashion history and visual and material culture, I question the respective status of the multiple authors involved in this activity and the conventions of fashion image-making. In doing so, I argue that fashion photographs are the product of the interactions of a multitude of workers who are embedded in the power structures of the fashion media industry, and whose collective labour is made invisible. My goal is to rethink the ways in which collective labour has been evidenced and produced in the fashion industry.
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Soshnikova, Irina Anatol'evna. "St. Petersburg’s ballet in fashion photography." Культура и искусство, no. 5 (May 2021): 25–36. http://dx.doi.org/10.7256/2454-0625.2021.5.35687.
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The subject of this research is the St. Petersburg’s ballet in interpretation of the masters of fashion photography. The goal of this article consists in the analysis of specificity of modern fashion photography, and examination of the phenomenon of reference to the theme of ballet on the example of works of the prominent fashion photographers, such as Richard Avedon, Patrick Demarchelier, Deborah Turbeville, as well as certain Russian photographers. Special attention is given to examination of fashion photography not so much as the genre of photographic art, but as an important advertising tool. The relevance of fashion photography is associated with the increasing importance of visualization in life of a modern person; it plays a significant role in the social, cultural, and mythological life of the society. The article outlines the aspects of reference of fashion photographers to the theme of ballet; analyzes the peculiarities of using ballet images in photography; determines their role as a visual component of advertising campaigns in fashion industry; describes the advantages and effectiveness of their use in advertising and presentation of products. The author notes the frequency of referring to the theme of ballet in fashion photography, which leads to the increase of its artistic and cultural significance.
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YURGENEVA, ALEXANDRA L. "Replicability in Art Photography: From Pictorialism to NFT Art." Art and Science of Television 18, no. 2 (2022): 13–38. http://dx.doi.org/10.30628/1994-9529-2022-18.2-13-38.
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The article deals with the idea of uniqueness as an obligatory feature of a work of art in relation to artistic photography. The work is of an overview nature, it notes the methods of giving photographs the features of originality, which emerged at different stages during the century-long history of artistic photography. Earlier studies never focused on the fact that photographers were constantly artificially limiting the technical reproducibility of their works. Addressing this issue defines the novelty of this work. Such a limitation was demanded by an approach in which photographic images had been evaluated from the perspective of traditional art, which affected not only determination of their aesthetic value, but also the legal aspect. And yet, at the turn of the 19th and 20th centuries, the presence of machine nature in photography became a stumbling block in the development of legislative norms on the copyright for pictorialists. The entry of photography into the art market environment gave it the obligation to limit the number of copies based on commercial considerations. The relevance of the study lies in the issues of replicability in digital art, its acquisition and sale. I attempt to interpret the phenomenon of the blockchain system as a concept influencing new ways of understanding and evaluating digital photography in light of its history. The emergence of the NFT format is considered as a moment of overcoming the attitude towards the replicability of artistic photography as a problem rather than its natural property. A suggestion is made that the emergence of a virtual artistic environment has the potential to harmonize this long-standing conflict, and also raises the question of the need for new legal norms in this area.
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Polańska, Anna. "Działania artystyczne w gdańskim środowisku fotograficznym promujące fotografię marynistyczną w latach 1948-1981." Porta Aurea, no. 17 (November 27, 2018): 179–217. http://dx.doi.org/10.26881/porta.2018.17.08.
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With Gdansk artists an approach to the subject of the marine photography, was marked on several levels – artistic, documentary, journalistic and usable. Since 1945 to the first half of the 80s, we notice the popularization of maritime theme in the environment throughout artistic exhibition activities, and the program objectives. Maritime photography or maritime themes in photography? An analysis of the photographic medium in terms of belonging to the art can give the answer to this question. It is also worth considering whether there was „Gdansk School of the Maritime Photography”? The phenomenon of Polish marine art in the case of photography has been strongly emphasized in the Gdansk photography environment. The traditional display of the maritime theme has been broken, and with the approval of the authorities. Shipyard workers and dockers joined to the effigy of the sea people (fishermen, sailors). Photographers began to enter the maritime economy and use the effects of cooperation with maritime institutions for artistic purposes. Thematic exhibitions on shipyards and ports were created showing the sea from a different point of view, from the perspective of land. Socio-political events related to Solidarity stopped the promotion of the sea through the image of a shipyard worker and a shipyard, which became icons of the struggle for freedom. The Gdansk photographic community after the socio-political crisis of the first half of the 1980s, has not yet rebuilt its leading position in the dissemination of the maritime theme in photography on a large scale. Maritime exhibitions still appeared, but mainly on the local level, and the sea was reduced to the landscape understood very traditionally. At the same time photographers of the younger generation were interested in completely different issues of the style and aesthetics of photography. Te slogan „face to the sea” ceased to correspond with new times.
