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Bibliografías temáticas / Photography, Artistic / Tesis

Tesis sobre el tema "Photography, Artistic"

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Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2024

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1

Curtin, Tansy. "Contemporary German photography and American realism : is colour the only link? /". Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmc9782.pdf.

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2

Oscar, Sara. "Into this wild abyss learning through fabricated photographs /". Connect to full text, 2007. http://hdl.handle.net/2123/3965.

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Thesis (Ph. D.)--University of Sydney, 2007.
"Photomedia"--T.p. Title from title screen (viewed February 18, 2007) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Visual Arts) to the Sydney College of the Arts. Includes bibliography. Also available in print form.

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3

Mthethwa, Zwelethu. ""Personal" constructs /". Online version of thesis, 1988. http://hdl.handle.net/1850/11638.

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4

Lai, Kin-keung Edwin. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941 /". Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17593864.

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5

Ai, Linda Ho-Yun. "Identity / the deployment of apple light in considering identity in contemporary portrait photography : this thesis is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), 2004". Full thesis. Abstract, 2004.

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6

Turner, Allen Julie. "Touching a sensibility a photographic exploration of haptic experience". Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1407/.

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7

Lai, Kin-keung Edwin y 黎健強. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hdl.handle.net/10722/210323.

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8

Hudson, Giles. "The feminization of photography and the conquest of colour : Sarah Angelina Acland, photographer". Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.711651.

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9

Gregory, Ronald Joseph. "Test target display : an M.F.A. photography portfolio as applied to optical laser disc /". Online version of thesis, 1987. http://hdl.handle.net/1850/10314.

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10

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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11

Beyer, Deborah Z. "Time puzzle /". Online version of thesis, 1990. http://hdl.handle.net/1850/11332.

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12

Moon, Jen. "Cul de sac /". Online version of thesis, 2007. http://hdl.handle.net/1850/4392.

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13

Lau, Sin-tung Ellen y 劉倩彤. "Ethics of seeing: when life meets death in Annie Leibovitz's photography". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46724266.

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14

Morris, Frank William. "Parallax (memory as a torn page)". Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/491451.

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The purpose of this creative project was to explore the possibilities of words and photographic images in expressing mood. The particular mood that was to be expressed came from the observation of small rituals. These small rituals are an avenue that humans tend to derive meaning and continuity. Beyond this, the use of the Platinum/ Palladium photographic process as an expressive tool was examined.

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15

Motlow, Elizabeth Handley. "Pages from my library /". Online version of thesis, 1985. http://hdl.handle.net/1850/8754.

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16

Ansaldo, Umberto. "Comparative construction in sinitic areal typology and pattern of grammaticalization /". Online version, 1999. http://bibpurl.oclc.org/web/26025.

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17

Super, Andrew. "The experience of grey /". Online version of thesis, 2009. http://hdl.handle.net/1850/10917.

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18

Grinols, Susan. "Mind states /". Online version of thesis, 1990. http://hdl.handle.net/1850/11308.

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19

Blazy, Diane. "Repose /". Online version of thesis, 1990. http://hdl.handle.net/1850/11320.

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20

Carter, Peter Ainsworth. "Photographic work 1986-87 /". Online version of thesis, 1988. http://hdl.handle.net/1850/11499.

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21

Sava, Sharla. "Cinematic photography, theatricality, spectacle : the art of Jeff Wall /". Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/3632.

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22

Medeiros, Maria Margarida Abreu de Figueiredo. "Fotografia e auto-representação-identidade e imagens do corpo na obra de Cindy Sherman". Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29931.

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23

Cohen, Hagit. "Hovering at a low altitude /". Online version of thesis, 1990. http://hdl.handle.net/1850/10903.

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24

Jakubowski, Philip. "Masters thesis /". Online version of thesis, 1992. http://hdl.handle.net/1850/11152.

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25

Jeong, Eun Young. "The early photographic work of Eugène Atget : 1892-1902". Diss., Connect to online resource - MSU authorized users, 2006.

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26

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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27

Schnarr, Christopher E. "Moments between the surface : photography and fiction". Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935913.

