Bibliografías temáticas / Photographic criticism

Literatura académica sobre el tema "Photographic criticism"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 3 de marzo de 2023

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Artículos de revistas sobre el tema "Photographic criticism"

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Foa, Michelle. "Textual Inhibitions: Photographic Criticism in Late Victorian Britain". History of Photography 36, n.º 1 (febrero de 2012): 33–43. http://dx.doi.org/10.1080/03087298.2011.606724.

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Humm, Maggie. "Virginia Woolf and photography". Comunicação e Sociedade 32 (29 de diciembre de 2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.

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From 2000, criticism on Woolf and the visual has quadrupled in volume. The research work about a photographic Woolf – which include other photographers’ interaction with Woolf such as Gisèle Freund or my own analysis of Woolf and Bell’s personal photo albums – shows how these newer issues of Woolf and photography are now absolutely central in any consideration of Virginia Woolf studies, gaining a noticeable importance when we consider the interdisciplinary issue of photography and gender.
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Van der Vlies, Andrew. "Constellated in a flash: on the dialectics of seeing (beyond stasis) in Zoë Wicomb’s work". English in Africa 49, n.º 2 (4 de noviembre de 2022): 7–25. http://dx.doi.org/10.4314/eia.v49i2.1.

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This essay considers the photograph as representation and metaphor in select work by Zoë Wicomb (b. 1948). It asks how the photograph functions in her prose fiction and criticism in service of a recuperation of late- and postapartheid stasis in potentially affirmative vein. Many of Wicomb’s most illuminating essays and many of her fictions – from her debut, You Can’t Get Lost in Cape Town (1987), to the most recent, Still Life (2020) – engage with photographs, drawing in highly suggestive ways on vivid descriptions of acts of seeing that are indebted to photographic theory. What, I ask, is constellated in the moment captured in the photograph represented in Wicomb’s fiction, as well as in the moment of engagement with the image – by her characters, or by Wicomb herself (including as critic)? How does the photograph function in Wicomb’s reimagination of the possibilities for ethical engagement with otherness beyond the stasis of South Africa’s long post-transition, post-postapartheid moment?
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Graziano, Maítha Elena Tosta y Maria Leandra Bizello. "Os documentos fotográficos na perspectiva Teórico-metodológica da Diplomática um estudo da Fundação Fernando Henrique Cardoso". Páginas a&b Arquivos & Bibliotecas 17 (2022): 116–30. http://dx.doi.org/10.21747/21836671/pag17a7.

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Observing the statusused for photographs in archives today, since the recognition of their character as an archival document, their differencesin organization, packaging and availability for access, it is evident the need to deepen the discussions about these documents in the archival scope. For this reason, it is proposed to discuss photography and its nuances, envisioning its documentary and, consequently, archival nature, from its production context and the theoretical-methodological perspective that diplomatic analysis offers as a valid tool to understand it while result of an action registered in the contemporary world, that is, a document. For that, the methodology applied was the case study, being the Fernando Henrique Cardoso Foundation the research universe. It is concluded that, more than applying diplomatic criticism to photographic documents, it is necessary to reflect on the production of images as documents, as well as their characteristics and their condition of production, that is, their context.
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Geurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'". Aesthetic Investigations 1, n.º 1 (16 de julio de 2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.

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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's photograph, the articles shows how such a 'social' focus on photography, easily reaffirms the social inequalities that lies within the practices of atrocity photography.
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Kovach, Jodi. "Architectural Ruins and Urban Imaginaries: Carlos Garaicoa’s Images of Havana". Contemporaneity: Historical Presence in Visual Culture 5 (30 de noviembre de 2016): 72–84. http://dx.doi.org/10.5195/contemp.2016.130.

