Bibliographies thématiques / Photography, Artistic

Littérature scientifique sur le sujet « Photography, Artistic »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 25 juillet 2024

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Articles de revues sur le sujet "Photography, Artistic"

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Dondero, Maria Giulia. « Photography as a Witness of Theatre ». Recherches sémiotiques 28, no 1-2 (7 octobre 2010) : 43–57. http://dx.doi.org/10.7202/044587ar.

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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis of photographs taken by Roger Pic in 1957 during the Paris performance of Brecht’s Mother Courage and Her Children by the Berliner Ensemble. This analysis seeks to demonstrate that theatre photography, which often seen as an example of documentary photography, can reach artistic status, provided it relies on enunciative strategies that express what cannot otherwise be photographed in a ‘direct’ manner, namely the characters’ words and emotions.
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Stamenković, Miloš. « Sports photography and its artistic dimensionality ». Fizicko vaspitanje i sport kroz vekove 8, no 2 (2021) : 119–33. http://dx.doi.org/10.5937/spes2102119s.

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Sports photography is a powerful visual tool that can be used to promote sports, athletes and recreational physical activities. Her main role is to present sport as an art. In that respect, good sports photography also implies the recorded moment of the athlete in a specific movement position, which is unusual and which cannot be seen on television. When it comes to the promotion of professional sports, sports photography occupies a significant place in the sports press and sports magazines. On the other hand, sports photography also promotes recreational sports, which is intended for all those who want to do sports for themselves and their own health. Sports photography has the power to present important sports and recreational events to readers in a simple way, without large and dry texts. Good sports photography refers to the composition, angle, light, dynamics and color contrast, i.e. the relationship between warm and cold tones. Also, sports photography depends on good photographic equipment, knowledge and experience of a sport photojournalist. Sports photojournalists always try to present quality and interesting sports photographs in the most professional and high-quality way, which in an artristic way convey ''visual information'' of sports events to loyal readers and sports fans. It is very important to understand that sports photography is not only sports, but also artistic. Therefore, the aim of this paper is to present sports photography and its artistic dimension.
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Vellanki, Vivek. « Shifting the Frame : Theoretical and Methodological Explorations of Photography in Educational Research ». Cultural Studies ↔ Critical Methodologies 22, no 2 (28 décembre 2021) : 132–42. http://dx.doi.org/10.1177/15327086211045976.

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In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual research: the ontology of photography, collaboration and photography, and thinking with art/photography. Across these three key elements, I interrogate taken-for-granted assumptions about the camera, photographs, and the relationships between the photographer-photographed in the context of educational research and articulate some shifts that help reframe our understanding of photography and how it is used within educational research and practice.
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Colner, Miha, et Ivan Petrović. « Ivan Petrović, Photographer, Archivist and Artist : Interview with Ivan Petrović ». Cabinet, Vol. 2, no. 2 (2017) : 4–9. http://dx.doi.org/10.47659/m3.004.int.

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research
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Viditz-Ward, Vera. « Photography in Sierra Leone, 1850–1918 ». Africa 57, no 4 (octobre 1987) : 510–18. http://dx.doi.org/10.2307/1159896.

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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa. The information presented here is based on ten years of searching for nineteenth-century photographs made by Sierra Leonean photographers. To locate these pictures, I have visited Freetonians and viewed their family portraits and photograph albums, interviewed contemporary photographers throughout Sierra Leone, and researched in the various colonial archives in England to locate photographs preserved from the period of colonial rule. I have discovered that a community of African photographers has worked in the city of Freetown since the very invention of photography. The article reviews the first phase of this unique photographic tradition, 1850–1918, and focuses on several of the African photographers who worked in Freetown during this period.
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Choi, Jeongho, et Dukhwan Kim. « A Study on the Reality and Artistic Value of Realistic Photography ». Asia Europe Perspective Association 21, no 2 (30 juin 2024) : 135–49. http://dx.doi.org/10.31203/aepa.2024.21.2.135.