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Architecture exists as shelter, separating space into the inside and the outside. This separation is a crucial point in our experience of architecture. This separation is the first moment of physical interaction with the construct in our penetration of the construct. However, architecture is not only a physical language. It is nonphysical, in that architecture is defined as the art and science of building, etc. This separation, internally, both produces the architecture as well as the ideas that are produced from the architecture. Architecture is held in-between, the movement or passage from one to the other is perceived as an external transition and an internal passage into the realm of arts and sciences. The mediation in passage from one to the other may be perceived through the dialectic. This allows architecture to contain both external and internal mediation of extremes.
Department of Architecture

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28

Minks, Marlin. "Strips /". Online version of thesis, 1985. http://hdl.handle.net/1850/10111.

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29

Druet, Lucile. "KUMONEKOTABI L'art de la relation, la relation comme oeuvre d'art : Japon, emprunts, possibles et nuances comme dispositifs formels pour une figure photographique entre paysage, animal et détour. Passages". Thesis, Saint-Etienne, 2014. http://www.theses.fr/2014STET2202.

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Réfléchir les images pour réfléchir le monde. Entre unité, éclats et nuances, Kumonekotabi est un travail de recherche fonctionnant à la fois sur des images et des écritures qui sont comme autant d’espaces où une figure photographique entretient une relation à la fois simple et pourtant liée avec le Japon. Construites sur des modalités comme le plié, l’encadré, le sériel, les images construisent une logique bricolée mais également performative qui expose le corps capté dans sa relation avec le Japon, ses rêves et ses ancrages. Le travail d’écriture est une analyse de ces mêmes images, mettant en évidence les histoires mais aussi les forces et les intertextes qui habitent leurs territoires.Ainsi, à la fois théoricienne, poète et plasticienne, Kumonekotabi est une thèse éventail, entremêlant expériences visuelles et écrites avec la culture japonaise. C’est une ouverture et une fermeture, une interface de créativité, un espace entre lenteur et vitesse, la maturation et la fulgurance. Un phénomène qui avec ces emmêlements nous donne finalement les outils pour comprendre la pertinence de cet archipel éphémère créé par les images et leur simultanéité.En cela, Kumonekotabi est un travail qui envisage avec des images et leurs interprétations une certaine idée de la limite et de l’écart, du contact et de la distance. Un travail d’ambiance pris dans ce dialogue entre l’art de la relation, la relation comme œuvre d’art pour aboutir à cette idée que réfléchir les images permet de comprendre une certaine partie de notre monde et vice-versa
Think about the pictures to think about the world. Between unity, slivers and nuances, Kumonekotabi is a research work balanced between visual shapes and articulated theory, both working like spaces where the idea of a photographic figure is having a simple and yet established relationship with Japan.Based on visual specificities like folds, frames, series, the pictures are building an homemade logic but also a performative one that display the captured body in its relationship with Japan, its dreams and anchors. The writing part then is an analysis of those very pictures, putting together the stories but also the strenghts and the interexts living in their territories.Thus, at the same time theoritical, poetic and artistic, Kumonekotabi is a dissertation to be considered like a fan, intertwining visual and literary experiences with the Japanese culture. It’s an opening, a creative interface, a space between slowness and speed, maturation and outbreaks. A phenomenon that, with its intricacy, gives us tools to understand the relevance of this archipelago created by the pictures and their simultaneity.In short, Kumonekotabi is a dissertation to contemplate with pictures and their interpretations a certain idea of limits and contrasts, contacts and distances. An atmospheric work placed in this dialog between the art of relation, relationship as a work of art in order to get to this idea that thinking about pictures allows to understand a certain part of our world, and vice-versa

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30

Losee, Christopher. "Mythography /". Online version of thesis, 1986. http://hdl.handle.net/1850/10300.