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Contemporary Cuban artist Carlos Garaicoa juxtaposes photographic images of Havana’s architectural ruins with timidly articulated drawings that trace the outlines of the dilapidated buildings in empty urbanscapes. Each of these fragile drawings, often composed of delicate threads adhered to a photograph of a site after demolition, serves as a vestige of the sagging structure that the artist photographed prior to destruction. The dialogue that emerges from these photograph/drawing diptychs implies the unmooring of the radical utopian underpinnings of revolutionary ideology that persisted in the policies of Cuba’s Período especial (Special Period) of the 1990s, and suggests a more complicated narrative of Cuba’s modernity, in which the ambiguous drawings—which could indicate construction plans or function as mnemonic images—represent empty promises of economic growth that must negotiate the real socio-economic crises of the present. This article proposes that Garaicoa’s critique of the goals and outcomes of the Special Period through Havana’s ruins suggests a new articulation of the baroque expression— one that calls to mind the anti-authoritative strategies of twentieth-century Neo-Baroque literature and criticism. The artist historically grounds the legacy of the Cuban Revolution’s modernizing project in the country’s real economic decline in the post-Soviet era, but he also takes this approach to representing cities beyond Cuba’s borders, thereby posing broader questions about the architectural symbolism of the 21st-century city in the ideological construction of modern globalizing society.
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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, n.º 2 (1 de julio de 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.

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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed the path of the gold miners into the hinterland of the South Island aware of its potential commercial photographic value. Photographers understood the “great public interest in what the colony looked like and inthe potential for features that would command international attention”2. Photography was promoted as presenting the world as it was, free of the interpretation of the artist. By the early 1880s the Hart, Campbell portfolio was extensive and their work featured at exhibitions in London, Sydney and Melbourne. Yet their photographs were criticised for fakery and William Hart’s photograph of Sutherland Falls, ‘the world’s highest waterfall’, promoted a quite inaccurate claim.
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Clayton, Owen. "London Eyes: William Dean Howells and the Shift to Instant Photography". Nineteenth-Century Literature 65, n.º 3 (1 de diciembre de 2010): 374–94. http://dx.doi.org/10.1525/ncl.2010.65.3.374.

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Owen Clayton, "London Eyes: William Dean Howells and the Shift to Instant Photography"(pp. 374––394) Toward the end of the nineteenth century, one of William Dean Howells's many avid readers, finally meeting him in the flesh, expressed surprise that the famed writer was not dead. Although he had not actually departed from the world, it was true that by this time the venerable "Dean"was at a low ebb. While younger authors were taking the novel in directions about which he was, at the least, ambivalent, Howells was aware that his own best work was behind him. Yet, throughout his career, he maintained a desire to test different literary approaches. In England in 1904, Howells tested a conceit that would allow him to keep pace with the literary movements of the day. This consisted of an extended photographic metaphor: an association of himself with the Kodak camera. He used this figuration to move beyond the philosophical foundations of his previous work. Criticism has largely overlooked this endeavor, which Howells buried away in the somewhat obscure travelogue London Films (1905). This essay shows how London Films used its photographic metaphor to question positivistic observational assumptions, the way in which this was a response to William James's Essays in Radical Empiricism (1912), and, finally, why Howells ultimately went back on his attempt to create a Kodak school in fiction.
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Josiah Mosely, Michael. "Another Look at Heideggerian Cinema: Cinematic Excess, Antonioni's Dead Time and the Film-Photographic Image as Copy". Film-Philosophy 22, n.º 3 (octubre de 2018): 364–83. http://dx.doi.org/10.3366/film.2018.0085.

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Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd (Heidegger's view of film would seem essential for a Heideggerian cinema) but it is also problematic. In the off-hand comments Heidegger directs towards film throughout his collected works he criticises the medium for its covering over of Being, a fact that makes engaging with film through Heidegger's thinking a questionable project. The present article aims to address this omission and to provide a conception of Heideggerian cinema that does not ignore, but answers, Heidegger's criticism. It argues that it is not the technological nature of cinema that is the source of Heidegger's hostility towards the medium but his conception of the film-photographic image as a transparent copy of the world. It is on this basis that cinema is denied the capacity to manifest Being and hence is subject to critique. I then argue that Thompson's notion of cinematic excess reveals that the film-photographic image need not be as transparent as Heidegger assumes and that a cinematic presentation of Being is possible. To explore this idea further the article considers the use of dead time by Michelangelo Antonioni, particularly in his film L'eclisse.
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Szerszeń, Tomasz. "Konstruowanie atlasu. Surrealizm - fotografia - Reprodukcja". Artium Quaestiones, n.º 33 (30 de diciembre de 2022): 163–81. http://dx.doi.org/10.14746/aq.2022.33.7.

