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Journal articles on the topic 'Photographic criticism'
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1
Humm, Maggie. "Virginia Woolf and photography." Comunicação e Sociedade 32 (December 29, 2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.
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From 2000, criticism on Woolf and the visual has quadrupled in volume. The research work about a photographic Woolf – which include other photographers’ interaction with Woolf such as Gisèle Freund or my own analysis of Woolf and Bell’s personal photo albums – shows how these newer issues of Woolf and photography are now absolutely central in any consideration of Virginia Woolf studies, gaining a noticeable importance when we consider the interdisciplinary issue of photography and gender.
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Yurchuk, Olena. "PHOTOGRAPHY AS A FORM OF STATEMENT AND MEANS OF FIXING PRESENCE IN A. PEREZ REVERTE’S BATALIST." CONTEMPORARY LITERARY STUDIES, no. 19 (March 15, 2023): 63–68. http://dx.doi.org/10.32589/2411-3883.19.2022.274082.
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Modern literary criticism pays much attention to the theme of photography in fiction. R. Barth and his followers emphasize the active interpenetration of the two arts, which results in a play with imprint, blur, and image. Photography turns out to be a point of reference for reconstructing the past. The photographic image claims to be an archival document necessary for reconstructing the past, and the photograph claims to be completely objective, though limited by a subjective position. In the plot of A Perez Revert’s novel «The Battler» the camera, as well as photography itself, occupies a special place. After all, it is the camera that helps the photographer to recreate the chosen object of reality, to turn a moment into time frozen in history. For a photojournalist, a camera is not just a device for creating photo frames, but a component of his life, a mechanism that works in harmony with his body. The camera forms the inner world of the photographer, projecting the reality around him. During the Croatian war of the early 1990’s, it allowed the combatant to see what he saw through the prism of his own emotions and beliefs and recreate it in a specific photograph. A photograph is not only a documentary fact, but also a work of art, because it is a unique combination of dozens of random factors that together affect the perception of the photographer, coincide in one moment, are focused by the lens and reflected in it. This text is part of a discourse about the changing status of the document and the role of the photographer in assessing events, his ethical position, and recording presence. The one who publicly manifests his individuality and creative potential to make his voice heard, or to demonstrate images and attribute to himself a certain autonomy in relation to the world and its institutions, sooner or later becomes an artist.
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Foa, Michelle. "Textual Inhibitions: Photographic Criticism in Late Victorian Britain." History of Photography 36, no. 1 (February 2012): 33–43. http://dx.doi.org/10.1080/03087298.2011.606724.
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Van der Vlies, Andrew. "Constellated in a flash: on the dialectics of seeing (beyond stasis) in Zoë Wicomb’s work." English in Africa 49, no. 2 (November 4, 2022): 7–25. http://dx.doi.org/10.4314/eia.v49i2.1.
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This essay considers the photograph as representation and metaphor in select work by Zoë Wicomb (b. 1948). It asks how the photograph functions in her prose fiction and criticism in service of a recuperation of late- and postapartheid stasis in potentially affirmative vein. Many of Wicomb’s most illuminating essays and many of her fictions – from her debut, You Can’t Get Lost in Cape Town (1987), to the most recent, Still Life (2020) – engage with photographs, drawing in highly suggestive ways on vivid descriptions of acts of seeing that are indebted to photographic theory. What, I ask, is constellated in the moment captured in the photograph represented in Wicomb’s fiction, as well as in the moment of engagement with the image – by her characters, or by Wicomb herself (including as critic)? How does the photograph function in Wicomb’s reimagination of the possibilities for ethical engagement with otherness beyond the stasis of South Africa’s long post-transition, post-postapartheid moment?
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Widi Nugroho, Yulius. "Still-life Photography as Visual Poetry Media for Social Criticism of Lumpur Lapindo." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, no. 2 (October 28, 2022): 93–111. http://dx.doi.org/10.31091/lekesan.v5i2.2083.
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Visual media photography is prioritized to present actual and factual information as news media and art media, and Visual Poetry is a work of art that combines two visual and verbal media as one work. The purpose of this research is to make still life photography works and the meaning of photo works as a medium for Visual Poetry. The object of the photo is about the condition of the Lapindo Mud on Porong Sidoarjo Indonesia, which has been neglected for years without serious handling. This creation method uses a photographic method of photographing natural objects. Methods of collecting data by observation, interviews, and documentation offline and online. The discussion of meaning uses the semiotic theory of Roland Barthes. The result of this creation is to capture visual phenomena which are then converted into words and finally assembled into poetry. The meaning of the final work of the photo comes from the visual and verbal media that are presented together, and of course it remains open to meaning that is free from the audience. Visual Poetry's work is used as a social critique of the condition of the Lapindo Mud which is physically and socially neglected. The conclusion of this creation is that visual and verbal media have their respective advantages and limitations, but can be combined into new works and new meanings. The benefit of the creation of this work is the development of methods of visual meaning that can produce new art media.
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Graziano, Maítha Elena Tosta, and Maria Leandra Bizello. "Os documentos fotográficos na perspectiva Teórico-metodológica da Diplomática um estudo da Fundação Fernando Henrique Cardoso." Páginas a&b Arquivos & Bibliotecas 17 (2022): 116–30. http://dx.doi.org/10.21747/21836671/pag17a7.
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Observing the statusused for photographs in archives today, since the recognition of their character as an archival document, their differencesin organization, packaging and availability for access, it is evident the need to deepen the discussions about these documents in the archival scope. For this reason, it is proposed to discuss photography and its nuances, envisioning its documentary and, consequently, archival nature, from its production context and the theoretical-methodological perspective that diplomatic analysis offers as a valid tool to understand it while result of an action registered in the contemporary world, that is, a document. For that, the methodology applied was the case study, being the Fernando Henrique Cardoso Foundation the research universe. It is concluded that, more than applying diplomatic criticism to photographic documents, it is necessary to reflect on the production of images as documents, as well as their characteristics and their condition of production, that is, their context.
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Geurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'." Aesthetic Investigations 1, no. 1 (July 16, 2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.
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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's photograph, the articles shows how such a 'social' focus on photography, easily reaffirms the social inequalities that lies within the practices of atrocity photography.
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Novianti, Erlina, Silviana Amanda Tahalea, and Asih Retno Dewanti. "Kajian Estetika Fotografi Urban “#JakartaBelumHabis” Karya Chris Tuarisa." Rekam 19, no. 1 (April 26, 2023): 47–58. http://dx.doi.org/10.24821/rekam.v19i1.7582.