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31

Dinucci, Gina [UNESP]. "O cinza e a carne: imagens do Conjunto Habitacional Zezinho Magalhães Prado". Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86895.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Universidade Estadual Paulista (UNESP)
Esta pesquisa tem como objetivo a apresentação, investigação e leitura da série de fotografias intitulada O Cinza e a Carne, bem como o diálogo entre as referidas imagens e reflexões sobre as capacidades documentais e artísticas da linguagem fotográfica. Para fundamentar tal abordagem, buscou-se aliar um instrumental teórico referente a discursos e conceitos que acompanham a trajetória da fotografia, ao relato da Autora sobre o processo de criação e produção das imagens. A dissertação está, portanto, dividida em três partes: a primeira, com a exposição das fotografias, em um formato de livro de imagens; a segunda, com todo referencial teórico sobre a linguagem fotográfica e a terceira, com o relato das experiências de morar no Parque Cecap e fotografá-lo, além da leitura das imagens
Esta pesquisa tiene como objetivo la presentación, investigación y lectura de la serie de fotografías titulada El Gris y la Carne, bien como el diálogo entre éstas imágenes y reflexiones sobre las capacidades documentales y artísticas del lenguaje fotográfico. Para fundamentar tal abordaje, se ha buscado combinar un instrumental teórico referente a discursos y conceptos que acompañan la trayectoria de la fotografía, a el relato de la Autora acerca del proceso de creación y producción de las imágenes. La disertación está, así, dividida en tres partes: la primera, con la exposición de las fotografías, en un formato de libro de imágenes; la segunda, con todo referencial teórico sobre el lenguaje fotográfico y la tercera, con el relato de las experiencias de vivir en el Parque Cecap y fotografiarlo, además de la lectura de de las imágenes

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32

Varjabedian, Craig. "The kingdom, the power, and the glory /". Online version of thesis, 1988. http://hdl.handle.net/1850/10423.

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33

Phillips, Michael. "The family album : an extended portrait /". Online version of thesis, 1987. http://hdl.handle.net/1850/8851.

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34

Silva, Vitor Carvalho 1970. "Fotografia devolutiva". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285207.

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Orientador: Mauricius Martins Farina
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação apresenta o desenvolvimento de um processo criativo autoral. A Fotografia Devolutiva. Um conjunto de ações transgressoras, trabalhando com os paradigmas da fotografia atual, o real e o manipulado. Provocar a dúvida visual, com um sistema descoberto ao acaso e que aponta um caminho de compatibilidade entre três autores envolvidos na ação desenvolvida, onde o operacional é fruto de uma normalização aceita por todos os envolvidos. Uma experiência relacional, que vai além dos fotógrafos participantes, com a participação do público espectador. Dividido em quatro capítulos, o trabalho apresenta a busca de um "conforto teórico" para uma experimentação prática
Abstract: This dissertation presents the development of a authorial creative process. The Returnable Photography. A set of transgressive actions, working with the paradigms of the current photography, the real and the manipulated. Cause visual doubt with a system discovered by chance and pointing a way of compatibility between three authors involved in the action developed, where the operating is the result of a normalization accepted by all involved. A relational experience that goes beyond the photographers participants, with the participation of the viewing public. Divided into four chapters, the work presents the search for a "theoretical comfort" for a practical experimentation
Mestrado
Artes Visuais
Mestre em Artes Visuais

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35

Van, Hoy Paul D. "Bystander /". Online version of thesis, 2008. http://hdl.handle.net/1850/6242.

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36

Breger, Alexander J. "Sub-Urbana /". Online version of thesis, 2008. http://hdl.handle.net/1850/7794.

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37

Edwards, Portia. "Mixing media : Cubist painterly practice in Paul Strand's photography (1915-1917)". Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1195168682.

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38

Wood, Susan M. "Seeing into the mirror the reality of fiction in the work of Carrie Mae Weems /". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4900.

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Thesis (M.A.)--University of Missouri-Columbia, 2007.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 6, 2007) Includes bibliographical references.

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39

Fuller, David 1960. "The significance of the photographic message". Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/277233.

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Photographic realism is an effective framework for communicating meaning. In other words, the purpose is to convey an idea--not, for example, to depict a landscape. Misuse of photographic images may arise from a photographer's deliberate attempt to imbue an image with the meaning he or she desires. Thus, we might question photography's objective nature, although this should not be confused with realism. The latter refers to the imitative or representational quality of the subject, the former refers to scientific validity or truth. The issue of objectivity suggests useful concepts for art education. First, this paper considers photographic realism--technique is not a primary concern. Second, procedures that can alter realism are made evident. By understanding and using these methods, a student can more successfully comprehend and alter the photographic message.

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40

Stokes, Agnes. "Wire water wood /". Online version of thesis, 1987. http://hdl.handle.net/1850/11466.

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41

Gibney, David Clark. "Thesis report of David Clark Gibney". Online version of thesis, 1989. http://hdl.handle.net/1850/11512.

