Articoli di riviste sul tema "Photography of interiors – Exhibitions"
Segui questo link per vedere altri tipi di pubblicazioni sul tema: Photography of interiors – Exhibitions.
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 articoli di riviste per l'attività di ricerca sul tema "Photography of interiors – Exhibitions".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi gli articoli di riviste di molte aree scientifiche e compila una bibliografia corretta.
1
Панченко, Ирина Александровна. "Moscow in photographs of the 1860s – erly 1900s from the collection of the Russian Museum". Искусство Евразии, n. 2(17) (27 giugno 2020): 220–35. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.014.
Testo completoAbstract (sommario):
В собрании Русского музея хранится уникальный изобразительный ряд, разносторонне демонстрирующий фотографический образ Москвы периода 1860-х – начала 1900-х гг. Его творцами стали многие знаменитые фотоателье и фотографы. Их интерес к запечатлению облика древней столицы был чрезвычайно широк: видовые фотографии и фиксация фрагментов зданий и интерьеров, статичная архитектурная съемка и динамичные сцены повседневной городской жизни, большеформатные «августейшие подношения» и демократичные открытые письма. Сфотографированные нередко с разных видовых точек, в разные годы, эти исторические кадры предоставляют возможность современному зрителю увидеть, а исследователю изучить, былое местоположение, прежние архитектурные формы и прошлое предназначение сооружений. На многочисленных снимках из собрания музея запечатлены в различных техниках и форматах не только исчезнувшие навсегда московские виды и памятники архитектуры, но и сохранившиеся знаковые достопримечательности, а также воссозданные относительно недавно знаменитые исторические объекты. Особый интерес представляют панорамные изображения: отдельные снимки, самостоятельные серии, единственные в своем роде фотоальбомы и уникальная многокадровая фотопанорама Москвы, снятая в 1867 г. с четырех колоколен строившегося храма Христа Спасителя. Впервые фотографии старинного города из собрания Русского музея были экспонированы в 2018 г. на второй выставке из цикла фотографической ретроспективы музея «Путешествия по Российской империи». The collection of the Russian Museum contains a unique pictorial series, which variously demonstrates the photographic image of Moscow from the period of 1860s – early 1900s. Many famous photographic companies and renowned photographers became its creators, among them: “Scherer, Nabholz & Co.”, “Russian Photography in Moscow”, A. P. Reinbot, I. F. Barshchevsky, I. N. Alexandrov and many others. Their interest in capturing the appearance of the ancient capital was extremely wide: photographs of views and fixing fragments of buildings and interiors, static architectural photography and dynamic scenes of everyday city life, large-format “August offerings” and democratic open letters (postcards). Photographed often from different viewpoints, in different years, these historical shots provide an opportunity for the modern viewer to see, and to researcher to study, the former location, old architectural forms and past purpose of the buildings. At the same time, many images of pre-revolutionary Moscow are exclusively architectural and interior photofixations. Only a small part of the works includes scenes of urban life. Numerous photographs from the museum’s collection depict in various phototechniques and formats not only the Moscow views and architectural monuments that have disappeared forever, but also preserved iconic sights, as well as demolished but recreated relatively recently famous historical sites: the Cathedral of Christ the Savior, the Resurrection Gate and the Iversky Chapel. An important place in the museum’s collection is occupied by photographs of the historical center of Moscow: buildings and monuments of the ancient Kremlin and Red Square, surrounded by picturesque architectural ensembles. Of particular interest are panoramic images: individual photographs, independent photographic series, one-of-a-kind photo albums. Certainly, an important place in this row belongs to the unique multi-frame photo panorama of Moscow, taken in 1867 from the bell towers and gallery of the Cathedral of Christ the Savior under construction by the masters of the famous Moscow-based photographic company “Scherer, Nabholz & Co.”. The ability to see the transformed and disappeared places of the city is also demonstrated by numerous open letters of views issued by publishers both as independent copies and by thematic series, both in monochrome and in color. Moreover, it is precisely the plots of open letters, in contrast to photographs, that are «animated» and filled with everyday city bustle. For the first time, materials (photographs, photo albums, postcards, reproductions) depicting the views of Moscow from the collection of the Russian Museum were exhibited in 2018 at the second exhibition from the series of a photographic retrospective of the museum “Traveling around Russian Empire”.
2
Dezhurko, Artem. "Forgotten Furniture Designers of the Khrushchev “Thaw” Era". Scientific and analytical journal Burganov House. The space of culture 16, n. 1 (10 marzo 2020): 114–43. http://dx.doi.org/10.36340/2071-6818-2020-16-1-114-143.
