Journal articles on the topic 'Photography, Artistic – Exhibitions'
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1
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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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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D’Ambrosio, Mariangela, Simona Palladino, and Paola Mitra. "Welfare in-between artistic expressions and communities: Deanna Dikeman's exhibition "Leaving and Waving"." WELFARE E ERGONOMIA 9, no. 1 (August 2023): 75–86. http://dx.doi.org/10.3280/we2023-001006.
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With the intention to investigate the role of photography in addressing social issues and the function that exhibitions play as an engine of collective action, the research focuses on the analysis of Deanna Dikeman's exhibition Leaving and Waving. The photo reportage of nintyeight photographs was conducted over twentyseven years, through which the artist portrayed her parents at the moment of saying goodbye. This is a creative way that captures ageing, death, family bonds, generational relationships, greetings. The study was conducted by administering semi-structured anonymous questionnaires to visitors of three exhibitions in Italy (Campobasso, Rome, Verona) from February until June 2022. The study addresses the role of new social practices and associations, considering family ties in relational and socio-relational Welfare. The social as such is intended strategically to promote individual and collective well-being through artistic expression.
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Botar, Oliver A. I. "László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany." Science in Context 17, no. 4 (December 2004): 525–56. http://dx.doi.org/10.1017/s0269889704000250.
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ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy (1938, 198)
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Kobylińska-Bunsch, Weronika. "The Post-War History of Pictorialism as Exemplifi ed by Exhibitions at the Zachęta and the Kordegarda (1953–1970)." Ikonotheka 26 (June 26, 2017): 193–212. http://dx.doi.org/10.5604/01.3001.0010.1678.
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Existing academic works examining Polish artistic photography in the 1950s and 1960s are most often based on an analysis of the debates taking place within professional circles and the views of specifi c artists as expressed in the specialist periodicals that were published at that time. Such diagnoses are frequently based on a single and very particular source, namely the monthly magazine Fotografi a. The pages of this periodical project an image of an artistic society enjoying a relatively high degree of autonomy. The present study represents a different research approach, inspired e.g. by the works of Bruce Altshuler and Kenneth Luckhurst, who postulated the re-orientation of art history away from biographical works focused on the individual subject towards a discipline understood as the history of exhibitions. Following the course set by these scholars, one may come to the conclusion that an analysis of the place which photography held in the offi cial exhibition strategy implemented in the 1950s and 1960s in the prestigious Warsaw galleries of the Kordegarda and the Central Bureau of Art Exhibitions (CBWA) may provide an interesting and new contribution to the current state of research. A study based on an examination of the history of exhibitions may help to answer the question whether all forms of photography were equally approved by the authorities at a time when the rules of the cultural policy of the People’s Republic of Poland became more lenient. It also makes it possible to evaluate the degree to which autonomy and heterogeneity (features which may be associated with the magazine Fotografi a) were legitimised through presentation in a state-owned, politicised public space. Conducted from the perspective of exhibition history, the analysis presented herein makes an important shift in the signifi cance of Pictorialism – from a topic on the margins of academic interest to a harbinger of modernity, and thus a central subject in the discourse on Polish photography in the post-war period. Rather surprisingly, it appears to be the slogan that legitimised the more innovative and modern forms of photographic art in the offi cial contexts of the day.
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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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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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Xu, Catherine. "Tracks in the Snow." IU Journal of Undergraduate Research 2, no. 1 (May 31, 2016): 29–33. http://dx.doi.org/10.14434/iujur.v2i1.20925.
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In 2000, Subhankar Banerjee set out for the Arctic National Wildlife Refuge to photograph polar bears in a “place untrammeled by tourism or industry” (Banerjee, 2008). This paper explores a number of threads regarding Banerjee’s artistic journey from descriptive to interpretive work, including the role of politics in Banerjee’s evolution as an artist and environmental activist and comparisons of his different publications over time. Along with providing context for Banerjee’s work, this paper investigates the unique avenues through which Banerjee’s photography challenges the traditional paradigm of a pristine wilderness by reconceiving its spacial representations in exhibitions and books highlighting the presence of humans in the Arctic. Research was primarily conducted through an analysis of both photographic and textual elements of Banerjee’s publications and a conversation with Banerjee.
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Condraticova, Liliana. "Exhibition management as part of the academic management: synthesis of an experience." Akademos, no. 4(67) (March 2023): 10–18. http://dx.doi.org/10.52673/18570461.22.4-67.01.
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The exhibitions held at the Academy of Sciences of Moldova or in partnership with AȘM between years 2019–2022, have become a marker of the activity and appreciation of researchers, teachers, museographers. This article examines the retrospective of national or international exhibitions, classified according to the content and participants in scientific and innovation exhibitions, thematic and anniversary exhibitions (dedicated to certain events or personalities), scientific book exhibitions, photography, plastic art. The pandemic marked the activity planners and numerous exhibitions were organized online. However, this did not reduce their significance. The role of exhibitions is indisputable, so the Academy of Sciences of Moldova has carried out multiple large-scale events, emphasizing the scientific, innovative and artistic achievements of the community.
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Kontos, Ioannis, and Ioannis Galanopoulos-Papavasileiou. "Photojournalism: Values and Constraints, Aestheticism, and Aftermath Photography." European Journal of Fine and Visual Arts 2, no. 1 (April 27, 2024): 1–11. http://dx.doi.org/10.24018/ejart.2024.2.1.20.
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This article delves into the essence of photojournalism, focusing on values and constraints and scrutinizing specific works by Yannis Kontos through the prisms of aestheticism and aftermath photography. Drawing on photojournalist methods, personal experiences, and literature, the authors articulate the nuanced nature of photojournalism at the convergence of aesthetics and aftermath. The core value of photojournalism, resembling forensic documentation, is explored, emphasizing the gathering of evidentiary material in adherence to practical mandates of objectivity, detachment, and neutrality. The discussion extends to practical dimensions, addressing challenges in environments such as war zones concerning time, logistics, technology, and ethics. Contemplating the potential artistic dimensions of photojournalism, the article explores the interplay between aesthetic concerns and the preservation of journalistic and ethical integrity. The author’s self-identification as a documentary photographer with a penchant for the aftermath movement underscores a nuanced approach. While acknowledging artistic exhibitions, the ultimate ambition is for contributions to be a lasting reference, inspiring future generations. In a critical engagement with the broader discourse on photojournalism, the paper situates the practice within both documentary and art photography. It offers a succinct exploration of the inherent values and constraints of photojournalism in diverse contexts, revealing its dynamics at the crossroads of aesthetics and documenting aftermaths.
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Yurgeneva, A. L. "Comic Images in Lithuanian Photography and Graphics of the 1970s-1980s." Art & Culture Studies, no. 1 (March 2024): 350–81. http://dx.doi.org/10.51678/2226-0072-2024-1-350-381.
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The article analyses the material of a series of comic photography exhibitions held from 1973 to 1981 in Vilnius. The author of the article considers the phenomenon of the interaction between Lithuanian photography and caricature in the context of Soviet culture and reveals the similarities and differences in the approaches to creating a comic effect emerging from documentary images. Comic photography demonstrates the ability to detect the unpredictable, standing out against the stable concepts of everyday life, or to see irrational signs accompanying a person in life. A drawing is born on a blank sheet; like a photograph, it is based on a real fact but has the freedom of interpretation in time and space, in building projections. It is emphasized that from the point of view of the audience’s reception, in a photo the very moment of shifting meanings is present, while in a caricature this stage is already overcome and the audience sees the result. For the artistic culture of the Soviet period, it was important to move away from standard thinking and applied purpose. This was especially significant for caricature and photography, which for a long time were in the service of ideology.
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Hylton, Richard. "Eugene Palmer and Barbara Walker." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 100–113. http://dx.doi.org/10.1215/10757163-7916904.