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“The history of art is [...] the history of what is photographable,” wrote André Malraux. Surrealism and related interwar visual phenomena add an interesting context to this observation. If we look at surrealism through the prism of the numerous magazines that accompanied it, we can see the special role of photographic reproduction. It seems that it plays a slightly different role there than in other practices of the interwar avant-garde: it tends to be a visual form of thinking, establishing photography as a crucial medium. The case of the journal “Documents” (1929–1930), existing on the fringe of surrealism and anthropology, seems particularly interesting. It can be seen as a kind of atlas of visual forms, in which the problem of reproductions of artworks and artefacts from different cultures was constantly problematised. The cannibalisation of various types of iconography was related not only to discussions on cultural visual appropriation, or the criticism of various conventions of seeing and making images, but also to a broader project whose aim was the decolonisation of seeing. It assumed a re-examination of European (art) history – in a radical, non-hierarchical and non-encyclopaedic way. The aim of the editors of the journal was to move away from the metaphysical and ocularcentric paradigm in favour of a more horizontal and relational (and in effect anthropological) positioning of a work of art. The question of reproduction is problematised in “Documents” in terms of a discussion on the aura of works and objects from other cultures: displaced and uprooted from their cultural context. The subversive photographic practices of the surrealists related to the status of copies and reproductions are also contextualised here, as are two monumental projects based on reproduction: Aby Warburg’s Mnemosyne Atlas (1924–1929) and Malraux’s Museum of the Imagination (1947–1951), or a “photographic album of universal culture”, but which were created in the face of similar problems to “Documents” (the visual form of knowledge; the “universal” in the face of colonialism; the relationship between artwork and reproduction). All three projects were a kind of response to the globalisation of images and the crisis of cultural memory. Here the use of the atlas form and photographic reproduction becomes an attempt to establish a new epistemic paradigm.
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Tesis sobre el tema "Photographic criticism"

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Alexander, Stuart. "THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS"". Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/277059.

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Pettibone, John M. "Deconstructing the deconstructors : the politics of anti-photographic criticism (a metacritical analysis) /". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487325740719321.

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Maree, Christine Fae. "That-has-been a discussion on the body cast as that which fixes a subject in time, in relation to notions surrounding the photograph". Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002208.

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Much like a photograph, a casts creates a replica of its referent, thereby immobilising the subject in time. While the subject continues in time and hence ages and inevitably dies the replica does not. With this basic notion of fixing a subject, I have built an argument to contextualise my sculptures, which are made using casts of elderly people. In this discussion I have looked at my works through the ideas of different theorists. The main theorist I have cited is Roland Barthes, specifically with regards to his notion of the photograph as discussed in his book Camera Lucida. I have also referenced three particular artists: Rachel Whiteread, Diane Arbus and Churchill Madikida, as I have found each of their works relate to my work in various ways, creating a different reading from each viewpoint.
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Bradley, Alex Cilla. "The photographic other: Paradox in the cathexis of longing". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2054.

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A photographic and written examination of paradox in relation to the photograph This research aims to illuminate the relationship between paradox and photography, elaborated via Julia Kristeva’s notion of the abject. Paradox is considered in relation to photography in terms of repeated and unresolved debates about the status of the photograph as either an ‘index of reality’ (Bate, 2004, p. 1) or as a sign. The significance of this research lies in its re-motivation of abjection in terms of paradox, not in order to resolve such debates but, rather, to illuminate the importance of such unresolved contradictions in terms of photography’s often powerful affect and meaning. Situated within the paradigm of qualitative research, the research employs the theoretical perspective of post-structuralist psychoanalysis, combined with the methodology of critical analysis, as an approach appropriate to illuminating latencies within representation. Photographs by Jeff Wall, Pat Brassington, Patricia Piccinini, Roger Ballen, and Bill Henson, are critically analysed as informationrich case studies of the use of photographic paradox. The creative component of the research is presented in the form of a web site consisting of photographs and animations of photographs, that collide aesthetic constructions of the body as an objective, external, object of an other’s vision with a more sensory, and personal, experience of the body as the site of inner subjectivity. As such, the camera lens functions as a metaphor for each of these constructions, while body parts and fluids vie with objects of memory and optical imaging, repeating and transforming existing objects into new aesthetic forms. As with the case studies of photographic paradox, this photographic project makes explicit the workings of paradox, revealing repeated and unresolved contradictions that serve to create contemplative and often powerfully affective experiences of viewing.
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Cooper, Julie A. "Changing the Traditional High School Photography Curriculum: Integrating Traditional and Digital Technologies". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/68.