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ABSTRAKFotografi urban adalah fotografi yang dilakukan dengan pendekatan urban life. Fotografi urban mengacu pada kehidupan dalam lingkup perkotaan. Salah satu fotografer yang menghasilkan karya fotografi urban adalah Chris Tuarisa. Karya-karya yang dihasilkan merupakan visualisasi masyarakat urban, tetapi juga memperlihatkan kawasan perkotaan dari sisi masyarakat menengah kebawah yang tidak dapat dipungkiri juga merupakan bagian dari masyarakat urban. Fotografer dapat menceritakan sisi lain dari isu perkotaan yang belum pernah dilihat oleh sebagian masyarakat Jakarta sendiri, karya foto Christ Tuarisa sekaligus menjadi kritik untuk pemerintah untuk dapat menyelesaikan isu perkotaan. Tujuan dari penelitian ini adalah memaknai dan membaca karya Chris Tuarisa menggunakan teori estetika fotografi. Manfaat dari penelitian ini adalah dapat menganalisa lebih dalam sisi lain tampilan foto urban karya Chris Tuarisa dalam estetika fotografi. Adapun metode yang digunakan adalah metode studi kasus, peneliti akan menggunakan karya foto dari hasil karya fotografer Chris Tuarisa. Kesimpulan penelitian ini adalah bahwa teori estetika merupakan teori yang tepat untuk digunakan untuk menganalisa sebuah foto, karena teori estetika dapat menantu spektator menaknai sebuah foto secara lebih dalam. Karya Chris Tuarisa bercerita mengenai kesenjangan sosial yang besar dalam keseharian masyarakat Jakarta, sekaligus menjadi kritik bagi pemerintah agar dapat memberikan solusi untuk permasalahan tersebut. Aesthetic Study of Urban Photography “#JakartaBelumHabis By Chris Tuarisa. Urban Photography has become a part of photography genre that can be carried out with an urban life approach. Urban photography is related to urban space and activity. One of the photographers doing urban photography is Chris Tuarisa. His works are visualizations of urban society, from the perspective of the middle and low class society as part of urban community. Chris’ works showing highlight about other side of urban issues that some people in Jakarta may have never see., Upon a closer examination, Christ Tuarisa's photographic work is actually a form of criticism addressed to the government to point out the urban issues. The purpose of this research is to interpret and comprehend the context of Chris’s works using the aesthetic theory of photography. The aim of this research is to study and analyze other perspectives from the visualization of urban photos by Chris Tuarisa using photographic aesthetics theory profoundly. The method used was a case study method. The conclusion of this study is that aesthetic theory is an applicable theory to analyze photography, because aesthetic theory can give the spectator a deeper interpretation and signification of the photo. Chris Tuarisa's works tell stories about the social gap in the daily life of Jakarta’s citizen, as well as being a criticism for the government to be able to provide solutions to these problems.
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Kovach, Jodi. "Architectural Ruins and Urban Imaginaries: Carlos Garaicoa’s Images of Havana." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 72–84. http://dx.doi.org/10.5195/contemp.2016.130.
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Contemporary Cuban artist Carlos Garaicoa juxtaposes photographic images of Havana’s architectural ruins with timidly articulated drawings that trace the outlines of the dilapidated buildings in empty urbanscapes. Each of these fragile drawings, often composed of delicate threads adhered to a photograph of a site after demolition, serves as a vestige of the sagging structure that the artist photographed prior to destruction. The dialogue that emerges from these photograph/drawing diptychs implies the unmooring of the radical utopian underpinnings of revolutionary ideology that persisted in the policies of Cuba’s Período especial (Special Period) of the 1990s, and suggests a more complicated narrative of Cuba’s modernity, in which the ambiguous drawings—which could indicate construction plans or function as mnemonic images—represent empty promises of economic growth that must negotiate the real socio-economic crises of the present. This article proposes that Garaicoa’s critique of the goals and outcomes of the Special Period through Havana’s ruins suggests a new articulation of the baroque expression— one that calls to mind the anti-authoritative strategies of twentieth-century Neo-Baroque literature and criticism. The artist historically grounds the legacy of the Cuban Revolution’s modernizing project in the country’s real economic decline in the post-Soviet era, but he also takes this approach to representing cities beyond Cuba’s borders, thereby posing broader questions about the architectural symbolism of the 21st-century city in the ideological construction of modern globalizing society.
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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.
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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.
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Clayton, Owen. "London Eyes: William Dean Howells and the Shift to Instant Photography." Nineteenth-Century Literature 65, no. 3 (December 1, 2010): 374–94. http://dx.doi.org/10.1525/ncl.2010.65.3.374.
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Owen Clayton, "London Eyes: William Dean Howells and the Shift to Instant Photography"(pp. 374––394) Toward the end of the nineteenth century, one of William Dean Howells's many avid readers, finally meeting him in the flesh, expressed surprise that the famed writer was not dead. Although he had not actually departed from the world, it was true that by this time the venerable "Dean"was at a low ebb. While younger authors were taking the novel in directions about which he was, at the least, ambivalent, Howells was aware that his own best work was behind him. Yet, throughout his career, he maintained a desire to test different literary approaches. In England in 1904, Howells tested a conceit that would allow him to keep pace with the literary movements of the day. This consisted of an extended photographic metaphor: an association of himself with the Kodak camera. He used this figuration to move beyond the philosophical foundations of his previous work. Criticism has largely overlooked this endeavor, which Howells buried away in the somewhat obscure travelogue London Films (1905). This essay shows how London Films used its photographic metaphor to question positivistic observational assumptions, the way in which this was a response to William James's Essays in Radical Empiricism (1912), and, finally, why Howells ultimately went back on his attempt to create a Kodak school in fiction.
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Josiah Mosely, Michael. "Another Look at Heideggerian Cinema: Cinematic Excess, Antonioni's Dead Time and the Film-Photographic Image as Copy." Film-Philosophy 22, no. 3 (October 2018): 364–83. http://dx.doi.org/10.3366/film.2018.0085.
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Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd (Heidegger's view of film would seem essential for a Heideggerian cinema) but it is also problematic. In the off-hand comments Heidegger directs towards film throughout his collected works he criticises the medium for its covering over of Being, a fact that makes engaging with film through Heidegger's thinking a questionable project. The present article aims to address this omission and to provide a conception of Heideggerian cinema that does not ignore, but answers, Heidegger's criticism. It argues that it is not the technological nature of cinema that is the source of Heidegger's hostility towards the medium but his conception of the film-photographic image as a transparent copy of the world. It is on this basis that cinema is denied the capacity to manifest Being and hence is subject to critique. I then argue that Thompson's notion of cinematic excess reveals that the film-photographic image need not be as transparent as Heidegger assumes and that a cinematic presentation of Being is possible. To explore this idea further the article considers the use of dead time by Michelangelo Antonioni, particularly in his film L'eclisse.
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Szerszeń, Tomasz. "Konstruowanie atlasu. Surrealizm - fotografia - Reprodukcja." Artium Quaestiones, no. 33 (December 30, 2022): 163–81. http://dx.doi.org/10.14746/aq.2022.33.7.
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“The history of art is [...] the history of what is photographable,” wrote André Malraux. Surrealism and related interwar visual phenomena add an interesting context to this observation. If we look at surrealism through the prism of the numerous magazines that accompanied it, we can see the special role of photographic reproduction. It seems that it plays a slightly different role there than in other practices of the interwar avant-garde: it tends to be a visual form of thinking, establishing photography as a crucial medium. The case of the journal “Documents” (1929–1930), existing on the fringe of surrealism and anthropology, seems particularly interesting. It can be seen as a kind of atlas of visual forms, in which the problem of reproductions of artworks and artefacts from different cultures was constantly problematised. The cannibalisation of various types of iconography was related not only to discussions on cultural visual appropriation, or the criticism of various conventions of seeing and making images, but also to a broader project whose aim was the decolonisation of seeing. It assumed a re-examination of European (art) history – in a radical, non-hierarchical and non-encyclopaedic way. The aim of the editors of the journal was to move away from the metaphysical and ocularcentric paradigm in favour of a more horizontal and relational (and in effect anthropological) positioning of a work of art. The question of reproduction is problematised in “Documents” in terms of a discussion on the aura of works and objects from other cultures: displaced and uprooted from their cultural context. The subversive photographic practices of the surrealists related to the status of copies and reproductions are also contextualised here, as are two monumental projects based on reproduction: Aby Warburg’s Mnemosyne Atlas (1924–1929) and Malraux’s Museum of the Imagination (1947–1951), or a “photographic album of universal culture”, but which were created in the face of similar problems to “Documents” (the visual form of knowledge; the “universal” in the face of colonialism; the relationship between artwork and reproduction). All three projects were a kind of response to the globalisation of images and the crisis of cultural memory. Here the use of the atlas form and photographic reproduction becomes an attempt to establish a new epistemic paradigm.
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Lund, Katrín Anna. "Co-Creating Nature: Tourist Photography as a Creative Performance." Humanities 12, no. 6 (November 29, 2023): 141. http://dx.doi.org/10.3390/h12060141.