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This study explores the essence and evolution of photographic art, focusing on the debate surrounding the reality and artistic value of realistic photography. It examines the progression of photography from a mere recording tool to an independent art form and analyzes how the advent of the digital age has expanded the modes of expression and artistic value of photography. The study systematically reviews the technological advancements and artistic expressions from the invention of early photography to modern digital photography. The study emphasizes that the reality of photography is not a simple replication of reality but a reconstructed reality through the photographer’s subjective interpretation and creative intervention. Based on Susan Sontag's theories, it discusses the social, cultural, and personal interpretations of photographic images and explores the impact of digital technology on the truthfulness and ethics of photography. The significance of this study lies in its reevaluation of the artistic value of photography and the presentation of new artistic possibilities in the digital age. It suggests the integration of factual accuracy and creativity, the delivery of social messages, and the creative use of digital technology as essential for the advancement of photographic art. It also highlights the importance of comprehensive photography education. In conclusion, the artistic value of realistic photography can be secured through the harmony of factual accuracy and creativity. Continuous exploration of new artistic possibilities, reflecting the changes brought by the digital era, is essential. Through this, photographic art will evolve into richer and more diverse forms, playing a crucial role in conveying social messages.
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Virkki, Susanna. « Finnish Theatre Photography and the Influence of Technology ». Nordic Theatre Studies 26, no 2 (9 septembre 2014) : 60. http://dx.doi.org/10.7146/nts.v26i2.24310.

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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the director or the actors, but they are based on the photographer’s own estimations and views. He/she interprets and transmits the performance to the audience with his images, and works in between the theatre and the spectator, but he is not the artistic producer when photograph- ing, the performance is, i.e. he/she has not chosen lights, costumes or set design. Technology has had a significant influence on the theatrical image and pho- tographic equipment. With the development of materials and equipment, the making of theatre photographs has shifted from a static process into a more dynamic one. Finnish theatre photography has reacted quickly to aesthetic trends in both theatre and photography. In the past it was possible to photograph only static or slow-moving objects in a set situation or in a pose. Today, the photographer can move among the actors, photograph fast-moving objects with a handheld camera using the stage lighting without the need for additional lights. The images look more as if they have been taken by an insider, someone who belongs to the team, rather than by an intruder. Theatre photographs are nowadays needed in the same way they have always been needed, as documents of the performance.
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Mukhin, Andrei Sergeevich. « Transformation of images in the context of constructing photographic reality ». Vestnik of Saint Petersburg State University of Culture, no 1 (54) (2023) : 24–30. http://dx.doi.org/10.30725/2619-0303-2023-1-24-30.

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The article is devoted to the analysis of image morphology in photography. The figurative structure is considered as three-part: an optical image (image), an aesthetic image (impression) and an artistic image (understanding). The author argues the need for an artistic image in order for photography to become art. Excessive desire for spectacular visual forms, which are achieved through the technical tools of the photographer and thanks to computer processing, is criticized. Affecting expressive means of photography are not an unconditional value, they can create an aesthetically attractive product, but leave the photographic reality without meaning and meaningful depth. The study touches upon the problem of a new visual aesthetics that has come into our world thanks to computer technology and the almost complete automation of the process of obtaining a photographic image. In modern conditions of information-machine civilization, a person only feeds on the illusion of creativity, while, however, entrusting digital technologies with all the main stages of image creation. A mechanistic, albeit often perfect, optical image in the minds of mass culture bearers is perceived as self-sufficient and does not require artistic and philosophical understanding. The creative search of the photographer is hampered by patterns, standards and clichés, which are naturally inherent in photography as a kind of technical and cultural activity.
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Kvietkauskas, Mindaugas. « From Shulhoyf to Montparnasse : Cultural Collage in Moshé Vorobeichic's Photography Book The Ghetto Lane in Wilna (1931) ». Colloquia 48 (30 décembre 2021) : 170–93. http://dx.doi.org/10.51554/coll.21.48.11.