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Troncoso, Claudia Alejandra. "PROMOCIÓN TURÍSTICA Y FOTOGRAFÍA PROFESIONAL EN LA DEFINICIÓN DE IMÁGENES OFICIALES DE LA PROVINCIA DE SALTA (ARGENTINA)." Cuadernos de Turismo, no. 52 (December 22, 2023): 1–22. http://dx.doi.org/10.6018/turismo.593401.
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The purpose of this article is to examine the practices involved in the making of tourist photographs elaborated by the province of Salta (Argentina) as part of the official tourism promotion strategies. In order to do that, promotional materials elaborated by local government were analyzed. Additionally, personal interviews with marketing managers and professional photographers were conducted. Results show the set of political-institutional and artistic-creative decisions involved in the image making process concerning Salta’s tourism. El trabajo indaga las prácticas implicadas en la elaboración de fotografías turísticas vinculadas a la promoción estatal de la provincia de Salta (Argentina). Para llevar adelante el trabajo se analizaron los materiales de promoción oficiales y se realizaron entrevistas con los responsables de la promoción turística estatal y con los fotógrafos profesionales que participaron en la elaboración de las fotografías. Los resultados dan cuenta del conjunto de decisiones político-institucionales y artísticas-creativas involucradas en la elaboración de imágenes turísticas de la provincia argentina.
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.
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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Safronova, A. V. "MODERN UKRAINIAN PHOTO BOOK AS AN OBJECT OF CONCEPTUAL ART OF POSTMODERNISM." Art and Design, no. 2 (August 11, 2021): 52–62. http://dx.doi.org/10.30857/2617-0272.2021.2.5.
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Purpose. The purpose of the study is to identify the features of modern Ukrainian photo books, which have become a striking example of following the trends of postmodern art. Methodology. The study is based on the integrated use of historical, comparative methods, systems analysis, synthesis, generalization. Results. The modern Ukrainian photo book is considered as a work of conceptual art of postmodernism. Certain artistic and compositional features and design techniques of Ukranian photobooks are identified; originality of form; author's presentation of textual, content and visual components of the indoor unit: inclusion of ready-made images (ready-made) and photo manipulation, use of collages, photos of utilitarian objects, etc. Scientific novelty. On the example of art history analysis of a number of well-known Ukrainian photobooks, the characteristic features of the photobook as an object of modern conceptual art is determined, the features of figurative, stylistic, artistic and compositional design solutions are systematized. Practical significance. The artistic and compositional features and design techniques used by photographers in the implementation of creative ideas have been identified, the theoretical basis of modern conceptual art have been expanded that can be useful in future creative projects of photobooks that will have both artistic and commercial value.
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Perkins, Emma Gillespie, and Ann Andaloro. "Photo Opportunities: Contemporary Photographers Cindy Sherman and JEFF Wall as Models for Artistic and Teaching Identities." Art Education 61, no. 2 (March 2008): 102–14. http://dx.doi.org/10.1080/00043125.2008.11651151.
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Ilec, Nataša, Peter Koštrun, and Peter Rauch. "Probing: Interview with Peter Koštrun and Peter Rauch." Cabinet, Vol. 2, no. 2 (2017): 20–23. http://dx.doi.org/10.47659/m3.020.int.
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In August 2015, photographers Peter Rauch and Peter Koštrun took up the roles of curators at the Celje FOKUS Festival. At the exhibition, which they named Sondiranje (Probing), they compiled a collection of photographs of foreign, anonymous and unknown authors. The collection consists of artifacts collected by the authors in their archives over the years and was, upon receiving the invitation to participate, selected on the basis of their fascination with these artifacts. At one point in time, all the photos served their particular functions: advertising, family, propaganda, artistic expression, etc. The authors highlighted the alternative possibilities for interpreting such images, which may have, due to the time that has elapsed, been exempt from the first context because of the past time, perhaps due to the lack of signatures or the manner of presentation. Their assumption was that engaging viewers would break up the long, uniquely justified ways of understanding photographic material. Visiting authors and collectors were also invited to participate. Keywords: alternative possibilities, anonymous author, archive, collection, context, probing
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Michałowska, Marianna. "Portret we wnętrzu — między socjologią a antropologią fotografii." Kultura i Społeczeństwo 53, no. 4 (December 28, 2009): 57–73. http://dx.doi.org/10.35757/kis.2009.53.4.2.
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This text is an attempt to analyze the works of a selection of contemporary artistic photographers (including Weronika Łodzińska, Reiko Imoto and Todda Hido) from the perspective of sociology and visual anthropology. The first is represented by the texts of Pierre Bourdieu as well as John Tagg, while the latter by Hans Belting and Gaston Bachelard. The author examines the photographic manner of picturing society and the cultural identity of the subjects — from the typical studio portrait through social projects (August Sander) to contemporary documentary photography in which the identity of the individual and their social position is shown without the presence of a model (Candida Höfer).