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This article examines tourism nature photography as a creative and sensual activity. Based on a collection of photographs gathered from tourists in the Strandir region in northwest Iceland, I demonstrate how photographing nature is a more-than-human practice in which nature has full agency. Much has been written about tourist photography since John Urry theorised about the tourist gaze in the early 1990s; this view has been criticised, especially in the light of the performance turn in tourism studies.It has, for example, been noted that tourist photography is not just about the gazing tourist, but also about social relations that the surrounding landscape partly directs and stages. It has also been argued that, as photographing tourists, we become ‘concerned with the artistic production of ourselves’. Photography is thus a practise that is relational and sensual and that cannot be reduced to the seeing eye. However, whilst emphasising the tourist as a creative being, the surrounding landscape has been left out as a stage and its active agency ignored. I address the complex, more-than-human relations that emerge in the photographs collected in Strandir. I argue that the act of photographing, as a performative practice, is improvisational and co-creative, and the material surroundings have a direct and active agency. As has been demonstrated, photography communicates ‘not through the realist paradigm but through lyrical expressiveness’ and, thus, it may be argued that tourist photography is a poetic practice of making, as it weaves together the sensing self and the vital surroundings in the moving moment that the photograph captures.
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Luo, Peijia. "Resistance or Compromise: A Comparison of Western Mainstream Painting Language Before and after the Invention of Photographic Technology." Communications in Humanities Research 31, no. 1 (May 17, 2024): 1–5. http://dx.doi.org/10.54254/2753-7064/31/20231772.
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This paper focuses on the developmental changes in the language of drawing brought about by the invention of the camera. Therefore, this paper takes the time of camera invention as the node. First, we will analyze the common features of the painting language of the famous painting schools before this point in time and the common features of the painting language of the famous painting schools after this point in time. Then we will compare and analyze them to explore the development and evolution of the painting language. Current research on painting before and after the invention of the camera is mostly focused on aesthetic approaches, art criticism, and its influence on popular culture. It adds to the gap in research on the language of painting and provides some insights into the creation and development of today's photography and painting.
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Ellenbogen, Josh. "“WORDS NOT SPENT TODAY BUY SMALLER IMAGES TOMORROW”: READING PHOTOGRAPHS AND THE EMERGENCE OF POSTWAR PHOTOGRAPHIC CRITICISM IN THE USA." photographies 16, no. 3 (August 9, 2023): 337–58. http://dx.doi.org/10.1080/17540763.2023.2233524.
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Gierszewska, Barbara Lena. "Ukraiński ruch filmowy we Lwowie w latach 30. XX wieku." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 34, no. 43 (October 20, 2023): 157–72. http://dx.doi.org/10.14746/i.2023.34.43.10.
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Title of the article: The Ukrainian film movement in 1930s Lviv The Ukrainian film movement in the 1930s was not developed on a wider scale. Due to the cost of the equipment and the film, few people could make films. Those who did included the members of the Ukrainian Photographic Society, who had completed specialist film courses. Their achievements included short feature films and documentary films, some of which were of true artistic merit. From the circle of Ukrainian cinematographers, J. Dorosz, S. Kułykiwna, W. Humecki and J. Bochenski deserve mention special. Moreover, the last two film-makers wrote about the necessity of recording Ukrainian cultural heritage; they expressed the need for patriotic, socially useful films. At that time, Ukrainian film criticism also developed in Lviv, In particular, it found expression in two outstanding periodicals published in the Ukrainian language, “Cinema” (1930–1936) and “Light and Shadow” (1933–1939).
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Kalekin, V. V., L. G. Kapustin, and D. I. Petin. "Supreme Ruler A.V. Kolchak on His Trip to the Tobolsk Front: Revisiting the Analysis of an Unknown Photo Document (1919)." Herald of an archivist, no. 2 (2021): 390–404. http://dx.doi.org/10.28995/2073-0101-2021-2-390-404.
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The article is to analyze an unknown and previously unintroduced into scientific use photographic document concerning front-line activities of Admiral A. V. Kolchak during the Civil War. The relevance of the work springs from the fact that scholars quite rarely provide source analysis of film and photo documents as independent sources on the history of the Civil War in Russia within the framework of interdisciplinary practices. At the same time, there is a significant interest of national scientific community in this historical figure and it has been causing sharp polemical discussions for a century already, including, at times, contradictory judgemental statements. The photograph we are introducing into scientific use was discovered in 2020; it is in permanent storage in the fonds of the Center for Historical Heritage of River Workers and Patriotic Education, which is a part of the Omsk Institute of Water Transport structure. It should be emphasized that most distinctive feature of the photograph is its everyday and non-staged nature, whereas the overwhelming majority of A. V. Kolchak’s known images are official. The authors have used comprehensive methodological approach based on a combination of anthropological approach to source, use of biographical and problem-chronological methods with its source study criticism (both external and internal). This theoretical set of methods has allowed the authors to interpret the revealed visual document as well as possible, linking its appearance with concrete historical situation and state activities of Admiral A. V. Kolchak at his post of the Supreme Ruler in the final stage of the Omsk period of his biography. This publication may be of interest to researchers of the Civil War and the White Army in Eastern Russia, of Admiral A.V. Kolchak’ biography in his time as the Supreme Ruler, as well as to specialists in source studies, study of visual documents, and history of everyday life.
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Salas Klocker, Luis Alberto. "Salones darianos: fotografía, arte y literatura en la crónica modernista." (an)ecdótica 5, no. 1 (January 29, 2021): 84–100. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19785.
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Based on what it has been called the salones darianos, that is, the chronicles that Darío wrote about several art exhibitions that he visited, this work aims to reflect on the role that the image played in the cultural project of modernismo. At the turn of the century, the image’s technological reproducibility broke into both the press and art salons. This was perceived by Darío, who explored the relationship of the photographic image with the incipient cultural industries. Less known than Mundial and Elegancias magazines, the first of Darío’s projects that included a strong presence of images, that is, the “Suplemento Semanal Ilustrado” of La Nación, goes beyond the lettered bias of literary criticism and opens new horizons to modernismo studies. Although this magazine was not directly under his direction, it does coincide with one of the high points of his career in the Argentine newspaper. Darío was for a time the main animator of this magazine, so his performance can be read as a scale model of his operations in pursuit of an expanded artistic field.
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Fraser, Benjamin R. "Problems of Photographic Criticism and the Question of a Truly Revolutionary Image: The Photographs of Mario Algaze, Juan Rulfo, and Manuel Álvarez Bravo." Chasqui 33, no. 2 (2004): 104. http://dx.doi.org/10.2307/29741885.
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Strafella, Giorgio, and Daria Berg. "Yang Zhichao’s performance art at the margins: Within the Fourth Ring Road (1999) and the Chinese contemporary." Journal of Contemporary Chinese Art 10, no. 1 (August 1, 2023): 205–25. http://dx.doi.org/10.1386/jcca_00082_1.
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This article explores the theme of marginality in the art of Yang Zhichao, a critically and socially engaged experimental artist who has been active in China since the mid-1980s. Yang’s oeuvre – which includes performance artworks, drawings and installations – revolves around the issue of sociocultural marginality in reform-era society, from the condition of migrant workers, beggars and psychiatric patients to the borderlands of Chinese civilization and the condition of the avant-garde artist. Drawing also on Chinese art criticism and two interviews with the artist, this study examines in particular the performance Within the Fourth Ring Road (1999) through its photographic and literary documentation. While writing on Yang Zhichao’s art has largely focused on his most extreme performances of ‘body art’ such as Planting Grass (2000), the artwork at the centre of this study highlights an anti-spectacular approach to performance art and reflects Yang’s stated belief in the importance of placing oneself in the circumstances of marginalized people in order to move beyond a voyeuristic gaze. Through a critical analysis of said approach the article reveals a quality that pervades Yang Zhichao’s multi-disciplinary artistic career – that is, its ‘contemporariness’, in Giorgio Agamben’s sense as a focus on the darkest, most emblematic aspects of one’s society and time.