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This article discusses the artistic genesis of the first avantgarde photography book in Lithuanian art history, The Ghetto Lane in Wilna (1931) by Moshé Vorobeichic-Moï Ver (Moshe Raviv, 1904–1995), and aims to conduct the first in-depth reconstruction of Vorobeichic’s early biographical and creative period in Vilnius in the 1920s in the local Jewish and multicultural milieu. The research is based on archival materials from Lithuanian state archives and the Raviv family archives in Israel. Vorobeichic, who was born in 1904 in Zaskavichy (currently in Belarus), made his artistic debut in Vilnius in 1923, and studied at the Faculty of Fine Art at Stephen Bathory University from 1923 to 1925. He continued his art studies at the Bauhaus school in Dessau (1927 to 1929) and, from 1929 in Paris at the École Technique de Photographie et de Cinématographie. From 1930 onwards, the photographer used the artistic pseudonym Moï Ver, under which his avant-garde photography book Paris, hailed as a masterpiece of the genre, was published by Editions Jeanne Walter in 1931. During the same period, Vorobeichic participated in Jewish cultural life in Vilnius, and was involved in the early stages of the formation of Yung Vilne, the acclaimed literary and artistic group of interwar Yiddish Modernism. The article aims to identify the cultural contexts in which Moï Ver’s artistic world-view and avant-garde style started to develop. The reconstruction of these contexts makes it possible to identify new semantic aspects in his avant-garde photography book The Ghetto Lane in Wilna, and to rethink its artistic concept. In this way, the cross-cultural semantics of Moï Ver’s photographic collages of Jewish Vilnius will emerge.
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Aziz, Abdul, John Felix et Candy Reggi Sonia. « EKSPLORASI VISUAL SITU CANGKUANG DALAM FOTOGRAFI SENI ». Capture : Jurnal Seni Media Rekam 9, no 1 (8 mars 2018) : 1–11. http://dx.doi.org/10.33153/capture.v9i1.2052.

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The facilities and services provided by photographic technology have made it easier for people to photograph. So photography is no longer a strange thing in the society. Photography has been able to replace manual illustrations, with its many advantages, such as the similarities and details of the objects it records. Photography is also necessary as a means of communication and photographic messages can also be a means of expression. When photography enters the arts, photography can provide dimensions that touch technical aesthetic aspects, as well as conceptual and thematic discourses. Exploration Situ Cangkuang will be the choice of visual objects Researchers in the creation of artistic photography. This is a form of aesthetic expression of researchers to make a real contribution to the awakening of art treasures that touch the aspect of tourism. The research method used is the qualitative descriptive method. In this method, the researcher performs a visualization and a photographic display supported by a subjective observation result.Keywords: Photography, art, visual, and Situ Cangkuang
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Thèses sur le sujet "Photography, Artistic"

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

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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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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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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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Lai, Kin-keung Edwin, et 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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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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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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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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Livres sur le sujet "Photography, Artistic"

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Shaw, Bernard. Bernard Shaw on photography : Essays and photographs. Wellingborough : Equation, 1989.

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Anna, Tomczak. Sanctuary : Anna Tomczak photography. Albuquerque, New Mexico : Fresno Fine Art Publications, 2007.

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Windig, Ad. Photography = : Fotografie. 's-Gravanhage : SDU, 1989.

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Levine, Sherrie. New photography. Genève : Musée d'art moderne et contemporain, 1996.

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Príncipe, André. Tunnels : Photography. London, England : Booth-Clibborn Editions, 2005.

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Warhol, Andy. Photography. Hamburg : Hamburger Kunsthalle, 1999.

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Sieff, Jeanloup. Jeanloup Sieff : Erotishe photographie = erotic photography = photographie érotique. Berlin : Benedikt Taschen, 1991.

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Weinberg, Adam D. From the heart : The power of photography, a collector's choice. Corpus Christi : Art Museum of South Texas, 1998.

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Gattinoni, Christian. La photographie en France : 1970-2005. Paris : Culturesfrance, 2006.

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San Francisco Museum of Modern Art. Photography : A facet of modernism : photographs from the San Francisco Museum of Modern Art. New York : Hudson Hills inassociation with the SanFrancisco Museum of Modern Art, 1986.

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Chapitres de livres sur le sujet "Photography, Artistic"

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Campagnaro, Marnie. « Chapter 6. “A successful photograph is worth as much as a story” ». Dans Children’s Literature, Culture, and Cognition, 144–67. Amsterdam : John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.06cam.