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In Britain, black artists are arguably receiving the most sustained level of attention in a generation, from several historical exhibitions and international conferences to academic-based research initiatives and acquisitions by prestigious national museums. While offering artists a certain level of exposure, such initiatives have tended to privilege institutional agendas rather than the very artistic practices they purport to endorse. The paucity of genuine exhibition opportunities and significant publishing are factors that continue to bedevil a wider selection of black British artists. This article focuses on two specific exhibitions and artists: Eugene Palmer’s Didn’t It Rain (2018) and Barbara Walker’s Sub Urban: New Drawings (2015), both organized at the University for the Creative Arts, Farnham, UK. The author stresses the contrasting relationship to photography that each artist pursued in the making of their respective bodies of work and argues for a more engaged assessment of practice. The works of these artists deserve to be recognized for their fascinating and singular contributions to contemporary art practices.
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Licul, Nina. "Teachers’ Views on the Use of Photography in Teaching Arts in Croatian Primary Schools." Center for Educational Policy Studies Journal 10, no. 4 (December 22, 2020): 187–205. http://dx.doi.org/10.26529/cepsj.909.
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Contemporary art education relies on the use of diverse methods, approaches, art techniques, and technologies. Although photography is part of daily visual communication and gallery exhibitions, there is no structured approach to photography as a medium for learning the arts in Croatian primary schools. The objectives of the quantitative study were to determine art teachers’ views on (1) their knowledge about photography, (2) their abilities in using photography in art teaching, (3) obstacles to using photography in art teaching, and (4) the importance of photography in students’ visual culture. Regarding the fourth objective, we wanted to examine possible differences in terms of the teachers’ gender, age, and length of service. A survey was conducted with 112 teachers who teach arts in 5th to 8th grades in 17 Croatian counties. The results of the descriptive statistics were supplemented with a qualitative analysis of the teachers’ responses in the questionnaire. The results show that the teachers perceive their knowledge about photography obtained by formal education as average, but they assess their abilities to apply photography in their lessons as slightly better. The main problem, in their view, is a low number of art lessons in the Croatian curriculum. The teachers generally agree that photography is very important in a student’s visual culture, regardless of the teachers’ gender, age. and years of service. These findings indicate the need to place greater emphasis on photography as an artistic medium in primary school, as it may generate new visual knowledge and artistic skills.
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da Silva, Renato Rodrigues. "The Fotoformas of Geraldo de Barros: Photographic Experimentalism and the Abstract Art Debate in Brazil." Leonardo 44, no. 2 (April 2011): 152–60. http://dx.doi.org/10.1162/leon_a_00120.
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Geraldo de Barros produced a series called Fotoformas, consisting of photographic experiments that pioneered abstractionism in Brazil. Since the mid-1990s, this series has been presented in various retrospective exhibitions and publications. The predominant critical interpretation of the work has linked it with Concrete Art, downplaying Barros's participation in the Bandeirante Photography and Cinema Club (FCCB), an amateur association. This article rethinks his engagement in both circuits, demonstrating that the artist created the Fotoformas in dialogue with this photo-club. The author also analyzes Barros's experimental approach, which was based on the inscription of indexical marks on the images to deny the constraints of the camera, with the emphasis instead on process and interdisciplinary artistic practice. Thus, he created an alternative to Brazilian abstractionism, which focused mostly on formal aspects.
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Sidorenko, Ewa. "‘A Portrait of Lower Silesia’: Researching identity through collodion photography and memory narratives." Methodological Innovations 12, no. 3 (September 2019): 205979911989078. http://dx.doi.org/10.1177/2059799119890787.
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In this article, I discuss a performance arts–based visual methodology based on the use of the archaic wet collodion photography. The collaboration between Street Collodion Art photography collective and myself, as a researcher, had two aims: to generate a large scale photographic and narrative portrait of Lower Silesia in Poland, and to explore identities in the region where nearly all of its inhabitants represent recent migrant populations. Data generated through this project include collodion portraits, their interpretations and narratives collected through unstructured interviews. Initial data analysis has generated identity narratives linked to work, place and belonging and ethnicity/nationality. In addition, in 2016 and 2017, three exhibitions of the portraits and a selection of edited stories took place in Lubin, Legnica and Wrocław attended by local inhabitants, including project participants. The examination of the arts-based methodology finds that the ritual character of the wet collodion photographic encounter has acted as a form of artistic intervention which, in generating memory narratives, enabled an articulation of social identities in the climate dominated by nationalist discourses. Such symbolic work emerging out of the project reveals a critical potential in the collaboration between the arts and social research. Furthermore, the project has shown that despite different traditions of practice, a collaboration between the artists and social researchers can yield rich data and access participants in ways that conventional methodologies cannot.
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Reinhuber, Elke. "The Urban Beautician: a practice of transferring ephemeral interventions in the public space via media into a work of art." Lumina 11, no. 2 (August 30, 2017): 60–81. http://dx.doi.org/10.34019/1981-4070.2017.v11.21442.
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In this artistic research, I argue that a range of artistic practices is capable of addressing relevant issues in our material, specifically our urban, environment. In particular, conceptual interventions or non-theatrical performances, which are in most cases mundane everyday activities that require transformation through media to be understood as art. Yet, as human memory is susceptible, media is also required to provide proof of the action for archives or exhibitions, or simply as a memento of the artwork itself. Lens-based media, such as photography and video-recording, are in most cases the ideal form of documentation and distribution, while the actual performance is transferred to another genre of artistic practice and dissociated from the immediate experience of the moment.This paper introduces the enduring work of the author’s alter ego, The Urban Beautician, and defines her actions and documentation of this work within the framework of the conceptual and performance art scene. An assiduous assessment of her artistic ancestry is given and a catalogue of her endeavours, categorised by diverse subjects, arranged to isolate the themes and to connect the topics.
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Terzić, Predrag. "Processes of Our Mediated Spaces." AM Journal of Art and Media Studies, no. 29 (October 15, 2022): 29–42. http://dx.doi.org/10.25038/am.v0i29.533.
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Through art examples, I would like to show how real exhibiting space enters the dialogue with the visitor and his movement while using Virtual Reality and Artificial Intelligence. The analysis of the technological aspect is important, as well as the recognition of social and material conditions in the creation of new artistic practices, the production and later recognition of what happens to art. I would move within the paradigm shift of image, photography, film, installation, and Internet use, as well as within the emergence of artificial intelligence. The audience is seen as a participant in the creation and evaluation of artistic experience, they are invited to reveal their action views. Today, the exchange of experiences as well as the study of common experience in the context of artistic research is made easier through art systems. Artists incorporate evaluation into their practice, thus, establishing a new program of research in art and technology. The interactive experience in the digital age explores different ways of creating and evaluating interactive art. While the visitor of contemporary art exhibitions explores and examines what is happening, how fast contemporary art is changing, (s)he still does not understand what is happening in front of her/him. Various art examples presented in this paper show a new phenomenon that places science, technology, and art on the same side. This opens a new chapter in artistic practice and makes the contemporary scene livelier and more diverse. At this point, we come to the possible sequence of events in art, which brings a new way of expression and provides an interesting space for further research. Article received: May 20, 2022; Article accepted: July 15, 2022; Published online: October 15, 2022; Original scholarly paper
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Browning, Kathy. "Scotland." Diversity of Research in Health Journal 1 (June 21, 2017): 144. http://dx.doi.org/10.28984/drhj.v1i0.62.
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I spent 14 days of intensive photographic research taking 10 000 photographs while travelling around the coast of Scotland. This includes the incredible architecture in ancient cities; amazing, magical landscapes of heather shrouded moorlands, expansive glens with grass covered hills and lowlands, and black and red mountains; and magnificent castles. Scotland is a part of my cultural heritage. This series of photographs is a merging of my artistic and academic skills as a visual arts researcher. It is similar to grounded theory (Glaser & Strauss, 1967) used for my academic research wherein I let Scotland tell me what photographs needed to be taken and my photographic eye knew when to take the photograph from my years of experience as a photographer.