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Quagliati, Noemi. "Beyond the Whiteness." Sophia Journal 7, no. 1 (December 15, 2022): 25. http://dx.doi.org/10.24840/2183-8976_2022-0007_0001_4.
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Saverio Salvioni, Cava di Ravaccione, 1810–1813 (Source: Archivio di Stato Massa e Pontremoli) Marble extraction in the Italian Apuan Alps has been known since Roman times, and its historical importance is symbolized by masterpieces of Western art history. However, the Carrara marble industry has recently received harsh criticism for operating in the protected area of the Apuan Alps Regional Park, recognized by UNESCO since 2015. Environmental and social concerns about mining have arisen from the extreme acceleration of all the productive phases of the extractive industry. From the mid-twentieth century, the exploitation of geological deposits of marble grew exponentially thanks to the development of powerful extraction technologies and a global export economy that creates only relatively few occupations in Carrara. Within this context, photographic and cinematographic projects have increasingly focused on the environmental risks created by the marble mining industry. This article shows how visual representations of Carrara have changed in recent years via an analysis of three case studies: the internationally acclaimed documentary Anthropocene: The Human Epoch (2018), the climbing project and Italian short film Carie (Cavity 2019), and Lorenzo Shoubridge’s naturalistic photographs in Apuane: terre selvagge (Apuan Wildlands 2018). These case studies offer an innovative perspective on the landscapes of marble extraction. Previously, these landscapes were represented following other visual trends emphasizing the technological sublime found in the geometric shapes of the white quarries, the working conditions of marble laborers, and the myth of the purity of marble used in artistic sculptures. The three examples analyzed in this paper attempt to go ‘beyond the whiteness’ by focusing on the scale of environmental destruction (Anthropocene: The Human Epoch), the more-thanhuman perspective (Apuane terre selvagge), and the social struggle for preserving a mountain region through creative solutions (Carie). In other words, new aesthetic and ethical sensibilities are challenging established twentieth-century narratives of the Carrara marble quarries by focusing on a new element: the environment.
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Vielma-Cabruja, José Ignacio, Iván González-Viso, and Felipe Corvalán-Tapia. "Arquitecturas inusuales: Experiencias «otras» en la Arquitectura y el Urbanismo, Santiago de Chile (1950-2020)." Arquitecturas del Sur 41, no. 64 (July 31, 2023): 68–91. http://dx.doi.org/10.22320/07196466.2023.41.064.05.
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Understanding the contemporary city as an unfathomable experience, as a set of complex experiences, prone to the indeterminate, this research acknowledges and collects fragments of a larger complex to search for and highlight objects, situations, artifacts, and experiences far from the canonical discourses. These "other" experiences are defined as unusual architectures, that is, located on the margins of what is normally discussed and valued in the traditional spaces of architectural practice, criticism, and teaching. Such recognition is constructed from otherness and comprises a provisional and changing complex. Methodologically, the research implies, first, a conceptual contextualization regarding the valuation of the otherness in architecture and the city as a motor of change in the discipline, and second, an immersion in the direct experience of space by the team. Through urban tours and a search for bibliographic and archival information, ninety cases are collected. Their relevance and critical potentialities are discussed and twenty-seven are studied in depth, making a planimetric and photographic representation, as well as a discourse of contextualization and valuation. Of these, six cases are rescued to contextualize the categories proposed for the organization of all the others. As a finding, the value of otherness, often silenced, is recognized in the set to trigger new possible ways of facing the architectural and urban challenges of contemporaneity.
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Gal, Nissim. "The Language of the Poor: Bible Stories as a Critical Narrative of the Present." IMAGES 4, no. 1 (2010): 82–108. http://dx.doi.org/10.1163/187180010x547657.
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AbstractThe series of photographs called Bible Stories (2003-2006), made by the photographer Adi Nes, offers a visual interpretation of the biblical narrative as a source for a critical reflection on contemporary culture. The Bible Stories series uncovers the aesthetic, ethical and social codes of the current visual culture. Nes processes the biblical text and rereads it via photography. The renewed appearance of the bible stories connects contemporary photorealism with the tradition of biblical illustration. The contemporary appearance and interpretative recomposition of the biblical episodes invert the hierarchies exemplified in some of the stories, and restructure the apparent gender relations, opening up a way to societal Others in the present, and conscripting the transcendent status of the text in order to criticize contemporary culture through the creative act.
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Lukaszewicz, Marta. "Reception of Religious Themes in Nikolai Leskov's Works at the Turn of the 20th Century." Vestnik Tomskogo gosudarstvennogo universiteta, no. 468 (2021): 34–43. http://dx.doi.org/10.17223/15617793/468/4.
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The article aims to consider tendencies predominating in literary criticism at the turn of the 20th century in its reception of religious issues in Nikolai Leskov's works, to identify the peculiarities of their understanding by representatives of diverse groups and trends, to examine their influence on changes in Leskov's literary reputation. The role of the spiritual atmosphere of the Silver Age in changing attitudes towards Leskov's legacy is mentioned, as well as the consequences of the duality of his reception formed at that time. The research materials consists of various works of literary criticism (articles, notes, reviews) written and published in Russia between 1895 and 1917. They are studied using the methods of the thematic, discourse and comparative analysis of the text. The research demonstrated that the comprehension of Leskov's legacy, which began at the end of the writer's life, took place in the critical period of the coexistence of realism and symbolism in literature, and sociological and modernist trends in criticism. Leskov's literary works attracted mainly critics of the sociological trend, who emphasized the writer's evolution from a photographic depiction of Russian Orthodox clergymen's everyday life to the finding of peace, rational and moral understanding of religiosity akin to Protestantism and Leo Tolstoy's teaching. The approach of the less numerous modernist critics was different as they appreciated Leskov's depiction of the mystical depths of Orthodoxy, his penetration into the secrets of the popular faith and ability to juxtapose them with the mundane life. They evaluated the late works of the writer as less interesting, excessively rationalistic and moralising. Thus, the analysis of literary reviews of the turn of the 20th century allows making a conclusion about a strong influence of the artistic principles of the two main literary movements of the epoch, and critics' desire to incorporate Leskov into the modern context, thereby updating his legacy. Such a possibility is, in particular, the result of Leskov's ideological evolution and of the peculiarity of his manner of writing, with its elusive author's position, which still makes it feasible to formulate contradictory assessments of his works and personal religiosity, varying between a ‘heretic' and ‘profoundly Orthodox'. In addition, the author observed the fundamental importance of the category of literary reputation and noted the fact of transition from assessing the personality and socio-political stance of the author to evaluating his artistic output. It was also due to the beginning of the ‘linguistic turn' of the literary critics of the time, which resulted in the reception of Leskov's works becoming more complex and multifaceted. The contradictory assessment of his works and, in particular, their religious component, still continue to shape the position of many contemporary researchers.
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Tahalea, Silviana. "KRITIK FOTOGRAFI: MENDESKRIPSIKAN SEBUAH FOTO DARI SISI SUBJEK, BENTUK, MEDIA DAN GAYA." Jurnal Dimensi Seni Rupa dan Desain 16, no. 1 (September 1, 2019): 85. http://dx.doi.org/10.25105/dim.v16i1.6165.