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Bruno Munari was an Italian artist, graphic designer, and illustrator who combined art and design to great effect in his visual art and books. During his long, interdisciplinary career, Munari experimented with many artistic possibilities: painting, illustration, sculpture, design, graphics, teaching, poetry, and writing. He also cultivated a peculiar relationship with photography. This chapter investigates photography’s influence on Munari’s poetics, from Futurism and other Avant-garde movements to the Bauhaus and László Moholy-Nagy’s work, graphic design experimentation, and collaborations with photographers. His multifaceted approach can be investigated through two editorial project typologies: photocollage and photographic picturebooks. What is discussed is how historic, artistic, and cultural photography influenced his children’s works and to what extent photographic experimentation affected Munari’s creativity and aesthetics in his original books.
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Bertinetto, Alessandro. « Improvisation and Artistic Photography ». Dans The Routledge Handbook of Philosophy and Improvisation in the Arts, 600–616. New York : Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-47.

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Burgin, Victor, et Hilde Van Gelder. « Artistic representation and politics ». Dans The Routledge Companion to Photography Theory, 371–84. New York : Routledge, 2020. : Routledge, 2019. http://dx.doi.org/10.4324/9781315727998-25.

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Kontou, Tatiana, Victoria Mills et Kate Nichols. « Cuthbert Bede, ‘Photography in an Artistic Light’ ». Dans Victorian Material Culture, 490–91. London : Routledge, 2022. http://dx.doi.org/10.4324/9781315400266-159.

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Luong, QT. « The Formal Language of Photography : A Primer ». Dans Modeling Visual Aesthetics, Emotion, and Artistic Style, 181–202. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-50269-9_11.

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Palmer, Daniel. « Mobile Photography and Artistic Activism in the “Instagram Museum” ». Dans The Routledge Companion to Mobile Media Art, 313–23. New York, NY : Routledge, 2020. : Routledge, 2020. http://dx.doi.org/10.4324/9780429242816-37.

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Volcano, Del LaGrace, Jay Prosser et Eliza Steinbock. « INTER*me : An Inter-Locution on the Body in Photography ». Dans Transgender and Intersex : Theoretical, Practical, and Artistic Perspectives, 189–224. New York : Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-349-71325-7_8.

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Druker, Elina. « Chapter 8. In and out of focus ». Dans Children’s Literature, Culture, and Cognition, 189–209. Amsterdam : John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.08dru.

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Anna Riwkin was a Russian-Swedish photographer who contributed significantly to the growing use of photographs in children’s picturebooks during the second half of the twentieth century. This chapter investigates the photographic techniques and genres in Riwkin’s works for children. Using a selection of reportage portraits and photo books by her as a starting point, the chapter discusses the relationship between words and images in photo narratives for children. During the early part of her career, Riwkin specialized in portraits and dance photography and during the 1930s, she added journalistic work to her repertoire. Traces of all these genres are evident in her photographic picturebooks. They express realist and documentary ambitions, aiming to capture the perspective of the individuals portrayed, but at the same time their images are staged and embedded in a narrative, which affects their expression and style. Riwkin’s choice to work with children’s literature also raises questions about women photographers’ position within the field of photography. How were women photographers perceived within different types of photography? Should the aim to work with children’s books be understood in relation to the artist’s socially engaged approach or was it seen as particularly suitable for a female photographer? Since Riwkin was one of the pioneering women photographers in Europe, the reception of her work is of utmost interest, both when it comes to contemporary critique and the perception of her work in later photographic research.
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Nikonanou, Niki, Panagiotis A. Kanellopoulos, Elena Viseri et Elina Moraitopoulou. « Educational Commons in Art Museums ». Dans Educational Commons, 151–72. Cham : Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51837-9_9.

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AbstractThis chapter reports on four case studies that took place at four museums of the Metropolitan Organisation of Museums of Visual Arts (MOMus) in Thessaloniki, Greece, the Museum of Contemporary Art, the Experimental Center for the Arts, the Museum of Photography and the Museum of Modern Art-Costakis Collection. Different groups of young people participated in case studies that sought to bring together educational commons and collaborative artistic experimentation, leading to the co-creation of artistic projects. The chapter focuses on how commoning processes might contribute to the transformation of the museum towards an open-source institution through the cultivation of commoning practices in museum education. We also highlight the value of delving into forms of creative artistic engagement that induce unlearning traditional roles and questioning hierarchical power distribution.
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Maschner, Herbert D. G., Víctor Manuel López-Menchero Bendicho, Miguel Ángel Hervás Herrera, Jeffrey Du Vernay, Aurelia Lureau et James Bart McLeod. « At the Intersection of Art, Architecture and Archaeology : 3D Virtualization and Contemporary Heritage ». Dans Proceedings e report, 34–40. Florence : Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.08.