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This thesis presents a photography curriculum for a beginning high school level photography class. It is designed as a teaching guide to structure a photography class that incorporates both film photography and digital photographic technology. One of the biggest challenges for teachers of photography is how to structure a curriculum with a limited number of enlargers and space in the darkroom, while incorporating digital technology with limited computer access for students. The curriculum presented here includes three major parts: a traditional photographic film component, a digital photography component, and a concepts component where students will experiment with different photographic techniques of manipulation as well as tackle photographic history, criticism, and visual literacy.
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Schoenwandt, Jeanne Marie. "Toward a feminist 'third space' : photographic 'sites' of cultural transformation". Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37725.

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This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.
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Wong, Ka-fai. "The problems of visual discourse : a study of the politics of representation with special reference to the photographic image /". [Hong Kong : University of Hong Kong], 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12380519.

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Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent". Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.

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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.
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Mendes, Talita 1985. "Rosângela Rennó = fotografia, deslocamentos e desaparição na arte contemporânea brasileira = Rosângela Rennó: photography, displacements and disappearance in brazilian contemporary art". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285257.

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Orientador: Maria de Fátima Morethy Couto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T11:13:41Z (GMT). No. of bitstreams: 1 Mendes_Talita_M.pdf: 6181643 bytes, checksum: 13de2f327820836fe396de02355bc780 (MD5) Previous issue date: 2014
Resumo: Esta pesquisa tem por objeto a análise de três instalações realizadas pela artista brasileira Rosângela Rennó ¿ a saber: Imemorial (1994-1995), In Oblivionem (1994-1995) e Hipocampo (1995) ¿ com o propósito de compreender as investigações da artista em torno da imagem fotográfica e das implicações de seu uso no que concerne aos conceitos de memória, deslocamento e estética da desaparição na arte contemporânea. Além das citadas obras deve-se considerar, para efeito analítico, o work in progress da artista, seu Arquivo Universal (desde 1992), por se tratar de coleção pessoal de notícias de jornal que, frequentemente, é revisitada para a elaboração das obras. Fundamental para a pesquisa é a análise do posicionamento de Rennó enquanto colecionadora de ruínas (fotografias descartadas e outros resíduos culturais), de modo a problematizar a tensão existente entre duas formas de coleção que implicam maneiras diferentes de lidar com o tempo e a história: têm-se a dimensão singular e afetiva das coleções da artista como uma prática da memória ¿ fragmentária por excelência ¿ e a organização de suas instalações nos espaços destinados às exposições de arte (galerias e museus), em que prevalece o discurso pautado na linearidade histórica. O papel da artista, que é discutido na pesquisa, coincide, a meu ver, com o contratipo positivo do colecionador, definido por Walter Benjamin como aquele que descarta a função utilitária dos objetos ligando o ato de colecionar a uma percepção dialética do tempo, não linear. A este posicionamento da artista está associado o conceito de desaparição do teórico da cultura e urbanista Paul Virilio, importante para a análise das manipulações que Rosângela Rennó exerce nas imagens das quais se apropria
Abstract: In this research were analyzed three installations made by the Brazilian artist Rosângela Rennó ¿ Imemorial (1994-1995), In Oblivionem (1994-1995) and Hipocampo (1995) ¿ aiming to understand the artist's investigations about the photographic image and the implication of its uses when related to memory, displacement and aesthetics of disappearance concepts in contemporary art. Besides the mentioned works, the artist's work in progress Arquivo Universal (since 1992) is also considered in the analysis, once it consists in her personal collection of news articles which are usually consulted during the conception of her works. It¿s fundamental for this research the analysis of Rennó's position as a collector of ruins (wasted photos and other cultural remains) to problematize the tension between the two types of collection, which mean different ways to deal with time and history: there is the unique and affectionate dimension of the artist's collection as a memory practice ¿ fragmentary par excellence ¿ and the organization of her installations in spaces for art expositions (galleries and museums), where the historical linear discourse is predominant. The role of the artist, which is discussed during this research, coincides with the positive countertype of the collector, defined by Walter Benjamin as the one who discards the utility functions of the objects, connecting the action of collecting to a nonlinear dialectical perception of time. The artist's position is related to the disappearance concept thought by the cultural theorist and urbanist Paul Virilio, important for the analysis of the alterations Rosângela Rennó does in the images she appropriates
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Rowe, Michelle. "A hermeneutical approach to creative perception as an element in photography". Thesis, [Bloemfontein?] : Central University of Technology, Free State, 2011. http://hdl.handle.net/11462/150.