Testo completoAbstract (sommario):
Summary: Few names could be found in the research literature on the Soviet furniture design of the 1950–60s. Neither they are present in the most important historical sources on the subject – the catalogues of all-Union furniture exhibitions, where, as a rule, the mention is made of design organizations that presented certain pieces of furniture to the exhibition, and not the designers themselves. The article offers a method of processing sources that makes it possible to solve this problem. The method is based on the systematization of visual material: numerous photographs of interiors published in the late 1950s and 1960s in various specialized Soviet editions – exhibition catalogues; magazines on architecture and decorative art; advice literature on furnishing a house aimed at a wider public. The article refers to 36 sources (books and articles) with several hundred illustrations. It has been established that the visual material in the advice literature considered consists almost entirely of shots of the four largest furniture exhibitions held in Moscow at the turn of the decade – displays in the mock-up models of the apartments at the Permanent All-Union Exhibition of Construction and Architecture, the Exhibition of All-Union Competition of Furniture for Single-Family Apartments (both 1958), the exhibition “Iskusstvo – v byt” [Art to the Household] and the Second All-Union Furniture Competition (both 1961). The view of one and the same fragment of the display (sometimes even the same picture) in the 1960s publications is reproduced repeatedly. In addition, some pieces of furniture were presented at several exhibitions. Thus, in the sources the images of same piece of furniture was often published many times. Having identified the item in the photos and collected information from various sources related to these images, we could often find evidence of authorship. In this way it is possible to stablish the names of many participants in the four exhibitions mentioned above. In the article they are indicated together with the names of participants of the All-Union Furniture Exhibition of 1956 found in its catalogue (the only exhibition catalogue providing the names of designers) – a total of 82 names. Many of these designers participated not in one, but in several of exhibitions mentioned (some – in all five), many of them were awarded prizes. The analysis of sources allowed, firstly, to identify the most “successful” Soviet furniture designers of the 1950–60s, and, secondly, to attribute to them many of the projects whose authorship previously had not been established. In particular, significant arrays of images associated with the names of Yuri Sluchevsky, Elena Orlova (Bocharova), Konstantin Blomerius (Moscow), Lygija Marija Stapulionienė (Vilnius), Irma Karakis (Kiev) were collected. Of the 82 names given in the article, most are not found in historiography. Their introduction to scientific circulation makes it possible to expand the pool of search for personal archives necessary for further research of Soviet furniture design.
3
Шапченко, Юлия. "Дальневосточные зарисовки Александра Яковлева". Acta Polono-Ruthenica 2, n. XXIV (30 giugno 2019): 43–53. http://dx.doi.org/10.31648/apr.4460.
Testo completoAbstract (sommario):
Alexandre Yakovlev was a famous Russian painter, graphic and theatre artist, a graduate from the Imperial Academy of Arts and a member of the “World of Art”. In 1917 by the order of the Academy (material collection to decorate interiors of the Kazanian railway station) Yakovlev went to Beijing, then he traveled a lot throughout China, Mongolia and Japan. He explored Chinese and Japanese theaters, as a result he made many ethnographic sketches, portraits and photographs. He arranged the exhibition of his drawings in Shanghai (in 1919). Finding out about the revolution in Russia he emigrated to France. Since 1919 he lived in Paris. He showed multiple works of Far Eastern cycle at personal exhibitions in Paris (Barbazanges Gallery, 1920 and 1921; together with V. Shuhaev), London (Grafton Gallery, 1920) and Chicago (Art Institute, 1922). In 1922 the pub-lisher Lucien Vogel published an album Drawings and paintings of the Far East, which included 50 reproductions of Yakovlev’s Far-East cycle (the book was designed by Shuhaev). At the same time the artist produced an album on the Chinese theater with accompanying text by a Chinese author Zhu Kim-Kim. In 1931–1932 Yakovlev took part in the “Yellow Cruise” arranged by the “Citroen” company. From this expedition he brought some new series of drawings. At the end of the cruise he presented his artworks in Paris and at foreign exhibitions. This background of the artist’s life is subject to be studied better in Russia.
4
Cascella, Daniela. "Carl Michael von Hausswolff". Organised Sound 13, n. 1 (29 febbraio 2008): 21–29. http://dx.doi.org/10.1017/s1355771808000046.