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We are at a global transition where disciplines from art to computer engineering intersect in the realm of global digital heritage. This has been facilitated by the development of desktop high-speed computing, inexpensive photogrammetry software, and digital photography. These technologies, and the tools to make them useful both in the lab and on the web, require the appropriate integration of technical skill, artistic license, archaeological background knowledge, and architectural realities.
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Actes de conférences sur le sujet "Photography, Artistic"

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Strava, Salomea, Cristian Tecu et Mihai Onita. « " TEACH ME PHOTOGRAPHY, ROBOT." A CASE STUDY REGARDING VISUAL EDUCATION ». Dans eLSE 2021. ADL Romania, 2021. http://dx.doi.org/10.12753/2066-026x-21-200.

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Visual arts-mediated education and training are inherent to the learning process irrespective of its traditional, digital, or hybrid formats. Photography entails creative functions while the image creator implicitly needs to be enabled through training to produce compositions that observe communication rules while simultaneously breaking wittingly the same rules. The current paper identifies quality criteria underlying highly rated photographs and features an artistic composition-based section. The main factors that influence the composition are the rule of thirds (division, point of interest), repetition (frequency, constant, resumption), symmetry (weight, variety, middle), HSL (Hue, Saturation, Brightness), empty space, use of background (subtle, main, flattening), balance (harmony, chromatic, unity), hierarchy (focus, eye direction). Many masterpieces are consciously eluding the above rules. The images are rioting against the mundanity and impersonal. The photographic composition escapes from the templates shown above, the images arouse the viewer, who needs a "key" to decipher them. This kind of visual approach has a semantic load that raises it above the fast-comprehension photo if the viewer makes the effort to accept and decipher it. The suggested artistic compositions are manually segmented into areas of interest (objects, lines, characters, etc.) accompanied by well-articulated interpretations, as they are perceived by a visual arts connoisseur. Furthermore, the authors describe sets of image data currently used in the automated assessment of image quality: IDEA, Painting-91, SCUT-FBP5500, Waterloo IAA, IAD, AVA, GPD, FACD, NU FOOD, CUHKPO, BAM, NNID. The paper is simultaneously a starting point for a subsequent set of high-quality photographs and an adequate learning resource for fields of study such as multimedia, arts, and social media.
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Simonsen, Talette. « The Photo book as Symphony – Ronchamp as Sculpture : Re-composing Architectural Photography ». Dans 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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Wilber, Michael J., Chen Fang, Hailin Jin, Aaron Hertzmann, John Collomosse et Serge Belongie. « BAM ! The Behance Artistic Media Dataset for Recognition Beyond Photography ». Dans 2017 IEEE International Conference on Computer Vision (ICCV). IEEE, 2017. http://dx.doi.org/10.1109/iccv.2017.136.

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Luo, Bin. « An Analysis of the Artistic Photography of Digital Technology Creation ». Dans 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France : Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.8.

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NECHIFOR, Oana. « (At) Home and (On) the Road : Contemporary Photography Techniques of Documenting the Migration Phenomenon ». Dans The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0025.

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The current presentation includes several queries regarding the interaction of migration and globalization – one of the most significant phenomena of social transformation in recent decades, as well as the meanings that this interaction presents for artistic research and practice. The major social and cultural transformations that have taken place in recent decades following more intense migratory movements have sparked an interest among artists for creating visual discourses, which, by using languages specific to different genres and environments, contribute to the dissemination of knowledge about migrants and migratory experiences different from the discourses generally offered and exploited by the media and public opinion. In cultural studies, the mobility turn also influences how contemporary art reflects on the direct and indirect implications of migration. The selection of works we analysed (which mainly use the medium of documentary photography) challenges the way we understand the notions of space and time, by exploring ideas regarding the concepts of (at)home and road, which are, moreover, two of the notions that undergo most changes during migratory experiences. The artistic projects selected reconsider defining the concept of (at)home as the place where the individual builds his sense of belonging, referring only to the physical house and not just to a single house set in an immovable place, but considering multiple connotations of the idea of home. Migrants' personal narratives reveal the ways in which individuals move between multiple homes, developing attachments and reinventing their identities along the way. Considering both the international context of migration and the particular case of Romanian economic migration as a recent phenomenon with important socio-cultural implications, I sought to investigate through my own artistic practice how documentary photography can become an environment for reflection on the topic, by combining autobiographical elements and a subjective discourse added to the objective dimension.
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Reinhuber, Elke. « ConformiTree : an artistic research on the expansion of photography to the third dimension ». Dans KUI '23 : Culture and Computer Science. New York, NY, USA : ACM, 2023. http://dx.doi.org/10.1145/3623462.3623467.