Each of the photographs tells a visual story. As I continuously edited my photographs for months while making files in folders I asked myself: What was my experience of Scotland? How can I represent this experience so that it has the feeling of what each inspiring photograph had when I took the shot? It is a reliving and recreating of experience while working with specialty silver papers and creating triptychs, diptychs and other layouts to photographically tell the stories. These 19-limited edition colour archival quality giclée photographic prints are the result of my photographic Scotland experience. An exhibition is a publication and the exhibition of these photographs is supported by LURF.
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AKERMAN, Oleksandr, and Nadia BEDRINA. "THE APPLICATION OF PHOTOGRAMMETRY IN AUDIO-VISUAL ART (ON THE EXAMPLE OF THE EDUCATIONAL PROFESSIONAL PROGRAM “ADVERTISING AND VIDEO ART” AT KSADA)." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (October 15, 2023): 108–14. http://dx.doi.org/10.33625/hudprom2023.02.108.
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Over the past few years, photogrammetry has attracted the attention of researchers worldwide in different aspects and branches of science. Ecological issues and environmental changes update research related to the digitisation and preservation of cultural heritage and museum exhibitions. Photogrammetric methods also find their place in video production – creating virtual doubles of people, buildings, or landscapes. This article brings up the question of the use of photogrammetric methods in the educational process at the educational professional program “Advertising and video Art” specialty 021 Audio-visual Art of the first degree of higher education at KSADA. Selected and detailed knowledge and skills obtained as a result of studying mandatory educational components (processing of static images, photography theory, work with video editors, compositing programs, colour theory, colour correction, grading, theory and practice of 3D modelling programs), which contribute to the study of the discipline of choice “Fundamentals of photogrammetry”. Following the analysis, the technology to create a photogrammetric project is considered step by step, the steps of this process are outlined and described, namely: the shooting process, processing of the captured material, creating a cloud of points, polygonization of the three-dimensional model, retopology of the model, texturing and texture baking. The main fields of application of the photogrammetry method in audio-visual art are identified: “practical” photogrammetry (digital conservation of architectural and sculpture monuments, copy of museum exhibitions); construction of models for further use in the production of films and videos; using photogrammetric models as objects of artistic creativity, including advertising; the use of unusual textures, perspectives, physical processes that cannot be implemented in the real world; creating large-scale copies of historic buildings and 3D printing sculptures.
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Subotić, Irina. "The Role of Central European Avant-garde Reviews in the 1920s (Hungary, Poland, Czechoslovakia, Romania, Bulgaria and Yugoslavia)." Theatron 15, no. 4 (2021): 5–19. http://dx.doi.org/10.55502/the.2021.4.5.
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After the collapse of four empires during World War I, several new European states emerged, with new energy, anti-military and progressive attitudes among the youth, and shared optimism for a peaceful future. A new generation of writers, poets, artists, theorists, philosophers, architects, musicians, and film makers helped revitalize the cultural life in Central European countries (Poland, Czechoslovakia, Hungary, Romania, Yugoslavia and Bulgaria) in the early 1920s by publishing a variety of reviews that promoted new ideas and radical forms of expression, often linked to progressive social positions and leftists political influences. In spite of different orientations and local historical, cultural, social and political conditions, they often had similar objectives and clearly expressed attitudes about multinational and cosmopolitan culture, new forms and fresh approaches, with an ideological commitment to considering culture as primarily a social issue. The review editors exchanged articles, manifestos, poems, reproductions of plastic and applied arts, methods and practices in theatre, film, music, photography and architecture. They invented new media, organized international exhibitions, performances, conferences; participated in provocative activities and discussions and often shared similar artistic worldviews. Some were successful; others were banned for political reasons, but all were important elements in avant-garde movements of the time.
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Thimthong, Sansanee, Kanchanok Phunaonin, Natcha Chareonsak, Luksika Putsam, Intheema Hiran-Akkharawong, Prachya Paemongkol, Supuksorn Masavang, and Nanoln Dangsungwal. "The Guidelines for Enhancing Knowledge and Proficiency in Food Decoration Skills: RMUTP." Higher Education Studies 14, no. 3 (July 24, 2024): 116. http://dx.doi.org/10.5539/hes.v14n3p116.
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The purpose of this study was to examine the level of knowledge and skills related to food decoration, and to identify consistent study activities for each academic year in the food service industry's student program through correspondence analysis. The population was 304 people. The results demonstrated a high level of knowledge and behavioral learning in the area of artistic skills. An analysis of the correlation between the academic year and activities aimed at enhancing knowledge, skills, and creativity in the art of food decoration revealed that the 1st year students engaged in activities related to analyzing food decoration design, the 2nd year students focused on the fundamentals of food decoration, the 3rd year students explored visual elements and art principles in food design and decoration, and the 4th year students assessed their ability to design food decorations before class. Activities to enhance art skills involved 1st year students participating in exhibitions, 2nd year students participating in artificial decoration activities, and 3rd and 4th year students participating in culinary workshops and learning about food decoration techniques. Activities to enhance creativity involved the 1st and 2nd students creating images from points, the 3rd students participating in art camp activities, and the 4th students learning how to add value to food through plating and photography.
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Zhu, Yuwen. "PHOTOGRAPHY FESTIVALS AND FAIRS: SHOWCASING NEW IDEAS IN PHOTOGRAPHY." Scientific and analytical journal Burganov House. The space of culture 19, no. 4 (September 10, 2023): 68–78. http://dx.doi.org/10.36340/2071-6818-2023-19-4-68-78.
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This article assumes that photographic festivals and fairs can play a role in articulating and promoting new ideas in photography. As exhibition spaces, these public events guide and showcase new trends, perspectives and practices in the art of photography. They not only permit exhibiting the variety of photographic art forms, innovative ideas and the most cutting-edge practices, but also serve as a catalyst that stimulates the ongoing evolution of photography in a socio-cultural setting. Firstly, using specific examples of photo festivals and photo fairs, the article examines how they can showcase and guide new ideas in photography. It further explores how they reflect and foster innovation in photographic artistic thought by demonstrating recent trends in photography, capturing new socio-cultural tendencies, and reinterpreting iconic works. Furthermore, the article investigates how these photography exhibition spaces enable communication and exchanges between artists, curators, and viewers. Festivals and fairs present both the author and the viewer with new ways of understanding the art of photography and offer them new experience. The role of the viewer changes from passive to active: now, by participating in the discussion of the artwork, reflecting on it, the viewer becomes a catalyst for innovation. Finally, photo festivals and fairs have led to a transformation in the ways of viewing and creating, and changed the roles of viewer, artist and curator. Through innovative ways of exhibiting, such as virtual reality or multimedia technologies, they have stimulated the development of ways of viewing and understanding photography artworks. Hence, in this article, we delve into photography festivals and fairs as a sort of window through which we can observe the emergence, evolution, and propagation of new concepts, artforms, and practices of photography. At the same time, they foster innovative ideas and play a key role in the development of means of visual artistic expression and photographic practice. The objective of this study is to provide scholars, practitioners, and photography enthusiasts with a deeper understanding of photographic festivals and fairs and to shed light on how this medium can be used to develop and innovate the art of photography. Hopefully, this article will provide a new perspective and understanding of photography research and practice and contribute to the further development of the art of photography in the 21st century.
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Sklar, Monica, Katherine Hill McIntyre, and Sharon Autry. "Preserving cultural craft heritage: Digitizing a traditional Syrian clothing collection." Craft Research 12, no. 2 (September 1, 2021): 317–33. http://dx.doi.org/10.1386/crre_00055_1.