Testo completoAbstract (sommario):
AbstractFor over twenty years, Swedish artist Carl Michael von Hausswolff (born 1956 in Linköping) has been giving shape to a range of works which push the boundaries of sound experimentation and reach out into installation art, photography, video, performance and curating projects. Stemming from his experiments with tape and investigations into EVP (Electronic Voice Phenomena) throughout the 1980s and 1990s, and setting up a number of ongoing collaborations with artist Leif Elggren and with a wide range of experimental musicians in the collective, site-specific sound installation freq_out, von Hausswolff's work spans the undefined territory between sound and the visual arts – he has done so, also by organising exhibitions such as the 2nd Göteborg Biennial in 2003. His audio production, using devices such as oscillators, tone generators, microphones attached to electricity circuits, is inextricably linked to his visual and conceptual research, always addressing issues of borders, interior/exterior, liminal states and hidden fluxes of energies. At the forefront of international experimentation, his work has been featured in some of the most important exhibitions and museums in the world, and his audio pieces have been published by the most remarkable avant-garde labels.
5
Edwards, Charity. "Unsolicited Interiors". idea journal 14, n. 1 (3 luglio 2018): 54–65. http://dx.doi.org/10.37113/ideaj.vi0.68.
Testo completoAbstract (sommario):
Developed from a contemporary theory lecture regarding economic realities and guerilla practice, the studio Unsolicited Interiors proposes political engagement as a critical operation of interior architecture agency via the exploration of contested urban volumes, unsolicited intervention and choreographic occupation. A text and image review of this studio considers student response to political texts, design speculation, and public space disruptions through performance, photography, large-scale model-making and self-initiated actions. Discussion of a series of collaborative interventions with visiting Berlin-based collective raumlabor reinforces a positioning of design activism through acts of provocation and social inquiry as critical to spatial decisions in, and of, the city.
6
Pedro Leão Neto. "About the International Conference for the 5th issue of Sophia Journal". Sophia Journal 5, n. 1 (1 dicembre 2020): 3–4. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_01.
Testo completoAbstract (sommario):
The International Conference on the 5th issue of Sophia Journal, which took place at FAUP, opened a new cycle of international forums, henceforth to be held annually, and taking up the theme and topics examined in Sophia for each year. Sophia Journal’s International Conference presented both a live and videoconference program organized by CEAU / FAUP, in partnership with UNIZAR and DECA / ID - U. Aveiro. The event was broadcast live online, encompassing a rich and diverse program: (i) a series of videoconferences; (ii) the roundtable launch and presentation of the 4th issue of the peer reviewed journal Sophia: “Visual Spaces of Change: Unveiling the Publicness of Urban Space through Photography and Image”; (iii) the presentations of articles of the 5th issue of Sophia Journal: “Visual Spaces of Change: Designing Interiority - shelter, shape, place, atmosphere”; (iv) the launch of the open call for papers for the 6th issue of Sophia Journal: “Visual Spaces Of Change: photographic documentation of environmental transformations”; (v) the announcement of the awards of the International Competition of Ideas: Exhibition and Mobile Projector and the Visual Spaces of Change exhibition, developed for this conference and for the spaces of FAUP, where new contemporary photography projects will be communicated, as well as a new exhibition structure that was awarded with the first prize in the International Competition of Ideas: Exhibition and Mobile Projector. The objective of these international forums is to promote the reflection and debate on the universes of Architecture, Art and Image, addressing various issues transversal to the worlds of Photography and Architecture, and exploring how the image can be a means to cross borders and shift boundaries between different disciplines. This event provided the opportunity to visit the exhibition of the Visual Spaces of Change Projects developed for this conference using FAUP’s interior and outdoor spaces, featuring novel projects in the new exhibition modular structure, which awarded the first prize to Sérgio Magalhães representing studium.creative studio. The Visual Spaces of Change research project proposes a visual communication strategy based on the development of contemporary photography projects that reflect upon different dynamics of urban change to open new horizons of public intervention in the public space. Wilfried Wang (UTSOA) O’Neil Ford Centennial Professor in Architecture at the University of Texas at Austin and Guest Editor of Issue #6 of Sophia journal: “Visual Spaces of Change: photographic documentation of environmental transformations” announced the open call for this 6th issue of Sophia journal. This issue will bring together photographers and researchers who make significant contributions to these discussions, including the material processes of creating, managing and interpreting sets of documents. We are interested in material processes where photography is explored as a significant research tool for critical and innovative views on architecture and urban transformation in their expanded fields and contextualized by larger systems: cultural, political, artistic, technical, and historical dimensions. Finally, some words about the published content in Sophia’s other sections besides the peer reviewed articles, with the former having been integrated into the journal’s structure as a way of enrichening the publication with diverse viewpoints from experts in the field and other types of readings apart from the articles from the call. [...]