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Nascimento, Suely. « Marlene's house ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.

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As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.
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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio et María Adelaida Gutiérrez Martín. « Veinte años de docencia de la fotografía. Estudio de caso : Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study : The Art School of Huesca (Spain) ». Dans I Congreso Internacional sobre Fotografia : Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia : Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.

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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresión icónica: el Festival Huesca Imagen en su día, una Fototeca pionera en medios y procedimientos, o actualmente el programa Visiona demuestran un interés particular por la imagen fotográfica.Nuestra sólida trayectoria ha pasado necesariamente por cambios tecnológicos y legislativos que han marcado la adaptación de la docencia a continuos retos. Aspectos como la aplicación de metodologías activas; el aprendizaje basado en proyectos; las constantes referencias a cuestiones teóricas e históricas, así como a los debates contemporáneos en torno a la fotografía; la innovación en los procesos de evaluación y el seguimiento individualizado basado en tutorías se incorporan a nuestra didáctica cotidiana y facilitan la adquisición de competencias de acuerdo a las nuevas exigencias curriculares, profesionales y artísticas.La formación que impartimos insiste en la reflexión sobre el proceso fotográfico como un hecho consustancial a la sociedad actual. A través de la acreditación en el Programa Erasmus+, nuestros estudiantes tienen además la posibilidad de relacionarse con el espacio formativo europeo y ven favorecida su futura inserción en el mercado laboral.A lo largo de estos años hemos logrado contar con la presencia de figuras de reconocido prestigio en diversos campos de la fotografía, personalidades que han aportado su visión y su saber a la Escuela. Desde nuestra perspectiva, la fotografía no sólo es una disciplina artística o una ocupación profesional, sino que constituye globalmente un modo de vida. Eso es lo que intentamos transmitir año tras año en nuestras aulas.AbstractThe Professional studies of Higher Degree in Photography belongs to the artistic professional family of Graphic and Audiovisual Communication and it is part of the Spanish state educational system. This paper presents an overview of the evolution of these studies on photography in the Arts and Design Schools and explains the example of Aragón, through the case of the School of Art of Huesca.The implementation of the higher degree in Photography in Huesca took place in a suitable background provided by a city used to value this iconic mode of expression: The former Festival “Huesca Imagen”, an innovative Fototeca in procedures and resources; or nowadays, the program “Visiona”, all of them show a particular interest on the photographic image.Our well stablished professional career has necessarily come across technological and legislative changes that have marked the adaptation of teaching to continuous challenges. Aspects such as the application of active methodologies; Project-based learning; Constant references to theoretical and historical issues as well as to contemporary debates on photography; Innovation in evaluation processes and individualized monitoring based on personal tutoring are incorporated into our everyday teaching and facilitate the acquisition of competences according to upcoming curricular, professional and artistic requirements.The training we provide stresses thinking about photography as a process consubstantial to our current society. Through the accreditation in the Erasmus + Program, our students have also the possibility to take part of the European training space and facilitate their future insertion in the labor market.Throughout these years we have had the opportunity to count on the presence of personalities of recognized prestige in various fields of photography, who have cast their vision and their knowledge to the School. From our own perspective, photography is not only an artistic discipline or a professional occupation, but conforms a whole way of life. That is what we try pass on in our classrooms year after year. Palabras clave: metodologías, evaluación, evolución, proyectos, experiencia docente, competencias, pública, Erasmus+, arte, tecnología.Keywords: methodology, assessment, progress, projects, teaching experience, skills, state school, Erasmus+, arts, technology.
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Wang, Qiming. « Research on the Artistic Feature Trend of Fashion Photography under the Influence of Conceptual Art ». Dans 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France : Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.30.