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42

Rose, Kathleen A. "Environment "atmosphere" /". Online version of thesis, 1989. http://hdl.handle.net/1850/11084.

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43

Lima, Michael Robert Alves De. "Voyage to another city /". Online version of thesis, 1987. http://hdl.handle.net/1850/10421.

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44

McClary, William Michael. "Pictures of pictures and marks /". Online version of thesis, 1991. http://hdl.handle.net/1850/11637.

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Toalson, Chris. "True west /". Online version of thesis, 2009. http://hdl.handle.net/1850/11619.

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46

Lenzini, Vanessa Sobrino. "Noções de moderno no Foto-Cine Clube Bandeirante : fotografia em São Paulo : (1948-1951)". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282034.

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Orientador: Iara Lis Franco Schiavinatto
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O presente estudo apresenta uma coletânea de artigos sobre fotografia, publicados entre 1948-1951 no Boletim do Foto-Cine Clube Bandeirante (FCCB), fundado em 1939, em São Paulo. Esses artigos trazem um debate sobre a fotografia enquanto representação artística, inspirada nos parâmetros do pictorialismo, que divulgavam um modo de atualização da fotografia enquanto arte. Acompanhando a coletânea, este estudo pretendeu matizar as idéias dos artigos, levantando as noções que embasaram a produção fotográfica do FCCB a se projetar como 'moderna' no circuito artístico e cultural da cidade de São Paulo. Procurou-se identificar as disputas e as intenções que uma produção possui ao se divulgar como parte 40 moderno. Em sua maioria, os artigos que compõe a coletânea são traduzidos de revistas oriundas de associações fotográficas internacionais, tomando-se referência para a discussão desta prática no Clube
Abstract: This study intends to present collected articles about photography published between 1948-1951 on the Foto-Cine Clube Bandeirante (FCCB) Bulletin, founded in 1939 in São Paulo. This articles bring up a debate about photography as al1 ,artistic representation inspired on pictorialistic parameters, which spread a way to ,update photography as an art formo With the collected articles, this study tried to balance the articles ideas, raising the notions that supported the concept of FCCB's photographic production as modern in the artistic and cultural circuit of São Paulo. This study intended to identify the disputes and intentions inhen(?t to ~ production which spreads itself as part of the moderno Most of the collected articles ~~e translated ITom international photographic associations magazines and became reference for photographic discussions at the Club and stated its cosmopolitan character
Mestrado
Politica, Memoria e Cidade
Mestre em História

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47

Spenny, Anne M. "Portrait of a young woman /". Online version of thesis, 1989. http://hdl.handle.net/1850/11529.

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48

Nevin, Daniel. "Photography and the paradigm of the trace". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/571.

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The idea that photographs can be explained as traces made by the things they depict has been a recurring paradigm in theories about the nature of the photographic medium. Walter Benjamin, Charles Sanders Peirce, Susan Sontag, Andre Bazin and Roland Barthes are a few of the many theorists who have used the paradigm of the trace to explain the nature of photographs. The paradigm can also be argued to have been a significant influence in the work of prominent artists such as Gerhard Richter, Adam Fuss and Cornelia Parker whose work has explored the photographic medium. Through an exegesis and accompanying photobook this thesis addresses the question as to why the trace has proven to be such an enduring paradigm for explaining the nature of photographs, and how the paradigm can be perceived in art practice in recent decades. The subject of the photograph as a trace is investigated through conducting a review of the history of theoretical uses of the paradigm of the trace to explain the nature of photography. The work of visual artists whose practice can be seen as in agreement with or in opposition to these theoretical approaches was also reviewed. In conjunction with this research a series of photographic works was produced using alternative photographic techniques including pinhole photography, photographs and techniques combining digital film projection and phosphorescent plates. Seeing photographs as traces links these forms of image making to one of humanity’s earliest “discoveries”, the ability to interpret traces found in nature. Through such a connection photographs can be seen as a continuation of humanity’s ability to read traces and thereby understand and deal with the passage of time, to buttress processes of memory and belief. This thesis thereby explores a key means through which the photographic object is explained and understood, at a time when the use of photographs as a means of documenting and understanding the world is expanding at an exponential rate.

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49

Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.

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Petranek, Stefan. "Formulations /". Online version of thesis, 2007. http://hdl.handle.net/1850/6173.

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