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<p><strong>Abstract</strong></p><p><strong></strong><br />In the formal education of bachelor photography, the knowledge and ability to criticize a photo is fundamental, this is what distinguishes bachelor photography from photography courses, the ability to criticize a photo with the aim of defining photos, interpreting photographs, explanations aesthetic or aesthetic argumentation. Referring to Terry Barrett’s writing about photo criticism, there are several stages to criticizing<br />or interpreting a photo, namely: Describing photos, interpreting photos and evaluating photos. As an initial step, it will be explained about describing a photo. How to start describing a photo, what are the elements that can be described in a photo and how to be able to describe a photo based on the actual facts. Descriptive information includes statements about the subject matters of the photo, the media used, forms of design<br />elements, the surrounding environment, including information about the photographer who made the photo, time of photo taking, issues and social phenomena that were popular when taking photos. Describing a photo is the first approach that can be used to analyze a photo.</p><p><br /><strong>Abstrak </strong></p><p><strong></strong><br />Dalam keilmuan formal fotografi jenjang strata-1, pengetahuan dan kemapuan untuk mengkritik sebuah foto menjadi hal yang fundamental, hal ini yang membedakan keilmuan fotografi strata-1 dengan kursus fotografi, yaitu kemampuan untuk mengkritisi sebuah foto dengan tujuan untuk mendefinikan foto, menginterpretasi foto, penjelasan estetik maupun argumentasi estetik. Mengacu pada tulisan Terry Barret mengenai kritik foto, ada beberapa tahapan untuk mengkritisi atau memaknai sebuah foto yaitu: Mendeskripsikan foto, Menginterpretasi foto dan mengevaluasi foto. Sebagai tahap awal akan dipaparkan mengenai mendeskripsikan sebuah foto. Bagaimana memulai mendeskrisikan sebuah foto, apa saja elemen yang dapat dideskripsikan dalam<br />sebuah foto dab bagaimana caranya agar dapat mendeskrisikan foto sesuai dengan fakta yang sebenarnya. Informasi deskriptif meliputi pernyataan tentang subject matters foto tersebut, media yang digunakan, bentuk-bentuk elemen design, lingkungan sekitar, termasuk informasi tentang fotografer yang membuat foto tersebut, waktu pengambilan foto, issue dan gejala sosial yang popular saat waktu pengambilan foto. Mendeskrisikan sebuah foto merupakan pendekatan yang paling mudah yang dapat digunakan untuk menganalisa sebuah foto.<br /><br /></p>
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Denysenko, Iryna, Olena Skalatska, and Oleg Parkhitko. "Misinformation in the Information Space of Ukrainian Society during the Covid-19 Pandemic." Postmodern Openings 12, no. 3 (August 10, 2021): 230–44. http://dx.doi.org/10.18662/po/12.3/337.
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The specificity of misinformation about Covid-19 which was outspread in the media landscape of Ukrainian society was demonstrated in the article. The authors relying on the basics of postmodern theory within interdisciplinary discourse trace the means of forming misinformation and its influence on changing worldview landmarks of humanity. The authors underline that information in the postmodern conception of Jean Baudrillard is also capable to destroy its own content, communication and social ground. Misinformation about Covid-19 is «a stage setting of communication» since it only creates insight into sense and is outspreaded with different channels (traditional and new media) with usage of photographic and video materials, emotional headlines and messages. Fake materials which have been outspreaded in online media and social networks are analyzed in the article. The authors found out that fake messages outspreaded in Ukrainian media refer to the following topic (the origin of Covid-19; frauds under the guise of doctors try to get the money of nationals; fictional money penalties for breaking the rules of quarantine; pseudomedical recommendations for taking some medicines and means of diagnosis Covid-19; statements of public authorities about strengthening the regime of quarantine; the speed of spreading Covid-19 in other countries; insufficient readiness of the Ukrainian society to Covid-19, etc.). It is stated that the quick expansion of misinformation was facilitated by the fact that the nationals of Ukraine took information without criticism, without fact-checking, since they moved to a new space of life of the individual and made «a stage setting of sense».
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Purnomo, Aji Susanto Anom. "Fotografi Di Era Media Sosial : Studi “Toko Memorabilia” Karya Agan Harahap." Jurnal Bahasa Rupa 1, no. 2 (April 21, 2018): 81–88. http://dx.doi.org/10.31598/bahasarupa.v1i2.200.
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The development of photography technology in the era of social media currently contribute various problems that need to be studied and reflected. One of them is about the essence or meaning of the presence of "photography" itself. This paper reflect the essence or meaning of photography in the social media based on the theory of reading photographs "cynical phenomenology" by Roland Barthes through a case study study of "Toko Memorabilia" which is one of the social criticisms by the artist Agan Harahap. Memories Commodification and visual carnivals are two instruments of meaning that the author discovers in his critical reflection journey and will be described further through this study.
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Mayer-García, Eric. "Theorizing Performance Archives through the Critic's Labor." Theatre Survey 64, no. 3 (September 2023): 247–70. http://dx.doi.org/10.1017/s0040557423000261.
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In 2015, I traveled to Havana with the support of an ASTR Targeted Areas Research Grant to work on processing the physical materials of the Photographic Archive of Tablas-Alarcos Press (hereinafter the Tablas-Alarcos archive or collection). The Tablas-Alarcos archive is a unique collection because it exists not in a traditional research institution, but in the offices of a state-run press dedicated to the performing arts. Also, it consists of materials that have been saved after critics, researchers, and editors have completed the process of publishing their work. Much more than photographs, this collection also contains programs, unpublished manuscripts, and various theatre ephemera from all over the globe and in multiple languages.1
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Fackler, Katharina. "Of Stereoscopes and Instagram: Materiality, Affect, and the Senses from Analog to Digital Photography." Open Cultural Studies 3, no. 1 (January 1, 2019): 519–30. http://dx.doi.org/10.1515/culture-2019-0045.
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Abstract This article addresses popular claims that photography has been “dematerialized” in the digital era. It engages a wide range of critical writings about photography from the early 19th to the 21st century to demonstrate that different versions of these claims have always formed an important part of photography criticism. However, rather than doing justice to photographs’ materiality or their complex entanglements with what has been considered material and immaterial, human and nonhuman, they have tended to somewhat limit our understanding of the medium’s material, sensory, and affective valences. This article argues that a sustained engagement between visual culture studies, sensory studies, and the new materialisms can help us understand more fully both analog and digital photography’s contingent position within the material world, varying sensory ideologies, and different subjectivities.
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GUL, Sinan. "Dinçer Sümer'in Eski Fotoğraflar Adlı Oyunu Üzerinden Kimlik Krizi ve Türk Tiyatro Eleştiri Anlayışının Analizi." Türkiye Araştırmaları Literatür Dergisi 20, no. 39 (July 7, 2022): 0. http://dx.doi.org/10.55842/talid.980637.
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Dinçer Sümer’s play Old Photographs is often dismissed by scholars as the story of a prostitute although it contains lingual and social elements about the politics of identity that pursues the dilemmas and conflicts Turkey experienced in the 1970s. First part of this article highlights how the fractures and unification of narratives in Old Photographs manifest an opposition to conventional structure of characters and plot, and refuse the fixity and formula of traditional drama. Thus, characters in the play are unique as they defy categorization and resist conceptualization. By disturbing grand narratives and focusing on identity crisis, Old Photographs deserves more textual scrutiny. The article also focuses on scholarly works that analyze Old Photographs and displays the problem in Turkish literary theory which focuses on drawing categories rather than scrutinizing textual merits of individual works. This problem in critical theory results in an impartial and inaccurate portrayal of Turkish drama.
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Michalowska, Marianna. "Photography’s Narrative Spaces – Stories About Man-Altered Landscape." Athens Journal of Humanities & Arts 9, no. 4 (September 27, 2022): 275–90. http://dx.doi.org/10.30958/ajha.9-4-1.
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In the seminal text from 1982, Rosalind Krauss wrote about the discursive spaces of photography. She stated that varied interpretations of landscape photography depend on the image circulation. The "new topography" in photography provides in artistic language data on the situation of the natural environment. Therefore, it is not just a matter of changing fields of discourses but narratives through which discourses are created. In the paper I discuss the narrative contexts of photography, in regard to Krauss's concept of discourse and narratology by Mieke Bal. Examples are modern landscape photography in the new topography style. The goal of this artistic movement, which can be dated to the mid-1970s is to document and reflect on changes that occur in the environment through human activities (mainly related to industry). Today, however, artists' voices are increasingly commenting on climate change and environmental disaster. Therefore, these are activities that can be included in the field of environmental art (in regard to T. J. Demos concept) or, more broadly, criticisms directed towards capitalocene and anthropocene consequences. I will focus on three photographic projects presenting peripheral areas in Poland: documentation of the course of the Warta entitled 808.2 km by Waldemar Śliwczyński, Jedynka (No. 1) by Maciej Rawluk and Urodzaj (The Harvest) by Michał Woroniak.