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Xing, Xiangyang. « Visual Saliency Analysis of Artistic Photography based on Single-Angle Image Reconstruction Algorithm with Attention Model ». Dans 2022 6th International Conference on Computing Methodologies and Communication (ICCMC). IEEE, 2022. http://dx.doi.org/10.1109/iccmc53470.2022.9754008.

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Rapports d'organisations sur le sujet "Photography, Artistic"

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Editors, Intersections. On Religion : Photography in Collaboration. Intersections, Social Science Research Council, avril 2024. http://dx.doi.org/10.35650/int.4061.d.2024.

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This article showcases photographic essays produced by collaborations between visual artists, journalists, and religious scholars through a partnership between New York University and the Magnum Foundation.
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Sequeira, Dora María, Ileana Alvarado V. et Félix Angel. Young Costa Rican Artists : Nine Proposals. Inter-American Development Bank, août 2007. http://dx.doi.org/10.18235/0006438.

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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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Kupfer, Monica E. Perceptive Strokes : Women Artists of Panama. Inter-American Development Bank, mars 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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Moreno Mejía, Luis Alberto, et Iván Duque Márquez. Contemporary Uruguayan Artists : An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, février 2012. http://dx.doi.org/10.18235/0006209.

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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Karlstrom, Karl, Laura Crossey, Allyson Matthis et Carl Bowman. Telling time at Grand Canyon National Park : 2020 update. National Park Service, avril 2021. http://dx.doi.org/10.36967/nrr-2285173.

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Grand Canyon National Park is all about time and timescales. Time is the currency of our daily life, of history, and of biological evolution. Grand Canyon’s beauty has inspired explorers, artists, and poets. Behind it all, Grand Canyon’s geology and sense of timelessness are among its most prominent and important resources. Grand Canyon has an exceptionally complete and well-exposed rock record of Earth’s history. It is an ideal place to gain a sense of geologic (or deep) time. A visit to the South or North rims, a hike into the canyon of any length, or a trip through the 277-mile (446-km) length of Grand Canyon are awe-inspiring experiences for many reasons, and they often motivate us to look deeper to understand how our human timescales of hundreds and thousands of years overlap with Earth’s many timescales reaching back millions and billions of years. This report summarizes how geologists tell time at Grand Canyon, and the resultant “best” numeric ages for the canyon’s strata based on recent scientific research. By best, we mean the most accurate and precise ages available, given the dating techniques used, geologic constraints, the availability of datable material, and the fossil record of Grand Canyon rock units. This paper updates a previously-published compilation of best numeric ages (Mathis and Bowman 2005a; 2005b; 2007) to incorporate recent revisions in the canyon’s stratigraphic nomenclature and additional numeric age determinations published in the scientific literature. From bottom to top, Grand Canyon’s rocks can be ordered into three “sets” (or primary packages), each with an overarching story. The Vishnu Basement Rocks were once tens of miles deep as North America’s crust formed via collisions of volcanic island chains with the pre-existing continent between 1,840 and 1,375 million years ago. The Grand Canyon Supergroup contains evidence for early single-celled life and represents basins that record the assembly and breakup of an early supercontinent between 729 and 1,255 million years ago. The Layered Paleozoic Rocks encode stories, layer by layer, of dramatic geologic changes and the evolution of animal life during the Paleozoic Era (period of ancient life) between 270 and 530 million years ago. In addition to characterizing the ages and geology of the three sets of rocks, we provide numeric ages for all the groups and formations within each set. Nine tables list the best ages along with information on each unit’s tectonic or depositional environment, and specific information explaining why revisions were made to previously published numeric ages. Photographs, line drawings, and diagrams of the different rock formations are included, as well as an extensive glossary of geologic terms to help define important scientific concepts. The three sets of rocks are separated by rock contacts called unconformities formed during long periods of erosion. This report unravels the Great Unconformity, named by John Wesley Powell 150 years ago, and shows that it is made up of several distinct erosion surfaces. The Great Nonconformity is between the Vishnu Basement Rocks and the Grand Canyon Supergroup. The Great Angular Unconformity is between the Grand Canyon Supergroup and the Layered Paleozoic Rocks. Powell’s term, the Great Unconformity, is used for contacts where the Vishnu Basement Rocks are directly overlain by the Layered Paleozoic Rocks. The time missing at these and other unconformities within the sets is also summarized in this paper—a topic that can be as interesting as the time recorded. Our goal is to provide a single up-to-date reference that summarizes the main facets of when the rocks exposed in the canyon’s walls were formed and their geologic history. This authoritative and readable summary of the age of Grand Canyon rocks will hopefully be helpful to National Park Service staff including resource managers and park interpreters at many levels of geologic understandings...
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Paradox and Coexistence : Latin American Artists, 1980 - 2000. Inter-American Development Bank, janvier 2002. http://dx.doi.org/10.18235/0005931.