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Babii, Nadiia. "Gustatory images of Myroslav Yaremak (based on the materials of performances)." Text and Image: Essential Problems in Art History, no. 2 (2023): 41–53. http://dx.doi.org/10.17721/2519-4801.2023.2.03.
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The article constitutes a segment of the author's research on the representation of social practices through artistic production processes in twenty-first-century Ivano-Frankivsk. It delves into the issue of intercultural communication by examining gustatory themes within the performances of the action artist, Myroslav Yaremak. The study concentrates on actions that revolve around artistic depictions of food and beverages' growth, processing, and consumption, recontextualized within the present culture and politics of a provincial city amidst a globalized backdrop. Furthermore, the article explores the documentation aspects and the societal impact of the performances «Alma mater», «Sower», and «In vino veritas» on the small-town community. The material is organized thematically, revealing content categories such as milk, grain (seeds), and wine as significant markers. The structure of the work revolves around life experiences, meanings, and artistic images. The methodology encompasses semiotic studies by Roland Barthes, performance studies popularised by Richard Schechner, and food studies exemplified in the works of Crystal Neely. It analyses how the chosen categories' meaning and significance, as well as the artist's associated actions, evolve due to changing political or cultural circumstances. The primary empirical foundation of this study comprises self-archived performance artefacts, photo documentation sourced from Ivano-Frankivsk photographers' archives of the 1990s and 2010s, self-descriptions, performance documentation, and interviews with Myroslav Yaremak conducted between 2022 and 2023. The article reveals the process of transforming specific gestural acts into universal ones through ingrained images within daily experiences. It demonstrates how the form of performance and reperformance was shaped by cultural or political history, interpreted through the subjective experiences of the artist and his assistants. Consequently, it portrays gestural acts in the work as mediums of social interaction, wherein recipients (assistants and spectators) become active participants within the artwork.
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Narušytė, Agnė. "Dislocation: The Conflict of Photographic and Cinematographic Representations of War in Soviet Lithuania." Art History & Criticism 13, no. 1 (December 1, 2017): 42–57. http://dx.doi.org/10.1515/mik-2017-0004.
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Summary The Cold War that shaped the societies of late modernity had penetrated everyday life with constant messages about the nuclear threat and demonstrations of military power. On the one hand, Soviet republics such as Lithuania were occupied by the enemy of Western democracies, and the nuclear threat would apply to their territory as well. On the other hand, many people secretly sided with the West. But information about the world behind the Iron Curtain was filtered ideologically. Images of Vietnam War and civil unrest in Western countries were broadcasted by the state controlled media as a counterpoint to the orderly and optimistic Soviet life idealised in chronicles and photographs. This positive image was shown to rest on the victory of the Great Patriotic War as well as October Revolution. Those events were represented by iconic monuments in the public space as well as by memorialization rituals taking place every half-year. Their visual documentation was an important part of Soviet culture. Photo journalists like Ilja Fišeris were assigned to record the parades of May the 1st, the 9th and November the 7th. Art photographers treated such images as a tribute to authorities exchanged for a measure of artistic freedom. But in the 1980s, the memorialization rituals, the monuments and other ideological signs became the focus of “rogue” art photographers and cinematographers: Artūras Barysas-Baras, Vytautas Balčytis, Vitas Luckus, Alfonsas Maldutis, Algirdas Šeškus, Remigijus Pačėsa and Gintaras Zinkevičius. Their ironic and reflective images worked as dislocating counter-memorials against the stale reconstructions of the past. Referring to theories of Svetlana Boym, Verónica Tello and Ariella Azoulay, the paper discusses the complicated relationships between the different memorializations of war, including the absence of the Holocaust in collective memory.
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Hayes, Patricia. "SEEING AND BEING SEEN: POLITICS, ART AND THE EVERYDAY IN OMAR BADSHA'S DURBAN PHOTOGRAPHY, 1960s–1980s." Africa 81, no. 4 (October 13, 2011): 544–66. http://dx.doi.org/10.1017/s0001972011000593.