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This project explores the importance of the preservation of diverse private collections of crafted artefacts, and specifically improving digital access. The focus is on the transformation of an assemblage of 100 Syrian garments held in the United States into a museum-quality, publicly accessible archive. Private collections that are not financially endowed face various challenges, including their culturally valuable content being inaccessible and underseen. The goal of archiving and exhibiting this collection of garments is to share Syria’s dress and craft history as a form of identity, community, economy, artistic expression and technological development. Each item is unique, representing an everyday life that no longer exists. As people moved to new geographical locations, craft traditions were not always carried with them. Consequently, the garments and accessories in this collection feature dyeing techniques, metalwork and symbolic representations of different generations of Syrian people from this ancient to present civilization. Throughout the research process, we learned to synthesize the core issues of contemporary craft heritage management, with an initial goal to build a new digital archiving method and template to benefit small or private collections outside of institutions. First, we determined how to do so using affordable and accessible tools, in line with manageable industry standards. Digital photography, metadata development, object labelling, and anecdotal interviews complement the existing collection information. The long-term goal is the dissemination of the collection through exhibitions, interactive websites, symposiums and publications. Museums are working harder to diversify their collections, and many private collections represent marginalized cultures or do not fit within the established parameters of public institutions. This study touches upon the disparate and specific needs of private versus public collecting, and how to bridge some of the gaps using standardized digitization techniques towards similar preservation and outreach goals.
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Guk, Alexey A. "Cultural and Aesthetic Dynamics of Photography as a Form of Contemporary Art." Observatory of Culture 21, no. 2 (April 19, 2024): 149–57. http://dx.doi.org/10.25281/2072-3156-2024-21-2-149-157.
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Art-photography is a form of contemporary art that marked itself in the early 1960s. Its historical evolution has not been sufficiently studied. At the same time, it provides an opportunity to identify and understand the logic of the internal development of art-photography and its relationship with the external cultural context. The cultural and aesthetic dynamics of art-photography is associated with three historical stages: early, mature and late postmodernism (meta modernism) and the corresponding forms of contemporary art. The first stage (1960—1970) saw the realization by contemporary artists of the conceptual possibilities of photography. It was mainly the photographic documentation of process-action forms of contemporary art. The same period saw the birth and formation of the main artistic strategies and creative methodologies of art-photography: adherence to documentaries, the use of staging (directing), the introduction of seriality (typology), the combination of word and image. The second stage (1980s — 1990s) of art-photography functioning is characterized by further development and enrichment of established artistic tendencies and the emergence of new practices in which photographic material expands its subject matter and claims the role of a text that problematizes (thematizes) the represented reality. The development of art-photography at the third stage (2000s to the present) is determined by two main factors: the processes of digitalization and oscillation of contemporary culture and art, which leads to the transformation of the “mode of truth” of the photographic image and the strengthening of the importance of the aesthetics of the individual photographic frame. At the level of practice, this is expressed in the creation of photographic pictures where reality and fantasy images merge into a single whole and become indistinguishable. This effect was reinforced by printing photographs of enormous size and exhibiting them in museum spaces and galleries. Nowadays, art-photography, while remaining a form of contemporary art, seeks to go beyond it and acquire signs of aesthetic self-sufficiency.
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Lang, Sabine, and Björn Ommer. "Reconstructing Histories: Analyzing Exhibition Photographs with Computational Methods." Arts 7, no. 4 (October 9, 2018): 64. http://dx.doi.org/10.3390/arts7040064.
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Displays of art in public or private spaces have long been of interest to curators, gallerists, artists and art historians. The emergence of gallery paintings at the beginning of the seventeenth century and the photographic documentation of (modern) exhibitions testify to that. Taken as factual documents, these images are not only representative of social status, wealth or the museum’s thematic focus, but also contain information about artistic relations and exhibition practices. Digitization efforts of previous years have made these documents, including photographs, catalogs or press releases, available to public audiences and scholars. While a manual analysis has proved to be insufficient, because of the sheer number of available data, computational approaches and tools allowed for a greater access. The following article describes how digital images of exhibitions, as released by the New York Museum of Modern Art in the fall of 2016, are studied with a retrieval system to analyze in which artistic contexts selected artworks were presented in exhibits.
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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.
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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.
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Carraro, Benedetta, Alberto Sanna, Francesca Pola, and Matteo Zardin. "The NEFFIE project: Technological innovation, artistic co-creation and social augmented experience." Journal of Pervasive Media 8, no. 1 (August 1, 2023): 65–83. http://dx.doi.org/10.1386/jpm_00005_1.
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This article presents the NEFFIE (which stands for ‘Neuroaesthetic Photography’) project, a contemporary reinterpretation of Franco Vaccari’s iconic artwork, presented 50 years ago at the 1972 International Venice Art Biennale and entitled Exhibition in Real Time No. 4: Leave on the Walls a Photographic Trace of Your Fleeting Visit. Thanks to today’s technological innovation, NEFFIE develops Vaccari’s idea from a more contemporary perspective. Vaccari’s original photo booth becomes a technologically revisited booth that uses an algorithm and wearable sensors to reshape the subjective emotional-cognitive responses derived from viewing particular images, thus generating the ‘cognitive photograph’ or ‘COFFIE metapicture’. These metapictures are subsequently minted as NFTs (non-fungible tokens) objects and then displayed on a virtual wall, the ‘COFFIE wall’, generating what can be defined as a Virtual Exhibition in Real Time, a hypothetical contemporary re-actualization of Vaccari’s artistic proposition. The NEFFIE project could be considered a pervasive media art proposal capable of promoting social cohesion, by encouraging creative participation and co-creation. The project is being developed in Milan, thanks to a fruitful interdisciplinary collaboration between the Research Center in Advanced Technology in Health and Well-Being of San Raffaele Hospital, and ICONE, the European Research Center in History and Theory of the Image of Vita-Salute San Raffaele University. This multidisciplinary approach combines art-historical theoretical thinking with the world of technological innovation. In particular, the NEFFIE project integrates the visual and conceptual tools of photography with the methodologies and knowledge of biomedical engineering and computer science.
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A. I., Tapol. "CRISIS OF MODERN VISUAL PRACTICES." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 41–47. http://dx.doi.org/10.17721/ucs.2019.2(5).08.
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The article focuses on the analysis of the liquefaction of basic settings of the modernity's visual practises, specifically of signification regime and mode. The general dynamics of historical types of visual practices and the role of the Modern vision regime in it are described. The visual parameters of the signifying modes of realism and modernism are defined. The crisis of modern visual practices is specified through the logic of their transformation. The status of photography as the basic visual practice of the modernism signifying mode is proved. From the beginning of the era of "technical production" the pathos of the position of the artist as the producer of the image requires not only the act of creation, but also the aim of commercialization, which entails the act of "exhibiting", a certain way of presentation. An important aspect of the artist's mission is to move the image from the everyday and profane (if we resort to aesthetic categorical apparatus) spheres to the space of the artistic field. A striking example of the dilution of the visual parameters of high Modernity is photography. The lens becomes the mediator of the act of see- ing the person, and subject-object relations with the world break because of the mediocrity of the photographic image, which promotes its reality. Photo documentation creates a new form of perception of time – fragments in which some events are identified as important and some remain peripheral. If an artist thinks of painting (Cézanne's thought) and has creative thinking, then a photographer who thinks of frames only reduces being to the individual. A photo does not simply reflect reality, it reproduces reality, that is, it transfers it from thing to reproduction of things, pho- tography carries the existence of a photographed object. And as a result, we recognize that the photographic image is the object itself. Photography as an image begins to organize not only high culture, but also everyday life, being the basis of visuality and the basis of everyday social practices. The transformations that photo-images make to the parameters of Modernity's visuals form the basis for visual postmodernism.