7
Orlović, Ante. "Zadarska fotografija između dva svjetska rata u kontekstu afirmacije modernizma". Ars Adriatica 9 (28 febbraio 2020): 193–202. http://dx.doi.org/10.15291/ars.2931.
Testo completoAbstract (sommario):
The aim of this paper is to offer a broader insight into the problem of defining modernism in Zadar’s photography between the two World Wars. Particular attention has been paid to the political and social situation in Zadar, its photographers, and the photo exhibitions that had a special impact on the development of Zadar’s photography. By analysing the relevant material on the exhibitions, scholarly literature and periodicals, as well as the archival and museum collections, the author has assessed the extent to which modernism has permeated and influenced Zadar’s photography at that time and the impact it exerted on post-war modernism.
8
Setyawan, Rizky Syahputra, M. Mahaputra Hidayat, Lutfia Febrianti e Moch Alif Firmansyah. "Implementation of Virtual Reality for Photography Exhibitions". JEECS (Journal of Electrical Engineering and Computer Sciences) 8, n. 1 (30 giugno 2023): 49–54. http://dx.doi.org/10.54732/jeecs.v8i1.6.
Testo completoAbstract (sommario):
Art exhibitions are one way to communicate a work of art while displaying creations that can be enjoyed by visitors. However, it takes a very high cost to make a good exhibition hall, and many people are too lazy to go to the exhibition if it is just to look around. In this era of technology 4.0, many new innovations have emerged in human life, one of which is virtual reality. Virtual reality is increasingly being used as an alternative to visiting a place without having to come there directly. This research aims to create an Android system using virtual reality that provides an experience to users viewing works virtually. Virtual reality prepares a representative space to display works and also does not need to incur high costs while still providing quality and complete information from exhibition speakers. This research was built using Blender and Unity. In the application design analysis, there are four main stages: (1) analysis, (2) design, (3) product development, and (4) product testing. The results of the assessment conducted by the virtual reality lecturer obtained an average result of 89%. In addition, the results of trials for students obtained an average percentage of 94% and were included in the very good category. The results of this study show that AR has indeed proven feasible to be used as a learning medium in introducing photographic works with 2D and 3D Animation, and therefore the potential to make exhibitions in VR is also used for other courses and learning. The result of this research is that an Android-based virtual reality system can simulate the exhibition of artwork.
9
Hasirci, Deniz, Zeynep Tuna Ultav e Umut Sumnu. "Transience and the modern Turkish interior". Res Mobilis 12, n. 16 (29 luglio 2023): 41–57. http://dx.doi.org/10.17811/rm.13.16.2023.41-57.
Testo completoAbstract (sommario):
Despite the expansion of research in modern interiors around the world and a more inclusive dialogue with regards to geography, ultimately, the field is still lacking theory and methods derived from its own specific needs rather than being adapted from architectural research, and a focus on its transient nature that is likely to lead to more impactful research and preservation results. Modern Turkish interiors research have also expanded greatly with individual, as well as projects or research groups like docomomo_tr interiors and DATUMM (Documenting and Archiving Modern Turkish Furniture) that create awareness through various forms of scholarly (documentaries, archival work) and popular (public exhibitions, popular books and magazines, newspaper pieces, and films) output. Although transience and thus a race with time is at the core of modern interiors research and several struggles are common worldwide, socio-cultural and economic reasons result in a faster pace in Turkey, creating an urgency to implement innovative methods and approaches fitting contemporary prerequisites of the field.
10
Condraticova, Liliana. "Exhibition management as part of the academic management: synthesis of an experience". Akademos, n. 4(67) (marzo 2023): 10–18. http://dx.doi.org/10.52673/18570461.22.4-67.01.
Testo completoAbstract (sommario):
The exhibitions held at the Academy of Sciences of Moldova or in partnership with AȘM between years 2019–2022, have become a marker of the activity and appreciation of researchers, teachers, museographers. This article examines the retrospective of national or international exhibitions, classified according to the content and participants in scientific and innovation exhibitions, thematic and anniversary exhibitions (dedicated to certain events or personalities), scientific book exhibitions, photography, plastic art. The pandemic marked the activity planners and numerous exhibitions were organized online. However, this did not reduce their significance. The role of exhibitions is indisputable, so the Academy of Sciences of Moldova has carried out multiple large-scale events, emphasizing the scientific, innovative and artistic achievements of the community.