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ABSTRACTThere is an assumption that the photographic iconography of the South African struggle against apartheid is universally known and familiar. It is however dominated by certain tropes and categories that obscure the many complexities and nuances of its origins, its practitioners and its effects. This article focuses on one photographer, Omar Badsha, and explores his own narrations about city and family life in the Indian Ocean port city of Durban, and the artistic and political trajectories in which he was embedded that gave rise to his own photographic work and the organization of other photographers into the collective known as Afrapix. Badsha grew up in ‘the imperial ghetto’ of Grey Street in Durban within a rich legacy of radical political and cultural debate, becoming an artist and later a trade union organizer. It is the imperatives of the latter work that pushed him into photography as a medium of literacy. Many of his own photographs started as a personal visual diary when he re-explored the spaces of his childhood as an adult, and in the process became increasingly sensitized to the parallels between political and religious ritual. In particular he was fascinated by the dynamics between the leaders and the led, and the techniques and theatricalities of the different genres of mobilization. His work and the multiple forces and influences at play suggest that there were (and are) plural and competing aesthetic regimes during (and after) apartheid that are little recognized, mostly due to a deeply entrenched (and ongoing) separation between the domains of aesthetics and politics in South Africa and elsewhere outside the African continent.
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Kanicki, Witold. "Blackfaced white: rasowe przypadki negatywu." Artium Quaestiones, no. 28 (May 22, 2018): 111–36. http://dx.doi.org/10.14746/aq.2017.28.5.
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In her essay on the involvement of photography in the system of racial division, Tanya Sheehan (“Comical Conflations: Racial Identity and Science of Photography,” Photography & Culture, vol. 4, no. 2, 2011: 133-156) focused her attention on common comparisons of the photographic negative to the Negroid race. Such a tendency may imply a claim that the negative is racist; once connected, just as African Americans, with pejorative features. The negative picture, different from reality as such but above all negating a realistic (positive) tradition in art, because of being different (other) can be considered wrong or inferior to the positive so that it must be hidden or even destroyed. In such a context, the present paper focuses on the relationship between the photographic negative and the question of race. Although apparently the reversal of the color of skin might result in a racial transformation of the photographed whites, the artistic practice of the 20th and 21st centuries demonstrates that quite often the reversed color does not necessarily mean a change of race. What is more, the negative has been used to oppose by artistic means the simplifying polarization of society. Such avant-garde photographers as Hans Bellmer, Man Ray, and Alexandr Rodchenko used the inversion of tone in their works critiquing colonial and racist stereotypes. Contemporary artists use the negative convention to subvert the dominant positive, realism, light, day, the white male, and other concepts associated with one of the poles constituting the binary value system. Painting one’s face black, in the 19th century used in evidently racist performances called “minstrel shows,” may now convey a positive message.
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Bakirov, Vil, and Dmytrii Petrenko. "Contemporary Ukrainian Visual Culture on the Way to the International Cultural Space." Perspektywy Kultury 41, no. 2/2 (June 29, 2023): 91–110. http://dx.doi.org/10.35765/pk.2023.410202.08.
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The article is devoted to the visual culture of Ukraine since independence. It pays special attention to the trends and phenomena of contemporary Ukrainian visual culture that have entered the context of world culture through recognition on international cultural platforms (competitions, festivals, biennials, etc.). The considerations concern the development of various trends in contemporary Ukrainian art, which use various artistic media: photography, installation, performance and film. In particular, Ukrainian conceptual photography was the most interestingly represented by several generations of photographers of the Kharkiv School, who combined radical bodily imagery and social criticism. The Ukrainian installation is represented by the works of artists of the REP (Revolutionary Experimental Space) group, which is focused on the unity of art and politics and considers artistic creation as a political act. An interesting sub-direction of the installation is the video installation, which delivers an original combination of contemporary Ukrainian artists with site-specific art and artistic means of reflecting on the traumas inflicted on Ukrainian society by the war. The article pays special attention to the development of contemporary Ukrainian cinema. The author demonstrates the connection between the work of contemporary Ukrainian filmmakers and the traditions of Ukrainian poetic cinema. In addition, other trends in Ukrainian cinema are identified: the experimental search for a new film language, the development of documentary cinema, on top of the convergence of fiction and non-fiction artistic languages in the work of contemporary Ukrainian filmmakers. The dominant issues of contemporary Ukrainian films selected for screening at leading European film festivals are identified: inclusiveness, reflection on Ukrainian history, war trauma, psychological rehabilitation of combatants, etc.
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Van Schepen, Randall. "Contemporary Misticism: Recovering Sensible Aesthetics in an Age of Digital Production." Religions 10, no. 3 (March 12, 2019): 186. http://dx.doi.org/10.3390/rel10030186.