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Kamnev, Vladimir M., and Lolita S. Kamneva. "Mikhail Lifshits, György Lukács and theory of aesthetic reflection." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 36, no. 4 (2020): 721–30. http://dx.doi.org/10.21638/spbu17.2020.410.
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Mikhail Lifshits and György Lukács are known as authors of an absolutely original concept of the cognitive force power of art. The theory of reflection which had a reputation of as one of the most inert rigid and dogmatic aspects of the philosophy of Marxism in general was the cornerstone of this concept. Quite often such a negative reputation of the theory of reflection affects also the general negative relation to an attitude towards the aesthetics of Lifshits and Lukács. However, actually this theory was uniquely interpreted by received from Lifshits and Lukács very original interpretation. First, they always emphasized the fact that the theory of reflection is not a Marxist invention, and thatbut is the it represents a result of a long development of the classical tradition of philosophical and aesthetic thinking. Secondly, reflection itself cannot be understood as a photographic copying of reality at all. Of great importance is the Very important is the circumstance that the theory of aesthetic reflection is justification of the objective nature of art, justification of realism as the highest artistic method of for the knowledge of reality. At the same time, the theory of reflection acts as the methodological tool of for criticism of modernism in art. Attentive Carefully studying of the theory of aesthetic reflection by of Lifshits and Lukács allows makes it possible to reveal identify certain investigations consequences, which owing for to various reasons remained only implied in their texts. FSo, for example, the statement assertion that the realism is the highest method of art istic cognitionknowledge, allows to us to understand the negative relation attitude of Lifshits and Lukács to the art of socialist realism. The Historical and aesthetic reconstruction of the qualification of such a phenomenon of art of the 20 th century art as magical realism, and its dispositions in the opposition of realism and modernism which is key essential for an the aesthetics of Mikh Lifshits and G. Lukács, opposition of realism and modernism can appearmay turn out to be very interesting.
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Little, David I., and Bernard Fichaut. "VISUAL COMPARISONS OF SELECTED SHORES AFFECTED BY THE Prestige OIL SPILL, NORTHERN SPAIN 2002–2004." International Oil Spill Conference Proceedings 2005, no. 1 (May 1, 2005): 685–88. http://dx.doi.org/10.7901/2169-3358-2005-1-685.
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ABSTRACT Walkover and photographic surveys were conducted on four occasions up to February 2004 on shorelines of Galicia, Asturias and Vizcaya that were severely affected by Heavy Fuel Oil (HFO) from the November 2002 Prestige incident. The geomorphology and ecology impacts resulting from both the oil and cleanup actions were observed by experienced scientists. Some cleanup methods worked well, and environmental disturbance was minimized. However, inefficient or over-zealous treatments also occurred, particularly early in the incident response. The study showed that rocky headlands are now often clean, and that wave-cut rock platforms have been cleaned effectively by high-pressure flushing. Maritime vegetation has, however, been trampled and oiled secondarily in the supra-tidal zone. Backshore botanical impacts resulted from cleanup equipment lay-down, vehicle refueling, and vehicular and pedestrian traffic. In some cases, vegetation and often soil removal during construction of access routes across the backshore will mean permanent adverse impact. Boulder and cobble storm berms were often oil-saturated above the mean high water level. Some of these are in fact relict geomorphic features inherited from previous higher sea levels during the interglacial periods, and so natural recovery would be very slow indeed. These coarse deposits were commonly treated by inefficient storm berm relocation, although good results were also achieved elsewhere. Numerous cases were seen of underlying and non-oiled finer sediments being exposed to erosion. Vegetation and substrate impacts were most severe where oil quantities were large and cleanup protracted or imperfectly supervised. Generally, estuaries were well protected by booming, and were only slightly oiled. Sand dunes have also escaped the worst impacts of oil and intrusive cleanup. There was, however, criticism of the government's handling of offers of advice from Spanish scientists expert in shoreline dynamics. This was in contrast to the international cooperation that typified the tracking, modeling and cleanup of oil offshore. It is recommended that existing best practices (e.g. Shoreline Cleanup Assessment Technique; SCAT) be more widely adopted in spills with potentially prolonged and injurious shoreline cleanups.
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Sandbye, Mette. "Fotografiet som dokument." Periskop – Forum for kunsthistorisk debat, no. 31 (June 13, 2024): 32–47. http://dx.doi.org/10.7146/periskop.v2024i31.146565.
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Departing from John Roberts’ notion of “the social ontology of photography”, I discuss how recent research and theories about photography in an expanded field have interacted with contemporary art’s use of photography in recent years, especially in an intersection between documentary and art, and especially among artists working with more or less political topics such as migration and the postcolonial. It is photography beyond “the politics of representation” in the sense that it is not about problematizing photography’s relationship to reality, but rather about actively using the medium as a social encounter and making hitherto unseen, sometimes personal and memory-based, material from the “archive” visible. Common to many of these recent works is that they incorporate several forms of photography and photographic archive material in an effort to convey, revitalize and possibly also criticize various historical issues, here linked to Danish colonialism and migration. Whereas Danish art institutions historically have had problems including documentary practices, they have embraced these new “mixed” forms more recently. In 2022/2023, three exhibitions at Copenhagen art institutions brought such practices into focus, and the article is based on examples of the use of photography in them: Moments in Greenland with Inuuteq Storch (with John Møller) and Teit Jørgensen at Nordatlantens Brygge, Tina Enghoff 's Displaced at the Royal Danish Library, and Vladimir Tomić’s and Ana Pavlović’s works in the group exhibition Connections — Danish artists from Ex-Yugoslavia at The National Gallery of Denmark.
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Da Silva, Guilherme Ghisoni. "What does a presentist see when she looks at photographs of dead relatives?" Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 97. http://dx.doi.org/10.7203/laocoonte.0.5.12330.
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The objective of this paper is to bring to the foreground some metaphysical commitments present in the debate about the relation between photography and the past. I will try to answer the question: what does a presentist see when she looks at photographs of dead relatives? According to presentism, if a particular object does not exist in the present, it does not exist simpliciter. For this reason, in Priorian presentism, there can be no de re (singular) propositions about past particulars. Part of the requirement for singularity would be played by reality, which suffers metaphysical restrictions from the passage of time. After outlining the metaphysical and semantical debate about presentism, I will briefly explore some theories of photography and separate them in two groups: de re theories that accept that through photography we indirectly perceive the past object itself and de dicto theories that deny it. Then, I will connect those theories to the problem faced by presentism, showing that a presentist must limit herself, in the case of objects that no longer presently exist, to a de dicto approach of photography. In other words, a presentist cannot accept that through photography she can indirectly see the past object itself. There would be nothing in the past for her to be remotely acquainted with or to demonstratively single out. I attempt to develop a presentist theory that could account for the descriptive and causal referential elements of photography using John Zeimbekis’ theory coupled with Craig Bourne’s presentist causal theory of reference (that jettison the Millian element of the causal theory). I will show how this theory is different from Kendall Walton’s counterfactual theory (also accepted by Dominic Lopes) and explore a criticism that could be formulated from his perspective.
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Trijić, Vesna. "Literary Criticism and the Media." Transcultural Studies 11, no. 1 (December 23, 2015): 72–84. http://dx.doi.org/10.1163/23751606-01101008.
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This article deals with literary reviews published in newspapers and their subordination to modern media which tend to give priority to non-verbal forms of communication, such as photography and the graphic shape of titles, which may control or overshadow the meaning of a text. In order to survive in such a context, book reviewers usually accept the language of journalism which imposes an ideological and commercialized dimension on them, forcing them to abandon their original discourse based on literary criticism. The paper poses the question whether there is any place left for literary criticism in the modern media or has criticism proper been relegated to specialized journals?