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Cruzeiro, Cristina Pratas. "The image of the dictatorship in perspective: the photographs from Fernando Lemos between 1949 and 1954." PORTO ARTE: Revista de Artes Visuais 22, no. 36 (December 30, 2017): 63. http://dx.doi.org/10.22456/2179-8001.80110.
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From the photographic productions from Fernando Lemos between 1949 and 1952 in Portugal and between 1953 and 1954 in Brazil, this article aims to reflect on the imagery carried out by the artist when he left Portugal in face of the one produced in Brazil in the years immediately posthumous to his arrival. Fernando Lemos left for Brazil in 1953, exhibiting his work at the Museum of Modern Art of São Paulo and, in 1954, at the Museum of Modern Art of Rio de Janeiro – where he showcased part of the extensive photographic production he produced in Portugal. The imagery language of these photographs – the construction of space, luminosity, overlays, etc. – demonstrates a harmony with surrealism and the artistic use of photography. But in them are also imprinted the different rhythms of life and quotidian. The fact that the artist focuses his production on the portrait, makes it the best referent to allows us to understand the impact that the migration caused in his life and in his artistic work.
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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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Kostrzyńska-Miłosz, Anna. "Exhibition of Arts and Crafts in Vilnius 1924: Tradition or Modernity?" Acta Academiae Artium Vilnensis, no. 98 (February 8, 2020): 262–78. http://dx.doi.org/10.37522/aaav.98.2020.30.
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The paper analyses the Exhibition of Arts and Crafts opened on 15 September 1924 at the Vilnius Apollo Cinema and presents the press reviews of artistic critics. Particular attention is paid to artistic craftsmanship which demonstrates the attitude of the exhibition’s organisers to tradition and modernity. Crafts constituted about two thirds of the exhibits. The sec- tion was essentially varied and ranged from the Azarewicz / Azarevich Po- ttery Workshop decorated, according to the journalist of Przegląd Wileński in the “native way”, to graphic layout proposals of the Lux Publishers. In addition to painting, sculpture, monument designs, and the artistic photography of Bułhak, Siemaszko, Wysocki, and Świętochowska were presented with the comment that they constituted the “prime section of Vilnius artistic activity”. Such a wide range of artistic visions allowed various trends in the development of 1920’s Vilnius art to be shown.
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Gordon, Anthea. "Classifying the body in Marlene Dumas' The Image as Burden." Medical Humanities 44, no. 1 (June 19, 2017): 64–70. http://dx.doi.org/10.1136/medhum-2016-011061.
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Medical photography, and in particular dermatological imagery, is often assumed to provide an objective, and functional, representation of disease and that it can act as a diagnostic aid. By contrast, artistic conceptions of the images of the body tend to focus on interpretative heterogeneity and ambiguity, aiming to create or explore meaning rather than enact a particular function. In her 2015 retrospective exhibition at the Tate Modern, South African artist Marlene Dumas questions these disciplinary divides by using medical imagery (among other photographic sources) as the basis for her portraits. Her portrait ‘The White Disease’ draws on an unidentified photograph taken from a medical journal, but obscures the original image to such a degree that any representation of a particular disease is highly questionable. The title creates a new classification, which reflects on disease and on the racial politics of South Africa during apartheid. Though, on the one hand, these techniques are seemingly disparate from the methods of medical understanding, features such as reliance on classification, and attempts at dispelling ambiguity, bring Dumas’ work closer to the history of dermatological portraits than would usually be perceived to be the case. In considering the continuities and disparities between conceptualisations of skin in dermatology and Dumas’ art, this paper questions assumptions of photographic objectivity to suggest that there is greater complexity and interpretative scope in medical dermatological images than might initially be assumed.
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Rossi, Giuliana, Gualtiero Böhm, Angela Saraò, Diego Cotterle, Lorenzo Facchin, Paolo Giurco, Renata Giulia Lucchi, et al. "Focus on glaciers: a geo-photo exposition of vanishing beauty." Geoscience Communication 3, no. 2 (November 30, 2020): 381–92. http://dx.doi.org/10.5194/gc-3-381-2020.
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Abstract. Scientific research, respect for the environment, and passion for photography merged into an exceptional heritage of images collected by the researchers and technicians of the National Institute of Oceanography and Applied Geophysics (OGS). The images were taken during past scientific expeditions conducted all over the world to widen scientific knowledge in the fields of Earth and ocean sciences, to raise awareness on the environment and conservation of natural resources, and to mitigate natural risks. In this paper, we describe a photographic exhibition organized using some of the OGS images to draw public attention to the striking effects of global warming. In the artistic images displayed, the glaciers were the protagonists. Their infinite greyish blue shades and impossible shapes were worthy of a great sculptor, and the boundaries with rocks or with the sea were sometimes sharp and dramatic and sometimes so nuanced that they looked like watercolours. The beauty of the images attracted the attention of the public to unknown realities, allowing us to document the dramatic retreat of the Alpine glaciers and to show the majesty of the Arctic and Antarctic landscapes, which are fated to vanish under the present climate warming trend. The choice of the exhibition location allowed us to reach a broad public of working-age adults, who are difficult to involve in outreach events. The creators of the images were present during the exhibition to respond to visitors' curiosity about research targets, the emotional and environmental context, and the technical details or aesthetic choices of the photographs.
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Sokolova, A. S. "Kursk Exhibitions of Kazimir Malevich: An Attempt of Reconstruction." Art & Culture Studies, no. 3 (October 2021): 182–219. http://dx.doi.org/10.51678/2226-0072-2021-3-182-219.
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The article focuses on the Kursk exhibitions with the participation of Kazimir S. Malevich, the history of their organization, exhibitors, reaction of critics. Notes in the local newspapers and magazines and preserved exhibition catalogs became the main sources of the research. This documents show that Malevich began to exhibit his works at the first exhibitions of the Kursk artistic community. Critical reviews give an idea of the titles of his paintings, the impression they made, or simply record participation. These texts can supplement the information of modern researchers about some facts of the artist’s biography. The paper is the first attempt to describe art exhibitions of 1910 and 1913 in details. Special attention in the text is paid to description of exhibition of the Association of Kursk Artists in 1910, where Malevich showed for the first time some paintings of “white series”, for example Rest (Otdyh), Bathing (Kupanie) and White Horse (Belaya loshad’). The exposition of “Cubists, Futurists and Ko”, which became part of the XIV exhibition of the Association of Kursk Artists, is introduced to the scientific audience for the first time. The author tried to find out the names of the exhibitors and the number of works, based on reviews in newspapers and photographs from the archive of Oleg Radin (Kursk). Malevich brought to Kursk at least 23 paintings. Some of these works were presented at the Oslinyj Hvost exhibition in Moscow in 1912, but the artist changed the composition of his paintings.
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Sergio, Ivan. "Artistas italianos en Chile entre arte, inmigración y periodismo (1906)." ACCADERE. Revista de Historia del Arte, no. 3 (2022): 11–27. http://dx.doi.org/10.25145/j.histarte.2022.03.01.
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The article focuses on the Italian artistic production in Chile, collected on the pages of the first work of the “Circolo degli Artisti” of Santiago, Gl’Italiani in Cile. Arti, Lettere, Scienze, published in 1906, on the occasion of the Milan International Exhibition of the same year. We will first analyse the stages that led to the formation of this “Circolo” on the pages of the ethnic newspaper La Voce della Colonia; in particular, we will dwell on the articles written by the gazette’s director, Annibale Visconti, in which the news of the International Exhibition appeared for the first time. In addition, we will examine that work’s content concerning us, showing the most representative works of the Italian community resident in Chile, in different areas, such as painting, photography, literature, and sculpture.