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Materialist accounts of artistic development emphasize the ongoing revolution of media in the progress of history. Amongst the most popular accounts of modernity are Walter Benjamin’s essays on the relationship of photography to traditional art. His account of the loss of aura has been subject to countless reinterpretations since its publication. The present essay addresses the contemporary production of a number of architects and artists whose work provides an interesting challenge to the Benjaminian account of the secularization of artistic ritual. The artists Adam Fuss, Vera Lutter, Alison Rossiter, Sally Mann, and others have recently been exploring photographic methods that contradict the Benjaminian account of the history of photography. They continue to explore techniques that Benjamin placed in the auratic pre-paper-print era, such as Daguerreotypes and photograms, as well as employing other more material/chemically based effects. Such artistic choices are often considered nothing more than a nostalgic reverie trying to stem the tide of materialist history, a flawed search for a lost aura of presence. However, when these works are set against the backdrop of contemporary digitized production and of the Dusseldorf School as well as most other contemporary photographers, these “retro” works stand as a critical counterpoint to our present seamless digital imperium. The soft and hazy effects of these works, what I am calling their misticism, occludes the particularity of digital bits of information in a search to connect to the material and the sensual, something denied by information-saturated technologies. Even within a materialist approach to history, there is room to view these architectural and artistic effects as critically productive rather than merely retrograde. The present essay argues for the timely relevance of contemporary retro-photographic techniques in fostering both a critical attitude and as evidence of attempts to recover a sense of spiritual presence.
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Sciorra, Joseph. "“The Strange Artistic Genius of This People”: The Ephemeral Art and Impermanent Architecture of Italian Immigrant Catholic Feste." Buildings & Landscapes: Journal of the Vernacular Architecture Forum 30, no. 1-2 (September 2023): 4–35. http://dx.doi.org/10.1353/bdl.2023.a911882.
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abstract: During the late nineteenth and early twentieth centuries, Italian working-class immigrants in the United States staged religious feste (street feasts) in honor of the Madonna and other Catholic saints to express their beliefs in a socially acceptable, aesthetically pleasing, and recognizable manner. Impermanent edifices and other ephemeral constructions were integral parts of these cultural-religious extravaganzas. Hanging decorative illuminations, elaborate sidewalk altars, freestanding multistoried chapels, and various ambulatory structures were architectural wonders that boldly transformed, sacralized, and claimed American urban landscapes. A vernacular baroque aesthetic permeated the occupation and sacralization of the streets that engendered hallowed and convivial topographies that would have lasting ramifications for how people imagined their lives and neighborhoods. This article examines how these transient objects of devotion, predominantly in East Coast cities, enacted and proclaimed a diasporic community of believers that challenged hegemonic notions of artistry, religion, the built environment, and the public sphere. Ephemeral festival architecture captivated the attention of outsiders, including photographers, journalists, and visual artists, who depicted them in words and imagery. The article also contextualizes this source material as part of the Progressive era’s xenophobic climate and, in particular, the picturesque gaze that racialized and othered Italian immigrants.
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Popescu, Costin. "Notes on the expressive status of photography." Balkan Journal of Philosophy 11, no. 2 (2019): 155–68. http://dx.doi.org/10.5840/bjp201911216.
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With a history spanning almost two centuries, during which technological advancements on the one hand, and the fluidity of social life on the other, have constantly posed new challenges, photography keeps redefining its place among visual artifacts, and its functions among self-regulatory societal mechanisms.As a widespread practice, photography has generated analyses and commentaries from many theorists of various fields, as well as from more than a few working photographers. Arguments and judgments on the status of photography with regard to its expressive possibilities, adhere to vastly different and often divergent points of view, and most importantly, raise considerable difficulties that prevent these discussions from relying on any methodological coherence.The present text presents some of these arguments and judgments. It aims to provide grounds for more orderly future debates on the artistic quality of photography and especially on the methods of investigating photographic artifacts.
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Gibas, Petr. "People in the City of Coal and Steel: Visual Analysis of an Exemplary Socialist Town." Český lid 110, no. 2 (June 25, 2023): 157–82. http://dx.doi.org/10.21104/cl.2023.2.02.
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Ostrava, which used to be nicknamed the “steel heart of the republic”, was an important industrial centre during and after socialism. The city’s official visual presentation of itself during socialism was that of a happy life in an urban environment where it is already possible to catch glimpses of a glorious future facilitated by industrialization and its related transformations to the city’s everyday life and landscape. In this paper, I present a visual analysis of the official discourse about Ostrava and everyday life there. I then confront the constituent elements of this visually produced urban landscape with distinctly more ambivalent testimonies by artistic photographers from the same period. The aim is to comprehend the basic compositional elements that furnished the multilayered image of an industrial city and people’s roles there and use the two contrasting imageries of Ostrava’s urban landscape to inquire into the relationship between urban landscape and visual discourse.
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Ben-Choreen, Tal-Or K. "Emergence of Fine Art Photography in Israel in the 1970s to the 1990s Through Pedagogical and Social Links with the United States." Contemporary Review of the Middle East 6, no. 3-4 (September 2019): 252–65. http://dx.doi.org/10.1177/2347798919872588.