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Thesis (M. Tech.) - Central University of Technology, Free State, 2011
The purpose of the study is to mitigate the restrictions of ocularcentrism by employing an interactive hermeneutical approach to the creation and interpretation of the implied meanings in a photograph. The principles of hermeneutic phenomenology are applied to outline the putative strengths and weaknesses associated with ocularcentrism as applied to photography and to attempt to illustrate how the proposed model of aesthetic participation may overcome these weaknesses. The literature review shows that ocularcentrism is a mode of perception concerned with a one-sided preference to sight over the other senses and may limit photographers and perceivers to create or interpret meaning in a photograph solely on what they see. Concerning ocularcentrism, it is not the art object alone, but the self-centred worldviews of the photographer and perceiver that limit the basis for the development of an interactive aesthetic experience. The photographer who successfully challenges the ocularcentric worldviews of perceivers in the world of the work succeeds in initiating participation between all the coordinates of the proposed interactive hermeneutical model of aesthetic participation. Interactivity between the coordinates artist, perceiver, artwork and worldviews is achieved through the application of creative strategies during the creation of photographs. These creative strategies may include facets that contradict consistency building, illusion building, defamiliarization, irony, the deliberate stimulation or frustration of a perceiver's interpretation and the use of a known theme placed within an unknown context with a view on challenging the ocularcentric perceptions of perceivers. The application of any combination of these strategies is the decision of the photographer, who applies them according to the imaginary embodiment of the photographer in the position of the perceiver. The photographs produced by the author for analysis in this study presents three images which elicit allegorical, figurative and esoterical forms of interpretation. Each step of the hermeneutic phenomenological process was carefully documented prior to the analysis and are presented in the hermeneutic phenomenological format in conjunction with the proposed interactive model of aesthetic participation. The main point that emerged from this study is that a hermeneutical approach to creative perception as an element in photography will give rise to interactive participation between all the coordinates of the proposed interactive hermeneutical model of aesthetic participation and thus ocularcentric restrictions may be overcome by photographers and perceivers by employing an interactive hermeneutical approach when creating as well as interpreting the implied meanings in a photograph.
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Libros sobre el tema "Photographic criticism"

1

Coleman, A. D. Light readings: A photography critic's writings, 1968-1978. 2a ed. Albuquerque: University of New Mexico Press, 1998.

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Das subjektive Bild: Texte zur Kunstphotographie um 1900. München: Wilhelm Fink, 2012.

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Hugunin, James Richard. Understanding the effect that photographs have on us: Case studies in photographic criticism. Lewiston, N.Y: Edwin Mellen Press, 2012.

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Hugunin, James Richard. Understanding the effect that photographs have on us: Case studies in photographic criticism. Lewiston, N.Y: Edwin Mellen Press, 2012.

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Bill, Jay y Allen Dana, eds. Critics, 1840-1880. [Phoenix?]: Arizona Board of Regents, 1985.

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Bilder, leicht verschoben: Zur Veränderung der Fotografie in den Medien. Zürich: Limmat-Verlag, 2009.

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Photography and its critics: A cultural history, 1839-1900. Cambridge, U.K: Cambridge University Press, 1997.

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Alka, Pande, ed. Dancescapes: A photographic journey. New Delhi, India: Showcase, 2013.

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9

Warhol: A personal photographic memoir. New York: New American Library, 1989.