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O’Toole, Sean William. "Uncommon criticism: Reading Ivan Vladislavić’s collected work as art criticism." Journal of Commonwealth Literature 52, no. 1 (March 2017): 11–26. http://dx.doi.org/10.1177/0021989416676865.
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Johannesburg author, essayist, and editor Ivan Vladislavić has a longstanding interest in art, an interest richly recorded in his literary corpus. Since publishing his debut work of fiction, Missing Persons (1989), Vladislavić has repeatedly dwelled on artworks in his fiction and non-fiction writing. His literary corpus is studded with descriptions of paintings, sculptures, photographs, ceremonial statues, murals, and other, more obscure pieces of urban flotsam given their own artistic agency in his fecund imagination. This article discusses his interest and entanglement in art from a threefold perspective: thematically, biographically, and theoretically. It argues that the art world has consistently functioned as a laboratory for the author to refine his thoughts, albeit as a literary writer, not an art critic. While Vladislavić does not identify as an art critic, this article argues that his writing on art and broader literary output represent a valuable critical resource and an important intervention in fervid and unresolved debates around the definition of art criticism. The article begins by identifying thematic constellations that recur throughout Vladislavić’s work, placing these in conversation with salient aspects of the author’s early professional biography. It concludes by proposing that Vladislavić’s oeuvre can be read as a historically mindful, crisis-orientated form of art criticism.
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Prabha, Ashwini. "'Just the gun is scary'." Pacific Journalism Review : Te Koakoa 8, no. 1 (June 1, 2002): 169–74. http://dx.doi.org/10.24135/pjr.v8i1.741.
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Paul, John. "A Festival of Kinship, Defiance, and Ethnic Survival." Journal of Festive Studies 1, no. 1 (May 13, 2019): 78–105. http://dx.doi.org/10.33823/jfs.2019.1.1.29.
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In the fall of 2016, I traveled to North Dakota as an invited guest of the Standing Rock Sioux Tribe to document the emergent encampment of American Indians and their allies who had gathered to protest the construction of the Dakota Access Pipeline. This work explores some of these lived protests and the festival-like realities (as well as the strengths and criticisms of the "festival” notion) that were produced in such protestive actions. Ultimately, this article has three goals. First, it seeks to document, via photographs and text, some of the mobilization efforts of protesters against a segment of the oil and gas industry operating on American Indian land. Second, it questions the scholarly concept of "festival as protest"—again, highlighting the strengths and controversies of the application of this term to the Standing Rock Protests. Third, it shows how photography can complement and enhance qualitative field research.
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Husselbee, L. Paul, and Amy Ann Adams. "Seeking Instructional Value: Publication of Disturbing Images in Small Community Newspapers." Newspaper Research Journal 17, no. 3-4 (June 1996): 39–52. http://dx.doi.org/10.1177/073953299601700304.
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MÖLLER, FRANK. "The looking/not looking dilemma." Review of International Studies 35, no. 4 (October 2009): 781–94. http://dx.doi.org/10.1017/s0260210509990180.
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AbstractWhen confronted with images of war and other forms of human suffering, not looking is not an option, not only because we are permanently exposed to images but also because it would not seem to be a morally tenable position. However, looking at images of human suffering is often said to prolong this very suffering and to fix human subjects as victims. Especially when acts of violence have been committed in order to produce images of these very acts the relationship between viewing the images and participating in the acts of violence qua viewer appears to be uncomfortably close indeed. Thus, looking is not an option, either. This article, in the first part, engages with standard criticisms of photography, especially with accusations according to which photographs aestheticise that which they depict and desensitise their viewers. In the second part it discusses Alfredo Jaar's and Jeff Wall's work in order to show possible ways to circumvent the looking/not looking dilemma.
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Smith, Philippa K., and Helen Sissons. "Social media and a case of mistaken identity: A newspaper’s response to journalistic error." Journalism 20, no. 3 (December 15, 2016): 467–82. http://dx.doi.org/10.1177/1464884916683551.
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Journalists can obtain information faster than ever before and interact with a variety of sources across multiple platforms from Facebook to Twitter without leaving their desk. The pressure to get stories online as soon as possible is not without its drawbacks, however. Incorrect information and photographs can be published even when not properly verified and, although these mistakes can be rectified quickly once identified, the credibility of a news organisation is at risk. Our research was prompted by the chance capture of a photograph published in a daily newspaper that mistakenly identified a New Zealand-born Israeli soldier who was shot dead during a firefight in Gaza in 2014 as an American actor. This presented an opportunity to investigate and understand the challenges journalists face in sourcing information in the digital age. Our research takes a two-pronged approach. First, we establish what went wrong in the newsroom that led to this case of mistaken identity drawing public criticism and ridicule, and second, we analyse the editor’s apology to highlight the news organisation’s efforts to restore its image and regain the trust of its readers in the professionalism of its journalism.
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Pramasepta, Wipti Aga, Christina Rochayanti, and Kartika Ayu Ardhanariswari. "CONTENT ANALYSIS OF SOCIAL CRITICAL IN ANTITANK-PROJECT INSTAGRAM ACCOUNT." Indonesian Journal of Communication Studies 13, no. 1 (June 1, 2020): 12. http://dx.doi.org/10.31315/ijcs.v13i1.3849.
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Criticism is one element that can keep the existing system in its tracks and not get out of the way the system should be. Anti-tank has initially been one of the artists and activists who expressed their criticism using posters in Yogyakarta. This study aims to determine the content of criticism in the Antitank Project and the tendency of criticism. The method is content analysis. The theory used is the spiral silence theory and Habermas' critical theory. The study population amounted to 192 images in the period of January 2016 - December 2018. The study sample was taken 46 pictures to be examined because of the repetition of several photographs. The research results show that there is a tendency in Antitank criticism, namely in the political field, in which there is an important element of power and has high publicity. The object of criticism of Anti-tank's dominant work is the state government, which holds the country's highest authority. Communication of indirect criticism works or symbols becomes dominant in Antitank social criticism works. The use of symbols is more interesting and wise, to reduce conflict with the object of criticism. Antitank uploads through Instagram to get broad support and increase the approach to his work to cause movement to a broad audience by the theory adopted, namely the spiral of silence theory.
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ZAHAR, IWAN, KURNIA SETIAWAN, and TENGKU FAUZAN TENGKU ANUAR. "TAXONOMY OF PHOTO CATEGORIES." International Journal of Creative Future and Heritage (TENIAT) 9, no. 2 (September 29, 2021): 109–27. http://dx.doi.org/10.47252/teniat.v9i2.744.
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AbstractSelecting photographs for teaching photo criticism can be a difficult task. This research aims to construct the taxonomy of photo categories for teaching purposes and teaching guidelines. This research used a questionnaire and a semi-structured interview with 125 participants made up of 39 male and 86 female, 94 Malays, 12 Chinese, 16 Indians and 3 Ibans. All participants exposed to five different photographs: advertising photographs, journalistic photographs, landscapes, and two fine arts photographs. We used three questions as research instruments for 125 participants to judge each photo: What do you see? What does it mean? How do you know? Also, we used Barrett's criticism models to teach, make a rubric, and evaluate the photographs and our research instruments. From our photo teaching experience, combined with this research, students usually started from low taxonomies. They followed through to high taxonomies, or in a sequence from advertising photographs, journalistic photographs, and landscapes (fine art) to modernist photographs and postmodernist photographs (fine art). They did not have difficulty interpreting elements, design principles, and photo techniques, but they did construct it challenging to analyze the context of postmodern photographs, especially gender issues.