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The show represents a number of artistic trends developed by Latin American artists during the last two decades of the 20th Century. An assortment of works in different media¿oil on canvas, acrylics, rusted steel, photography, video, photography collage, ceramic, cedar wood and ropes, and paper sculpture¿provides a general view of the latest art trends in Latin America. The exhibit complements the book ¿Art of Latin America, 1981-2000¿ by Colombian Professor Germán Rubiano Caballero, which was launched in English and Spanish. Galleries and artists from Latin America and the United States collaborated with the exhibit.
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Mexico 2010 : A Vision of the 21st Century. Inter-American Development Bank, mars 2010. http://dx.doi.org/10.18235/0006417.

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The exhibit has been organized in honor of Mexico, site of the 51st Annual Meeting of the Board of Governors of the Inter-American Development Bank, that will take place in Cancun in March of 2010. 26 selected photographs from more than two hundred entries submitted to the 2009 Cultural Center Open Call for Mexican Photographers will be on the exhibit. The intention of this photographic survey is to gauge the perceptions among visual artists in Mexico, in light of the realities and challenges facing their nation in the first decade of the new century. The winners are: Eric Scibor Rylski (First Prize), Guillermo Castillo Ramírez (Second Prize), Dulce Pinzón (Third Prize), Alán Gerardo González Ruvalcaba (Honorable Mention), and César Rodríguez Zavala (Honorable Mention).
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First Inter-American Competition and Exhibition of Digital Photography. Inter-American Development Bank, janvier 2004. http://dx.doi.org/10.18235/0008284.

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First Inter-American Competition and Exhibition of Digital Photography sponsored by the IDB Cultural Center and the IDB Information and Communication Technology for Development Division, met January 12 and 13, 2004, in Washington, D.C., and reviewed 300 entries submitted by 100 artists from 20 countries.
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First Inter-American Competition and Exhibition of Digital Photography. Inter-American Development Bank, février 2004. http://dx.doi.org/10.18235/0005914.

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During 2003-04, a completely virtual project was organized to promote regional integration through the use of new information and communication technologies for development among other things. A jury reviewed 300 entries submitted by 100 artists from 20 countries. The exhibition was launched on the Internet in February 2004 announcing the results: Awards were given to Alejandro Crisóstomo F. (Guatemala); Miguel A. Caprara (Argentina); Ricardo Vargas B. (Peru); and Juan A. Sánchez O.(Colombia). Honorable Mentions were to given to: Raul A. Villalba (Argentina); Gonzalo Contreras del Solar (Bolivia); Santiago Vanegas D. (Colombia); Marcos Fredes Cifuentes (Chile); Jorge A. Lobato Rivera (Mexico); and Ramsés Giovanni (Panama). The contest was sponsored by the IDB Information and Communication Technology for Development Division.
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At the Gates of Paradise : Art of the Guaraní of Paraguay. Inter-American Development Bank, septembre 2005. http://dx.doi.org/10.18235/0008210.

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The exhibit unites a number of artistic expressions of the Guaraní Indians of Paraguay, from the colonial period to the present. Include 65 pieces including statuary, both sacred and secular, photographs, videos, and contemporary art. All of the art works allow for a better understanding of the Guaraní culture that transmits knowledge fundamentally through an oral tradition, but has also come to assimilate a number of influences, modifying them to their own needs. The exhibition was open at the Art Gallery of the Cultural Center of the Inter-American Development Bank on September 2005.
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