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10

Luc, Sante, Muniz Vik y Independent Curators Incorporated, eds. Making it real: A traveling exhibition. New York, N.Y: Independent Curators Incorporated, 1997.

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Capítulos de libros sobre el tema "Photographic criticism"

1

Barrett, Terry. "About art criticism". En Criticizing Photographs, 1–13. Sixth edition. | New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003085126-1.

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Costello, Diarmuid. "Transparency and its critics". En On Photography, 102–40. 1 [edition]. | New York : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315266688-4.

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Costello, Diarmuid. "Aesthetic scepticism and its critics". En On Photography, 52–101. 1 [edition]. | New York : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315266688-3.

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Tagg, John. "Totalled Machines: Criticism, Photography and Technological Change". En Grounds of Dispute, 115–33. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-21917-9_7.

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Waterman, Sally. "Staging Sermon". En Advances in Media, Entertainment, and the Arts, 59–81. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-5337-7.ch003.

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This chapter provides a self-reflexive evaluation of the Sermon photographs from Waste Land (2005-2010), that was produced by the author for her practice-based PhD. T.S. Eliot's poem “The Waste Land” (1922) was used to examine her adaptation methodologies and self-representational strategies. Waterman visually translates her own experience of parental divorce through a close analysis of the text and literary criticism (Brooker and Bentley, Ellman, Miller, Parsons), acknowledging her biographical connections to Eliot's marriage to Vivienne Haigh Wood, to produce cathartic re-enactments, informed by phototherapy (Martin, Spence), memory and trauma studies (Barthes, Freud, Kaplan), feminine metaphors (Gilbert and Gubar, Horner and Zlosnik), and photographic self-portraiture (Chadwick, Lingwood). By interweaving these cross-disciplinary strands and reflecting on the actual process of making each photograph through a unique auto-criticism, Waterman demonstrates how her autobiographical literary interpretations offer a means of restaging memory through the creation of photographic narratives.
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Mitchell, J. Lawrence. "Appearances Matter: Katherine Mansfield and the Photographic Record". En Katherine Mansfield and Children, 178–90. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474491907.003.0014.

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As a child KM endured criticism about her appearance and came to see herself as something of an ugly duckling. Her adulthood was marked by a perhaps compensatory fastidiousness in habits and in dress and by a desire to control her self-image most concretely manifest in some dozen portrait photographs she distributed to family, friends, and lovers. The contretemps with Middleton-Murry and Constable over the 1913 Adelphi Studio photograph must be interpreted in the context of that desire; but the significance of the outcome—the use of a new portrait photograph on the dust-jacket of Bliss—has hitherto not been appreciated by biographers and critics.
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Concilio, Carmen. "‘Following’ Teju Cole’s ‘Black Portraitures’ On Zigzagging Between (Digital) Literature, Photography, Art History, Music and Much More…". En Postcolonial Publics: Art and Citizen Media in Europe. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-677-0/016.

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In this chapter, I will explore ‘black portraitures’ in Teju Cole’s writings, photos, and art history lessons, while ‘following’ his journeying – geographic, literary, photographic, digital – in both his photo essays and criticism Known and Strange Things (2016), Blind Spot (2016), in his novel Open City (2011) and his latest essay collection Black Paper (2021). I intend to study his poetics, his aesthetics and his ethical stance, particularly in relation to his re-formulation of postcolonial paradigms. Intersecting trajectories with works by Caryl Phillips (The European Tribe, 1987) and by Johny Pitts (Afropean. Notes from Black Europe, 2019) will also be considered.
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Nannicelli, Ted. "Photography". En Artistic Creation and Ethical Criticism, 71–102. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197507247.003.0004.

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This chapter uses photography to advance the argument that the medium of an art form partly determines the sorts of features that are relevant to an ethical evaluation of an artwork within it. The chapter outlines current debates about medium-specificity and endorses a moderate view regarding the nature of medium-specific features and the plausibility of medium-specific claims. Building upon this discussion, this chapter proceeds to show that perspectivism accounts for some but not all of the ethically relevant features of photographs. In some cases, the most ethically pressing questions about photographs can only be addressed by the production-oriented approach to the ethical criticism of art.
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SAMPSON, G. "Histories, Theories, Criticism". En The Focal Encyclopedia of Photography, 227–34. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80740-9.50025-8.