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Sergio, Ivan. "Artistas italianos en Chile entre arte, inmigración y periodismo (1906)." ACCADERE. Revista de Historia del Arte, no. 3 (2022): 11–27. http://dx.doi.org/10.25145/j.histarte.2022.03.01.
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The article focuses on the Italian artistic production in Chile, collected on the pages of the first work of the “Circolo degli Artisti” of Santiago, Gl’Italiani in Cile. Arti, Lettere, Scienze, published in 1906, on the occasion of the Milan International Exhibition of the same year. We will first analyse the stages that led to the formation of this “Circolo” on the pages of the ethnic newspaper La Voce della Colonia; in particular, we will dwell on the articles written by the gazette’s director, Annibale Visconti, in which the news of the International Exhibition appeared for the first time. In addition, we will examine that work’s content concerning us, showing the most representative works of the Italian community resident in Chile, in different areas, such as painting, photography, literature, and sculpture.
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Lydia Bertoche, Mariana. "Potencial artístico e educacional da memória subversiva da cidade." Revista Prumo 4, no. 7 (November 15, 2019): 166–81. http://dx.doi.org/10.24168/revistaprumo.v4i7.975.
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The present article traces relations between three objects of analysis: some works from the photographic series “Buena Memória” by the Argentinian Marcelo Brodsky, the Memorial da Resistencia de São Paulo and the Ocupa DOPS movement in Rio de Janeiro; evidencing the importance of having institutional spaces which promote exhibitions with artistic productions about memory in the Fluminense capital. The text analyses the photograph “La Clase” and its “Puente de La Memória” with the city of Buenos Aires, relating its reflections with the history and potential of these two places of memory in Brazil as possible spaces of an art educational non-hegemonic and freeing narrative.
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Pryshchenko, Svitlana, Yevhen Antonovych, and Tetyana Senchuk. "Media Design: the Research of Terminology Base and Visual Stylistics." Demiurge: Ideas, Technologies, Perspectives of Design 5, no. 2 (October 31, 2022): 243–60. http://dx.doi.org/10.31866/2617-7951.5.2.2022.266910.
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Technological changes of the late 20th and early 21st century dramatically influenced the development of the global communication space – all communication channels are rapidly changing to a digital format. The topicality of the article lies in the growing role of visual communications of various formats and computer technologies in modern society. There is an active movement toward digital presentations of the world’s cultural and artistic heritage, multimedia art museums, virtual exhibitions, and virtual tours are appearing, which also require advertising. Main objective of this study is to conduct a comparative analysis of the existing terminology and visual stylistics of the media. Methods. The research methodology is based on a multimodal approach. A number of scientific methods were used to achieve the set goal: system-structural, art historical, and comparative. The scientific novelty of this work consists in expanding and deepening ideas about the development of media as a component of design activity. The authors of the article emphasize that a fundamentally new type of communication – multi media – has acquired its own meanings, meanings and visual images. Modern visual advertising appeals should have a clear communicative structure, aesthetic level and stimulate the intellectual activity of the consumer. It is proposed to define colour graphics as a basic means of media design, and aesthetic dimensions (parameters) as cultural-aesthetic ones. Colour semantics and regional imagery are distinguished to provide the aesthetic evaluation of objects in ethnic style. Postmodernism has its own typological features: the use of any ready forms from art to utility, widespread of photography and computer special effects, deliberate violation of commensurable quantities of visual elements, borrowing the ideas from other types of art, remake, interpretation, combination, fragmentation, epatage, installation, collageness and replicability of the projects. Conclusions. The results of our comparative analysis of terminology and stylistic aspects of media resources are presented. It has been proven that visual media is not a constant, but rather a dynamic process aimed at enhancing the effectiveness of those ideas, products, services, companies, or individuals that are being promoted. Media design is defined as the design of a visual info space, an innovative stage of designing for the virtual world, and a qualitatively new stage of its development. In summary, we note that research materials allow its continuation and expansion in order to prepare a course of lectures for Masters in the specialties "Design", "Management of sociocultural activities", "Advertising and PR", "Tourism", etc.
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Gralak, Zofia. "Demonic bestiary of Makonde in the perception of Warsaw respondents." Text and Image: Essential Problems in Art History, no. 1 (2019): 33–49. http://dx.doi.org/10.17721/2519-4801.2019.1.02.
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Perception is a particularly interesting and quite diverse phenomenon. It mainly depends on different interpretations presented by recipients. This work aims at constituting a cross-sectional list of analyses of attitudes presented by Warsaw society during contact with sculptures of Makonde artists. Thanks to the support of PTAfr and the courtesy of the Library in Koszykowa Street, on 16-19 January, and on 24 January 2018, research was carried out in reference to the exhibition titled: «Między sztuką a opętaniem. Hebanowe bestiarium ludu Makonde. Fotografie Piotra Sadurskiego» [Between Art and Possession. Ebony bestiary of Makonde people. Piotr Sadurski Photography]. During the exhibition, sculptures from the collection of Ewa and Eugeniusz Rzewuski entered into the artistic dialogue with photographs by Piotr Sadurski. All the exhibited works were mainly in the style of shetani, referring to demonic presentations. Makonde sculptures are an example of contemporary art of East Africa. Their roots should be sought in indigenous traditions and beliefs. Makonde artists come from Mozambique, but as a result of social unrest many of them were forced to leave their homeland. They found themselves safe in Tanzania, where a large part of Makonde people live and create in the Dar Es Salaam area until today. The exhibition featured sculptures of the most outstanding representatives of this trend. Within the research, the respondents attending the exhibition were presented with photographs made in two distinct stylistic conventions: chiaroscuro one and formal one. The primary objective of this is to show some ways of perception of Makonde artists' sculptures, distant in terms of culture, by respondents participating in the Warsaw research.
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Pérez, Lidia Martínez. "On the Art World, Museum ‘Prisons’ and Artistic Freedom." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 26–30. http://dx.doi.org/10.5617/jea.4898.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay investigates the structure of the art world, as well as the role of museums, likening them to prisons of taste, thus pointing to structural limitations imposed upon the artist, while also showing, using the case of the Viennese photographer Sabine Hauswirth, that even within such system, artistic freedom, or at least its semblance, are possible.
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Levin, Boaz. "The pencil of cheap nature: Towards an environmental history of photography." Philosophy of Photography 14, no. 1 (April 1, 2023): 19–47. http://dx.doi.org/10.1386/pop_00069_1.
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This article sets out to draft a preliminary sketch of an environmental history of photography, as opposed to a history of environmental photography. It shows that such a history should be rooted in a conceptualization of our geological epoch as the Capitalocene: the age of capital. Seen in this light, photography can be understood as part of a longer history of what the article describes – building on the work of activist and journalist Raj Patel and environmental historian Jason W. Moore (2018) – as the ‘cheap image’. In this way, photography is shown to offer a succinct expression of the Cartesian dualism that Patel and Moore see as being at the heart of the Capitalocene: the externalized image of capital N nature that this world ecology necessitated. The article considers Mining Photography: The Ecological Footprint of Image Production (Museum für Kunst und Gewerbe, Hamburg, 2022) a recent exhibition and catalogue that attempted to narrate in exhibition form a history of photography from such a perspective. Finally, it concludes with a discussion of the work of several artists from this exhibition who are seen as exemplifying ‘metabolic realism’, a new critical photo-based artistic approach.
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Pedro Leão Neto. "About the International Conference for the 5th issue of Sophia Journal." Sophia Journal 5, no. 1 (December 1, 2020): 3–4. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_01.