AbstrakMemilih gambar untuk mengajar kritikan foto boleh menjadi tugas yang sukar. Penyelidikan ini bertujuan untuk membina taksonomi kategori foto untuk tujuan pengajaran dan panduan pengajaran. Penyelidikan ini menggunakan soal selidik dan temu bual separa berstruktur dengan 125 peserta terdiri daripada 39 lelaki dan 86 perempuan, 94 orang Melayu, 12 orang Cina, 16 orang India dan 3 orang Iban. Semua peserta terdedah kepada lima gambar yang berbeza: foto iklan, foto jurnalistik, pemandangan, dan dua gambar seni rupa. Kami menggunakan tiga soalan sebagai instrumen kajian untuk 125 peserta menilai setiap foto: Apa yang anda lihat? Apakah maksudnya? Bagaimana anda tahu? Kami juga menggunakan model kritikan Barrett untuk mengajar, membuat rubrik, dan menilai gambar dan instrumen kajian kami. Dari pengalaman mengajar foto kami, digabungkan dengan penyelidikan ini, pelajar biasanya bermula dari taksonomi standard. Mereka mengikuti hingga taksonomi tinggi, atau dalam urutan dari foto iklan, foto jurnalistik, dan pemandangan (seni rupa) hingga foto modernis dan foto pascamoden (seni rupa). Mereka tidak mengalami kesukaran untuk menafsirkan elemen, prinsip reka bentuk, dan teknik foto, tetapi mereka membuatnya sukar untuk menganalisis konteks foto pascamoden, terutama masalah gender.
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Halegoua, Germaine R., and Ghiyong Patrick Moon. "Korean travel selfies as contested placemaking practices." Convergence: The International Journal of Research into New Media Technologies 27, no. 3 (June 2021): 649–63. http://dx.doi.org/10.1177/13548565211014457.
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Selfies allow us to exert control over how we are seen and to construct our identity through the people, places, and activities that we imbue with value. The composition of the image, situation, and location photographed indicate aesthetic and ontological choices that reveal cultural values, performances of identity and social position of the person taking the selfie. When read as digital placemaking practices, travel selfies become salient to producers and audiences as political and performative expressions of identity and one’s place in the world. This article examines the travel selfie within the South Korean context and argues that thinking about selfies as placemaking practices informs the productive and potentially empowering nature of these photographs, which simultaneously conform to and contest neoliberal consumerist ideologies. The authors analyze a case study in which the placemaking practices of selfies are represented and critiqued. We argue that these digital placemaking practices become sites where young people’s imaginations, aspirations, and frustrations about social hierarchies, national imaginaries, and class status are expressed and debated through representations of international travel. Through textual and discourse analysis of the images and virulent public criticism faced by South Korean females who travel abroad and document their experiences on Instagram and Naver, we examine the tensions that emerge regarding expressions of the ‘spatial self’ online.
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Gray, Timothy. "Hip Americana: The Cultural Criticism of Greil Marcus." Prospects 27 (October 2002): 611–39. http://dx.doi.org/10.1017/s0361233300001356.
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In the summer of 1976, as many in our nation were getting ready to celebrate the bicentennial and listening to AM radio shlock like “Afternoon Delight,” I persuaded my father to buy me an oversized red paperback I had been perusing at the local mall. The book was theRolling Stone Illustrated History of Rock & Roll, a landmark collaboration edited by Jim Miller. Throughout my teenage years, I would pour over its many photographs, memorize its discography sections, and take instruction and courage from its lively, opinionated writing. Looking back at theIllustrated Historya quarter of a century later, I find that its list of contributors reads like a “Who's Who” of rock criticism. Peter Guralnick, Robert Christgau, Lester Bangs, Robert Palmer, Jon Landau, and Dave Marsh are just a few of the writers who went on to make their names as critics, musicologists, and biographers. On this occasion, they managed to weave the separate strands of rhythm and blues, folk, country, and rock into a cohesive tapestry.
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Grigas, Algimantas. "Architectural Criticism in the Soviet Lithuania 1958-1988: Vision of the New Architecture in the Specialized Periodicals." Journal of Sustainable Architecture and Civil Engineering 33, no. 2 (October 31, 2023): 58–71. http://dx.doi.org/10.5755/j01.sace.33.2.33419.
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Architecture criticism of Soviet Lithuania has not been properly addressed in scientific research. The novelty of the work relates to the branch of architecture criticism as part of the history of arts, particularly in the context of the historiography of 20th- century modern architecture. This paper is to uncover the various forms of architectural criticism and its agents among the vocational and scientific publications aimed at other architects of the Lithuanian SSR. Using a systematic approach and qualitative research methods, a database of 100 critical articles is constructed. The phenomena of architecture criticism are explored using the theoretical framework of W. Attoe from his book “Architecture and Critical Imagination” (1978). The results of the research brought several understandings. Despite the common belief among professionals that architects should be predominantly the creators of architecture criticism, architects by profession make up only half or less of the total number of texts in the specialized press. The dominating types of architectural criticism are normative and descriptive (excluding the texts that would describe the context of an architectural idea or particular building). There are very few examples of interpretative criticism encountered (except in the thematic group of criticism around interior design). Further discussion of prevalent thematic groups led to the conclusion that architectural criticism in Soviet Lithuania alongside the official “politically allowed criticism” has been using disguised forms of texts. There has been an underlying narrative to promote modernist or simply, new architecture principles using photography with little to no text, indirect speech, and other forms of non-explicit communication. One of the wider goals of this paper is to initiate wider research into the subject of architectural criticism of Soviet Lithuania and also validate the existence of the neglected phenomena using the specific material of professional and academic architectural publications.
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Kennedy, Liam. "Precocious Archaeology: Susan Sontag and the Criticism of Culture." Journal of American Studies 24, no. 1 (April 1990): 23–39. http://dx.doi.org/10.1017/s0021875800028693.
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If Susan Sontag is not a writer behind whom a school or substantial following has gathered, this has much to do with the unsystematic nature of her work. Her studies of thought and culture are not the work of a systematic theorist; they are too much involved with personal taste and response, too free-ranging and open-ended to attract disciplined followers. Sontag's writings receive little direct critical attention at present, though she is often quoted on photography or film, or used to support various theses on post-modernism. Her writings reward more rigorous analysis, especially as the work of this American critic would seem to complement and yet significantly depart from the theorizing of more commonly acknowledged European thinkers – structuralist and post-structuralist – with whom she is contemporary.
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Mattiolli, Isadora Buzo. "O corpo é a camuflagem: construções ficcionais de si na produção artística de mulheres nos anos 1970." Revista PHILIA | Filosofia, Literatura & Arte 2, no. 2 (November 10, 2020): 216–43. http://dx.doi.org/10.22456/2596-0911.104596.
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A crítica feminista elaborou a questão da representação na arte de diferentes maneiras. Nessa perspectiva crítica, um dos problemas são as imagens das mulheres feitas por um olhar masculino ao longo das narrativas tradicionais da história da arte. Respondendo a esse problema, algumas artistas realizaram ações para as câmeras de vídeo e fotografia. Nestas imagens, elas utilizaram o próprio corpo para demonstrar as construções ficcionais dos gêneros. Nesse artigo, analiso esses trabalhos pelas seguintes leituras: a crítica aos rituais de feminilidade, o feminino monstruoso e a identidade como categoria múltipla, tendo como marco teórico as contribuições de Janet Wolff e Jayne Wark. Também me apoio no discurso das artistas sobre seus métodos de trabalho, a partir de entrevistas inéditas. Palavras-chave: Representação. Corpo. Crítica feminista. Vídeo. Fotografia. AbstractFeminist criticism raised the issue of representation in art in different ways. In this critical perspective, one of the problems is the images of women made by the male gaze throughout the traditional narratives of art history. Responding to this problem, some artists performed actions for video and photography. In these images, they used their own bodies to demonstrate the fictional constructions of gender. In this article, I analyze these works through the following readings: the criticism of femininity rituals, the monstrous feminine and identity as a multiple category, having as a theoretical framework the contributions of Janet Wolff and Jayne Wark. I also rely on the artists' discourse about their work methods, based on unpublished interviews.Keywords: Representation. Body. Feminist criticism. Video. Photography.