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Donoso Macaya, Ángeles. "Introduction". En The Insubordination of Photography, 1–34. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401117.003.0001.

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The introduction presents the book’s primary concepts: depth of field, expanding field, photographic practices. It considers the work of critics such as Rosalind Krauss, Nelly Richard, John Tagg, Susan Sontag, and Ariella Azoulay. It begins by explaining the depth of field; then, it analyses the mechanisms devised by the military and officialist media to control the visual field and the depth of field. Two publications produced by the military after the coup (Libro Blanco, Chile Ayer Hoy) are considered. The analysis underscores the prominence photography had in the fabrication of cover-ups and in the consolidation of the military message. In the second part, the terms "expanding field" and "photographic practice" are explained and the significance of the documentary mode is emphasized. I reconsider key critical formulations that emerged in the Chilean cultural field in the mid-seventies that were inspired by the incorporation of photography into artistic practices, but that were nevertheless dismissive of documentary practices that did not emerge within the artistic field. In the last part, I introduce the organizations and the different photographic practices they devised to disseminate their denunciatory work, challenge the dictatorship, and counter the spread of cover-ups and misinformation by the military and officialist media.
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Actas de conferencias sobre el tema "Photographic criticism"

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Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography". En LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to other art forms, particularly by: 1) emphasizing Hervé’s artistic, partly non-representational, approach to architectural photography; 2) employing principles of musical composition; and 3) approximating photographic practise of documenting sculpture. Keywords: architectural photography, photo book,Lucien Hervé,LeCorbusier, Ronchamp. DOI: http://dx.doi.org/10.4995/LC2015.2015.935
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Briandana, Rizki y Dini Ari Mukti. "Understanding Photography Representation: Humanism and Social Criticism in Social Media". En Proceedings of the International Conference on Psychology and Communication 2018 (ICPC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icpc-18.2019.13.

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Laurentiz, Silvia. "Realities Research Group: 10 years of studies in art-technology". En LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.130.

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The Research Group Realidades - from tangible realities to ontological realities - was created in 2010 and is based at the School of Communications and Arts, University of São Paulo, accredited by the Institution and CNPq, Brazil. It already has a huge production, from artistic works, texts, interviews, events organization, and other technical productions, which can be found at http://www2.eca.usp.br/realidades. In its initial research, the Realidades Group investigated how to coherently treat certain terms and categories while maintaining a dialogue between different areas of knowledge, in addition to pointing out counterparts from the breaking of certain conceptual coherences promoted by this dialogue. The object of study of the first projects was precisely to know and expand terms such as simulation, virtuality, hybridization, as well as to propose new devices, interfaces and uses for the technologies. In the current proposal, the group inaugurates new lines of research that will address contemporary phenomena in the field of digital media, critically observing the experience in the intersection between arts, sciences and communications in locative media, audiovisual performances, reality augmented, 360º video and photography, artificial intelligence, three-dimensional modeling, and digital prototyping, among others. It also considers broader issues that arise in this context in relation to the ways of weakening the consensus around the alternatives of representing reality, which happen because of the informational explosion, and the mapping of patterns, in addition to observing political aspects of these discussions. To fulfill these objectives, which significantly expand the initial problems, we redesigned our lines of research in 2020, which are now defined as: 1. Codified Thoughts; 2. Audiovisual Processes; and 3. Poetic-political criticism. The lines of research present specific goals, objectives, and results, which add up without failing to meet the general objectives of the group. It is important to say that the group has a diversified production, but it is evident that the artistic works stand out. In our artworks, the intrinsic relationship between theory and creative practices is essential. We can see the result of these practices and creative processes in the works we carry out and which have already been shown in national and international exhibitions. All information about each one can be found on the group's website. They have started with the Enigmas Series, which was developed between 2012 and 2017.This series has 3 productions and some versions. We also have the series “When the Stars Touch”, with two works, one created in 2019 and the other in 2020. In 2017 we produced the installation Dynamic Crossing, which participated in ISEA 2017 - 23rd International Symposium on Electronic Art, in Manizales, Colombia. The group's most recent artwork is "InMemoriam". It is still online and can be accessed on its website.
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