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The International Conference on the 5th issue of Sophia Journal, which took place at FAUP, opened a new cycle of international forums, henceforth to be held annually, and taking up the theme and topics examined in Sophia for each year. Sophia Journal’s International Conference presented both a live and videoconference program organized by CEAU / FAUP, in partnership with UNIZAR and DECA / ID - U. Aveiro. The event was broadcast live online, encompassing a rich and diverse program: (i) a series of videoconferences; (ii) the roundtable launch and presentation of the 4th issue of the peer reviewed journal Sophia: “Visual Spaces of Change: Unveiling the Publicness of Urban Space through Photography and Image”; (iii) the presentations of articles of the 5th issue of Sophia Journal: “Visual Spaces of Change: Designing Interiority - shelter, shape, place, atmosphere”; (iv) the launch of the open call for papers for the 6th issue of Sophia Journal: “Visual Spaces Of Change: photographic documentation of environmental transformations”; (v) the announcement of the awards of the International Competition of Ideas: Exhibition and Mobile Projector and the Visual Spaces of Change exhibition, developed for this conference and for the spaces of FAUP, where new contemporary photography projects will be communicated, as well as a new exhibition structure that was awarded with the first prize in the International Competition of Ideas: Exhibition and Mobile Projector. The objective of these international forums is to promote the reflection and debate on the universes of Architecture, Art and Image, addressing various issues transversal to the worlds of Photography and Architecture, and exploring how the image can be a means to cross borders and shift boundaries between different disciplines. This event provided the opportunity to visit the exhibition of the Visual Spaces of Change Projects developed for this conference using FAUP’s interior and outdoor spaces, featuring novel projects in the new exhibition modular structure, which awarded the first prize to Sérgio Magalhães representing studium.creative studio. The Visual Spaces of Change research project proposes a visual communication strategy based on the development of contemporary photography projects that reflect upon different dynamics of urban change to open new horizons of public intervention in the public space. Wilfried Wang (UTSOA) O’Neil Ford Centennial Professor in Architecture at the University of Texas at Austin and Guest Editor of Issue #6 of Sophia journal: “Visual Spaces of Change: photographic documentation of environmental transformations” announced the open call for this 6th issue of Sophia journal. This issue will bring together photographers and researchers who make significant contributions to these discussions, including the material processes of creating, managing and interpreting sets of documents. We are interested in material processes where photography is explored as a significant research tool for critical and innovative views on architecture and urban transformation in their expanded fields and contextualized by larger systems: cultural, political, artistic, technical, and historical dimensions. Finally, some words about the published content in Sophia’s other sections besides the peer reviewed articles, with the former having been integrated into the journal’s structure as a way of enrichening the publication with diverse viewpoints from experts in the field and other types of readings apart from the articles from the call. [...]
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Hunter-Young, Nataleah. "Transgressive frames." Journal of Visual Culture 21, no. 1 (April 2022): 111–31. http://dx.doi.org/10.1177/14704129221088295.
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This article revisits the lynching photograph to consider the rhetorical and cultural practices that instructed the unseeing of white mobs for what it reveals about dematerializing representations of the state in social media imagery documenting anti-Black police brutality. To do this, the author draws on creative, curatorial, and architectural examples that bring the eye into confrontation with the state’s hidden hand – the rig that naturalizes the public’s first-person (shooter) perspective, the body-worn or (para)surveillance camera footage, obscuring contemporary lynching’s stately face from public view. The author reflects on the staging and circulation of lynching photography as well as the exhibition of representative artistic renderings; an example of transgressive spatial engagement at the recently opened National Memorial for Peace and Justice in Montgomery, Alabama; and then turning to Canada, the author offers a case study that considers the outer-national visual implications, concluding with example works by visual artists, Anique Jordan and Jalani Morgan, whose transgressive creative practices demonstrate disinvestments in repair.
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Pinkel, Sheila. "Early Phenomenological Light Works." Leonardo 53, no. 2 (April 2020): 213–19. http://dx.doi.org/10.1162/leon_a_01575.
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Making visible the invisible in nature and culture has been the focus of the author's work since 1973. In the early 1970s, experimental approaches were being explored in art and photography. At that time, the author investigated imaging possibilities using a range of approaches, from making photographic images without a camera or enlarger to using light-sensitive emulsions, Xerox machines, and computer and X-ray technology available in the 1970s in order to explore the potential for light to make visible form in nature. Unexpectedly, this exploration also resulted in social content that was the outcome of the author's work, the exhibition Multicultural Focus. This period was the beginning of the artist's ongoing investigation into the transformative potential of light.
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Ridlen, Tim. "Art on Film at Finch College: Reproductive Labor in the Enrichment Economy." Camera Obscura 38, no. 1 (May 1, 2023): 81–101. http://dx.doi.org/10.1215/02705346-10278600.
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Abstract Finch College was a small women's liberal arts college located on the Upper East Side of Manhattan open from 1900 to 1975. The Contemporary Wing of the Finch College Museum of Art held a number of important exhibitions for conceptual art, experimental media, and film organized by the museum's curator, Elayne Varian, from 1966 to 1975. This article addresses how ideas of process, reproduction, and documentation were being reconfigured at Finch, especially in film and media art of the 1960s. Robert Morris's film installation, Finch College Project (US, 1969), is emblematic of this larger turn toward process in the visual arts; however, Varian's Projected Art exhibitions complicate our understanding of how and why artistic process became a subject of interest. In light of what Boltanski and Esquerre have recently identified as an “enrichment economy” and what feminist thinkers of the time theorized as reproductive labor, works in the Projected Art series shift attention to the reproductive labor of caring for, curating, collecting, and consuming visual art and film. I argue that Varian's exhibitions as a whole complicate our understanding of process-oriented work during the postwar period, especially film and media that moved into gallery exhibition spaces. These works attacked the existing modes of production by turning toward process, complicating the status of photographic reproduction, and contributing their own surplus value through reproductive labor.
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Wöllauer, Benedicta. "When the Forgotten and Discarded Becomes Art: Maren Jeleff’s Photography." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 106–9. http://dx.doi.org/10.5617/jea.4891.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay presents the artwork of the Austrian anthropologist Maren Jeleff, and image which has become a work of art by being forgotten and discarded in the first place, only to be redefined as valuable within the institutional context of the exhibition.
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Pérez, Mateo. "Geografía de la mirada. el paisaje desde la mirada fotográfica contemporánea." CALLE14: revista de investigación en el campo del arte 11, no. 18 (October 4, 2016): 138. http://dx.doi.org/10.14483/udistrital.jour.c14.2016.1.a10.