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The flourishing of photography as a tool for expressive reportage and artistic practice transformed photographic education during the mid-twentieth century. American-based academic institutions quickly established reputations in the emerging fine art field as leaders in photographic education drawing international students from diverse locations, including Israel. Many Israelis who studied photography in American institutions returned to Israel bringing with them the knowledge they had gained while abroad. This article considers the impact of American pedagogical models and social networks on the development of the Israeli photographic field. Included in this discussion is an exploration of the emergence of Israeli photography programs in institutions of higher education, photography galleries, museum collections, and exhibitions. By approaching the study through a network methodological approach, this article traces the transnational movements of individuals: photographers, program graduates, and curators in order to demonstrate the significant impact American photographic education had on the emerging Israeli photographic field.
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Bublatzky, Cathrine. "Aesthetics and Materiality of Knowledge: (Un)sighted Archives of Migration." International Journal for History, Culture and Modernity 8, no. 1 (June 11, 2020): 97–104. http://dx.doi.org/10.1163/22130624-00801001.
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Many private or artistic migratory archives remain unnoticed by the wider public or are endangered by loss, misuse or destruction by human or non-human agents, especially when institutional infrastructures are missing. If archives are considered to be dynamic, it is essential to ask how the aesthetics and materiality of knowledge, as they are stored in (un)sighted archives of migration, are to be investigated. How can we look at archives of migration in their performative sense when cultural memory implies dynamism and represents ‘an ongoing process of remembrance and forgetting’? Bringing together anthropologists, artists, photographers, historians and activists with and without migration experiences, the workshop ‘Aesthetics and Materiality of Knowledge – (Un)sighted Archives of Migration’ initiated a comparative and non-hierarchical exchange among experts on archives of migration as historical and aesthetic resources. This article explores the themes raised during these discussions and reflects on the variety of perspectives that emerged.
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Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (October 7, 2010): 43–57. http://dx.doi.org/10.7202/044587ar.
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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.
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Mäenpää, Jenni. "The changing working life of photojournalism professionals in the contemporary media environment." Journal of Visual Political Communication 10, no. 1 (April 1, 2023): 27–34. http://dx.doi.org/10.1386/jvpc_00025_1.
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This article aims to pull together some of the recent trajectories that have affected the work of photojournalism professionals. It is argued that the hybrid media environment is yet another turning point of the revolutionary changes caused by the digitalization during the past three decades. Since the late 1980s the digitalization has enabled photojournalism much more than the transition of photo editing and cameras from analogue to digital technology. Digitalization has, for example, facilitated the work in numerous ways and enabled images to travel in multiple speed in comparison to analogue times. During the recent years, traditional media organizations have witnessed diminishing revenues of and cut downs of photography departments worldwide. Most of the news photographers of today are self-employed, and despite the growing importance of the visuals in society, they need to expand their reach from journalism to other fields such as commercial photography, public relations, corporate communications, artistic projects and NGO work to earn a living. This leads to blurring of boundaries between journalism and other fields and to diffusion of professional values and ethics.
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Irala-Hortal, Pilar. "La imagen como terapia = Image as therapy." REVISTA ESPAÑOLA DE COMUNICACIÓN EN SALUD 9, no. 2 (December 18, 2018): 237. http://dx.doi.org/10.20318/recs.2018.4502.
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Resumen: Cuando hablamos de fotografía solemos pensar en la captación de un momento o acontecimiento, probablemente caracterizado por breves impases de clímax y con una trascendencia cultural, social, artística o política. Bien se trate de fotografía artística o documental, tanto fotógrafos como historiadores o teóricos hemos abordado la imagen desde el enfoque de la preservación de un momento. En este caso la fotografía es un conservador de la memoria. Pero la fotografía puede cumplir otras funciones como la de ahondar, profundizar, extraer y exorcizar conocimientos o sentimientos íntimos con una finalidad terapéutica. No es baladí este poder de la imagen que ha sido contrastado en diferentes proyectos tanto médicos como sociales. El presente artículo tiene el objetivo de exponer qué es la fotografía terapéutica y cuáles son sus ámbitos de aplicación.Palabras clave: fotografía; enfermedad; terapia; cultura visual.Abstract: When we talk about photography, we are usually thinking of capturing one single moment. That event is probably characterized or classified by a cultural, social, artistic or political culture. Whether it is artistic or documentary photography, photographers, historians or theorists have thought the image as a visual conservator of our memory. However, photography can play other functions or roles such as deepening, extracting and exorcizing knowledge or profound feelings for therapeutic purposes. This is not a small power. In addition, this role of the image has been contrasted by different projects both medical and social. The purpose of this paper is to explain what the therapeutic photography is and what its scope of application is.Keywords: photography; illness; therapy; visual culture.