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GEOGRAFÍA DE LA MIRADA. EL PAISAJE DESDE LA MIRADA FOTOGRÁFICA CONTEMPORÁNEA RESUMEN ¿Cómo entender el concepto de paisaje a partir de las prácticas fotográficas contemporáneas? Este artículo busca responder a esta pregunta con la ayuda de un proyecto finalizado de creación artística que tenía como objetivo exponer una serie de imágenes fotográficas del Salto del Tequendama y alrededores, en las inmediaciones de Bogotá. Se trata de comprender la manera en que se abordó este proyecto artístico y también de dilucidar ciertos aspectos del concepto de paisaje, especialmente la forma en que hoy se le considera desde la fotografía. Con este acercamiento, se hace una revisión histórica de las imágenes que existen del Salto del Tequendama de modo que, a través de ellas, se pueda comprender e interpretar mejor las formas de representación actuales, específicamente las que se produjeron para la exposición. El artículo señala cómo el concepto de paisaje es un concepto dinámico, construido a partir de su contexto histórico. PALABRAS CLAVES Fotografía, paisaje, Romanticismo, Salto del Tequendama, sublime, suicidio. AWANINAMANDA KUWANGAPA ATUN LLAGTA KAWANGAPA MAIPI NUKANCHI KAUSAGTA SUGLLAPI Kaipi ninakumi imasai kawachinaku nukanchipakausadiruta parlanakume sug kilkawa imasami karunimanda kawanaku tapuchiskata añispa kawachispa kunauramandakunata kai fotokuna salto de Tequendama suti, paikuna rurankuna sug iachachikuna mana chingaringapa kai ñugpamanda kausaikuna chasallata tukui rurakuna tukuikunata iachachispa kawachispa tukuikunamanda. IMA SUTI RIMAI SIMI: Kawachiikuna, sachaku, llakii, wañui kawachispa sutipa llullangapa. GEOGRAPHY OF THE GAZE LANDSCAPE AS SEEN FROM THE CONTEMPORARY PHOTOGRAPHIC GAZE ABSTRACT How to understand the concept of landscape based upon contemporary photography practices? This article tries to answer this question with the help of a concluded artistic project, whose main objective was exposing a series of photographic images of Tequendama Falls and its surroundings, near Bogotá. The article tries to understand the way in which this artistic project was addressed and to explain certain aspects of the concept of landscape and of the way it is conceived by photography today. With this approach, an historic overview of some historical images of Tequendama Falls is carried out, so as to improve the processes of understanding and interpreting contemporary forms of representation, specifically the ones produced for the exhibition. The article points out how the concept of landscape is a dynamic one and how it is based on its historical context. KEYWORDS Photography, landscape, Romanticism, Tequendama Falls, sublime, suicide. GEOGRAPHIE DU REGARD LE PAYSAGE A PARTIR DU REGARD PHOTOGRAPHIQUE CONTEMPORAIN RÉSUMÉ Comment comprendre le concept de paysage basé sur les pratiques de la photographie contemporaine ? Cet article tente de répondre à cette question avec l’aide d’un projet artistique conclu, dont l’objectif principal était d’exposer une série d’images photographiques du Salto del Tequendama et ses environs, près de Bogotá. L’article tente de comprendre la façon dont ce projet artistique a été abordé et aussi d’expliquer certains aspects de la notion de paysage et de la façon dont il est conçu par la photographie aujourd’hui. Avec cette approche, un aperçu historique de quelques images historiques du Salto del Tequendama est réalisé de manière à améliorer les processus de compréhension et d’interprétation des formes contemporaines de représentation, en particulier celles produites pour l’exposition. L’article souligne comment le concept de paysage est dynamique et comment il est basé sur son contexte historique. MOTS-CLEFS Photographie, paysage, romantisme, Salto del Tequendama, sublime, suicide. GEOGRAFIA DO OLHAR A PAISAGEM DESDE O OLHAR FOTOGRÁFICA CONTEMPORÂNEA RESUMO Como entender o conceito da paisagem a partir das práticas fotográficas contemporâneas? Este artigo procura responder a esta pergunta com a ajuda de um projeto finalizado de criação artística que tinha como objetivo expor uma série de imagens fotográficas do Salto do Tequendama e aos redores, nas imediações de Bogotá. Trata-se de compreender a maneira em que se abordou este projeto artístico e também de (desoxidar) certos aspectos do conceito da paisagem, especialmente a forma em que hoje se lhe considera desde a fotografia. Com esta aproximação, se faz uma revisão histórica das imagens que existem do Salto do Tequendama de maneira que, a través delas, se possa compreender e interpretar melhor as formas de representação atuais, especificamente as que se produziram para a exposição. O artigo assinala como o conceito da paisagem é um conceito dinâmico, construído a partir de seu contexto históricoPALAVRAS CHAVES Fotografia, paisagem, Romantismo, Salto del Tequendama, sublime, suicídio. Recibido el 07 de octubre de 2014 Aceptado el 03 de diciembre de 2015
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Yazdani, Sara R. "Wolfgang Tillmans’s Abstract Mediations and Other Ecologies." Afterimage 48, no. 2 (June 1, 2021): 109–30. http://dx.doi.org/10.1525/aft.2021.48.2.109.
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In 2003 the German artist Wolfgang Tillmans installed a selection of his Silver works—a body of abstract, nuanced, monochromic surfaces—together with ten almost identical editions of his Arctic works, images depicting the Arctic landscapes photographed from above. The result was a grid of unframed works appearing as mundane, monochromic yet meditative surfaces that changed and moved. The reflective play between the abstract and the representational, between media, matter, and nature, suggests that Tillmans’s abstractions take photography into a lively dialogue with the affective and diagrammatic means of image production and constellating. This essay takes Silver and the way in which those pieces were installed together with the Arctic works in the paradigmatic exhibition if one thing matters, everything matters at Tate Britain in 2003, as the place of departure for a closer inspection of Tillmans’s abstract work, connecting the history of photography with artistic practices of the historical avant-garde inevitably concerned with the formal forces of colors, light, and other matter. My inquiry revolves around questions of processes and relations, or, to be more precise, how the abstract and representational images at Tate Britain were less concerned with representation or the familiar 1990s concept of indexicality, than with processes of mediations evolving between matter, bodies, technologies, and the natural world. My assertion is that the Silver and Arctic works as constellated in one of seven rooms at Tate Britain in 2003 attest to how photography provoked new understandings of materiality and ecology in the late 1990s and early 2000s, while gesturing toward a politicization of “nature” and challenges to the anthropocentric worldview.
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Wagner, Keith B., and Michael A. Unger. "Photographic and cinematic appropriation of atrocity images from Cambodia: auto-genocide in Western museum culture and The Missing Picture." Visual Communication 18, no. 1 (January 3, 2018): 83–106. http://dx.doi.org/10.1177/1470357217742333.
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As a harrowing sub-discipline of English and Comparative Literature, Trauma Studies is in need of geographical expansion beyond its moorings in European genocides of the 20th century. In this article, the authors chart the institutional and cinematic appropriation of atrocity images in relation to the Khmer Rouge’s auto-genocide from 1975–1979 in Cambodia. They analyse the cultural and scholarly value of these images in conjunction with genocide studies to reveal principles often overlooked, taken for granted, or pushed to the periphery in photography studies and film studies. Through grim appropriations of archival or news footage to more experimental approaches in documentary, such as the use of dioramas, the authors examine the commercial and artistic articulations of trauma, reconciliation and testimony in two case studies: The Museum of Modern Art (MoMA) exhibition Photographs from S-21: 1975–1979 (1997) and Pithy Panh’s documentary The Missing Picture (2013). The authors first focus on the relatively obscure scholarship devoted to contextualizing images from international genocides outside the Euro-American canon for genocide study in order to build their critical formulations; they go on to explore whether these atrocity-themed still and moving images are capable of defying aspects of commodification and sensationalism to instead convey positive notions of commemoration and memory. Finally, their contribution to this debate regarding the merit of appropriating atrocity imagery is viewed from two perspectives: ‘commodified witnessing’ (a negative descriptor for the MoMA exhibition) and ‘commemorative witnessing’ (a positive term for the Cambodian film).
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Watkins, Liz. "The Politics of Nostalgia: Colorization, Spectatorship and the Archive." Comparative Cinema 9, no. 17 (December 19, 2021): 123–45. http://dx.doi.org/10.31009/cc.2021.v9.i17.07.
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Colorization describes the digitization and retrospective addition of color to photographic and film materials (celluloid nitrate, glass negatives) initially made and circulated in a black-and-white format. Revisiting the controversial 1980s colorization of 24 classic Hollywood studio titles, which incited debate over questions of copyright, authorship and artistic expression, this essay examines the use of colorization to interpret museum collections for new audiences. The aesthetics of colorization have been criticized for prioritizing image content over the history of film technologies, practices and exhibition. An examination of They Shall Not Grow Old (Jackson, 2018) finds a use of digital editing and coloring techniques in the colorization of First World War film footage held in the Imperial War Museum archives that is familiar to the director’s fiction films. Jackson’s film is a commemorative project, yet the “holistic unity” of authorial technique operates across fragments of archive film and photographs to imbricate of fiction and nonfiction, signaling vital questions around the ethics and ideologies of “natural color”, historiography, and the authenticity of materials and spectator experience.