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Doni Fitri, Nofria, and R. Hadapiningrani K. "Penerapan Teori Golden Section Pada Foto Landscape Pantai Di Gunungkidul." AKSA: Jurnal Desain Komunikasi Visual 4, no. 1 (December 10, 2020): 552–66. http://dx.doi.org/10.37505/aksa.v4i1.45.
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Technical problems in the digital photography era have now beenovercome by the sophistication of cameras. The problem thattechnology cannot solve is the composition of the image.Composition is a skill that requires an understanding ofphotographic objects, visual elements, and artistic experience.Composition is related to the placement of objects and how to build aflow of view in viewing photos that have an impact on the impressionof the photo. The decision to press the camera's shutter button is aconsideration of composition, and is not easily understood bystudents or beginners who are just learning photography. So thatwith knowledge of the composition of this golden section,photographers can produce more optimal work. Careful at everyvisual element that exists, skilled in arranging objects so that bettervisuals are created. Super-sophisticated camera technology cannotsearch for objects on its own, therefore this research is offered. TheGolden Section Theory has been successfully applied to the field ofarchitecture in the 5th century BC and in the field of painting duringthe renessance era. In this study, the author tries to apply thisformula to determine the main object (center of attention) in a beachscene photo in Gunungkidul in 2: 3 image format or the defaultDSLR camera format.
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Mahmoud, Alaaeldin. "Beyond the Colonial/Orientalist Encounter: “European” Cultural Contributions to Arab Modernity." Hungarian Cultural Studies 12 (August 1, 2019): 46–64. http://dx.doi.org/10.5195/ahea.2019.351.
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Albeit what can be described as the “European” contributions to world modernities (with Arab modernity included) are often perceived as a self-evident fact, a scrutinizing look is useful in shedding more light on the mostly ignored European cultural contributions to the Arab Nahḍah (Arab Renaissance) and modernity that were neither colonial nor orientalist, especially during the last quarter of the nineteenth century and the first half of the twentieth century, with particular focus on Egypt and the Levant. This study examines the contributions of Europeans who settled in Egypt and the Levant, such as the Hungarian photographers Otto Schoefft (1833-1890s) and Zoltan Kluger (1895- 1977), Hungarian illustrator and painter Éric de Nemès (1910-??), the Spanish cartoonist Juan Santez and the Armenian cartoonist Alexander Saroukhan (1898-1977), to name a few. It also challenges the perception that the Europeans who migrated to and settled in the Arab region (especially in the early twentieth century) were living in “cultural ghettos.” Instead, the work of the above artists, literati and others shows that the European communities in Egypt and the Levant were cultural agents who contributed to the literary and artistic landscapes in their respective fields of expertise.
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Vershinin, Alexander P., and Elena M. Beier. "Copyright Law on Photographic Works in the Russian Empire of the 19th–20th Centuries." Zakon 21, no. 5 (May 2024): 190–98. http://dx.doi.org/10.37239/0869-4400-2024-21-5-190-198.
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Article analyses emergence of copyright law on photography in Russia and achievements of its prominent figures in early stages of formation and evolution of this art in the 19th — early 20th centuries. Copyright on photographic works in the Russian Empire was first regulated in 1857 by naming photography among other artistic property rights, and only in 1911 a separate chapter “Copyright for photographic works” was introduced in Copyright Law. Lack of legislation, as well as complex procedure for obtaining rights for photo production and registration of photographic works significantly impaired photographers rights. Originally photo studios could function only by obtaining privileges “for crafts, trade and inventions in crafts and arts” as well as permission “to engage in photographic craft”. De facto copyright on photographic works started developing right after new photo technology was introduced, even before it was enshrined in legislation. Authors emphasise significance of this historic period of Russia for legislative initiatives in copyright law in general and copyright on photographic works in particular which was also facilitated by the achievements of prominent representatives of photographic art, whose works and technologies serve to preserve cultural heritage.
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Pavlova, T. "The First Public Exhibition of the “Vremya” Group in Kharkiv: a New Art Medium Manifesto." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (December 2020): 54–61. http://dx.doi.org/10.33625/visnik2020.03.054.
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A certain liberalization of life accompanied the period known as Khrushchev’s thaw. It contributed to the formation of the new directions in artistic culture of Ukraine. Although they were not supported by the authorities, these directions were more in line with reality. Their viability depended entirely on the corresponding alternative groupings which appeared at that period. Such program was presented by the avant-garde Kharkiv “seven”, the photographers who united in the group “Vremya” in 1971. The group included Yu. Rupin and Ye. Pavlov (the founders), B. Mikhailov, O. Maliovany, H. Tubalev, O. Suprun, and O. Sytnychenko, and A. Makienko, who joined later. That was the time of apartment exhibitions and slide shows. In 1983, this group organized a show at Kharkiv House of Scientists, relying on its liberal exhibition policy and intelligent viewers. Despite the crowd, which gathered for the opening of the exhibition, the show was closed at the end of the first day. The opening included the press line‑up where the group entrusted Yuri Rupin to present the concept of the group, in particular, the “impact theory”. The exhibition became a serious mistake in the policy of such a centralized institution as Kharkiv House of Scientists. Photography appeared as a powerful art medium, not as a mere verification service. Therefore, it was very important that the background of the exhibition included a museum‑level cultural location, which was the next step after Vagrich Bakhchanyan’s nonconformist actions and street exhibitions in Kharkiv in the mid‑1960s. The “Vremya” group manifested photography as a new force of influence, which could no longer be ignored. An important historical fact was recorded because the group entered the zone of public conflict. At the same time, they consolidated the achieved positions such as the right to individuality, freedom of artistic gesture, and intervention in the field of photographic mimesis.
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Vellanki, Vivek. "Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research." Cultural Studies ↔ Critical Methodologies 22, no. 2 (December 28, 2021): 132–42. http://dx.doi.org/10.1177/15327086211045976.
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In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual research: the ontology of photography, collaboration and photography, and thinking with art/photography. Across these three key elements, I interrogate taken-for-granted assumptions about the camera, photographs, and the relationships between the photographer-photographed in the context of educational research and articulate some shifts that help reframe our understanding of photography and how it is used within educational research and practice.
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Došen, Ana. "Nobuyoshi Araki’s Archival Corpo-Rapture." AM Journal of Art and Media Studies, no. 18 (April 15, 2019): 107. http://dx.doi.org/10.25038/am.v0i18.301.
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Nobuyoshi Araki is one of the most famous and controversial Japanese photographers, whose work amounts to several hundred publications. Over the course of nearly five decades, this prolific artist’s ‘photo-mania’ dealing with, among various subject matters, a depiction of human bodies, often eroticized and graphic, has been both celebrated and heavily criticized. Instead of contributing to those discourses of either support or disdain of his artistic vision – especially on the issue of fetishized female nudity – this paper focuses on Araki’s insatiable lust for capturing Japan’s corporeality. His unrelenting inspiration to encapsulate Japanese bodily images has generated an immense collection of not only personal(ized) memories, but also of various types of archives – intimate and public – of the spontaneous and the staged, reflecting the ephemeral, transitory or epochal. Drawing on Derrida’s notion of archive in realtion to Freudian death drive, this paper explores Araki’s archive fever as a mechanism of subjective power imposed on the collective body. The proliferation of his photo series unveils Araki’s tendency to ‘destroy’ the previous encounters while simultaneously adding to his ultimate repository of somatic images with each new volume.Article received: December 10, 2018; Article accepted: January 23, 2019; Published online: April 15, 2019; Original scholarly paperHow to cite this article: Došen, Ana. "Nobuyoshi Araki’s Archival Corpo-Rapture." AM Journal of Art and Media Studies 18 (2019): 107–116. doi: 10.25038/am.v0i18.301
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Gavrilyuk, M. N. "GLAGOLEV IN THE IDEOLOGICAL FIELD OF THE FINE ARTS OF THE CRIMEAN ASSR (1928–1946)." Scientific Notes of V.I. Vernadsky Crimean Federal University. Historical science 7 (73), no. 2 (2021): 39–52. http://dx.doi.org/10.37279/2413-1741-2021-7-2-39-52.
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The article describes the activities of Alexander Nikolaevich Glagolev, a Crimean artist who was the most prominent figure in the ideological field of the fine arts of the Crimean ASSR. Working first as an artist, and then as head of the illustration department of the newspaper «Red Crimea», he made every possible effort to implement state policy in all spheres of artistic life in Crimea. Since 1929, he has been developing an unprecedented activity for Crimea, hoping to «wrest artists from the state of dead apoliticality and switch them to serving the interests of the revolutionary proletariat», while educating a generation of young, ideologically literate artists. As the main platform for the implementation of his plans, A. N. Glagolev uses the newspaper «Red Crimea», on the pages of which not only his illustrations and cartoons appear, but also fairly large articles urging artists and photographers to be closer to socialist construction. His merits include the organization of an art exhibition dedicated to the 10th anniversary of the Sovietization of Crimea, the First All-Crimean Exhibition of Amateur Art, as well as an exhibition of professional and amateur artists in the Moscow State Museum of Oriental Cultures «Art of the Soviet Crimea». A. N. Glagolev was the founder and chairman of the Crimean Society of Revolutionary Artists «Izofront». He tried to provide support to representatives of amateur and national art.