11
Stewart, Imogen. "Selective List of Recent Dress Exhibitions". Costume 45, n. 1 (1 marzo 2011): 124–28. http://dx.doi.org/10.1179/174963011x12978768537816.
Testo completo
12
Akçaova, Ali, e Mehmet Noraslı. "Selçuk University Museum Interior Design and Application Example". Turkish Journal of Agriculture - Food Science and Technology 11, s1 (30 dicembre 2023): 2540–47. http://dx.doi.org/10.24925/turjaf.v11is1.2540-2547.6446.
Testo completoAbstract (sommario):
The aim of this study is to cover the design-implementation processes of the museum interiors of the museum building in Selçuk University campus, which consists of foyer, temporary and permanent exhibition areas that can realize the aims and functions of the museum in accordance with the culture of the institution to which it is affiliated. Two types of materials were used within the scope of the study. The first type of material is theoretical and visual information based publications, thesis studies, lecture notes, architectural and interior design printed publications and internet resources. The information scanned and analyzed was handled from general to specific. The second material is the analysis of the Selçuk University Museum building located in Selçuk University Alaeddin Keykubat Campus by the authors with the on-site identification stages, interviews with the relevant people, the requirements of the museum foyer, temporary, permanent exhibition areas and existing interior photographs. The method followed in the study is observation and detection. As a result of the researches and observations made by utilizing publications, thesis studies, course notes, architectural and interior architectural printed publications and internet resources on the subject, an identification study was carried out in the existing museum building. As a result of the research, it was stated that the museums within the university campus have an important place in terms of establishing a bond between the public and the university, apart from the educational areas affiliated to the institution. Apart from education and training structures, from a different perspective, it was mentioned that they are common multi-purpose areas and the positive aspects they add to the institution to which they are affiliated. The interior revisions made in the determined areas of the museum building, the project design process and the implementation phases were mentioned.
13
Stewart, Imogen. "Selective List of Recent Dress Exhibitions". Costume 47, n. 1 (1 gennaio 2013): 106–12. http://dx.doi.org/10.1179/0590887612z.00000000020.
Testo completoAbstract (sommario):
This list includes temporary exhibitions and new permanent displays mounted in UK museums and galleries during 2012. Each display contained at least some items of dress or dress fabrics, fashion plates or fashion photography.
14
Stewart, Imogen. "Selective List of Recent Dress Exhibitions". Costume 48, n. 1 (1 gennaio 2014): 103–9. http://dx.doi.org/10.1179/0590887613z.00000000043.
Testo completoAbstract (sommario):
This list includes temporary exhibitions and new permanent displays mounted in UK museums and galleries during 2013. Each display contained at least some items of dress or dress fabrics, fashion plates or fashion photography.
15
De Lorenzo, Catherine. "Installation View: Photography Exhibitions in Australia (1848–2020)". Australian and New Zealand Journal of Art 22, n. 1 (2 gennaio 2022): 133–36. http://dx.doi.org/10.1080/14434318.2022.2076037.
Testo completo
16
Batchen, Geoffrey. "Installation View: Photography Exhibitions in Australia 1848–2020". History of Photography 45, n. 1 (2 gennaio 2021): 101–3. http://dx.doi.org/10.1080/03087298.2021.2020476.
Testo completo
17
HRUNTOU, SIARHEI. "PORTRAITS OF CLOSE ONES. PHOTOS IN MODERN BELARUSIAN INTERIORS". Belarusian folklore: data and research, n. 9 (4 aprile 2022): 52–78. http://dx.doi.org/10.47612/2411-2763-2022-9-52-78.
Testo completoAbstract (sommario):
Photos are an integral part of most modern Belarusian rural interiors, but until now they have not become the object of a separate study. Appearing in rural interiors only in the twentieth century, most often in the second half of it, they find themselves on the periphery of research optics, focused on the description and study of objects of folk culture. The purpose of the article is to lay the foundations for our understanding of the meaning of photography in rural interiors and to develop interpretive schemes for further research. In the course of the research, the genealogy of the appearance of photographs in interiors was reconstructed in the context of the tradition of the existence of other images there, first of all, icons. A typology of the main ways of placing photographs in the space of the house has been developed. Models of the interpretation of this cultural phenomenon through its meaning as a method of symbolic gathering of a family, production of presence and use as a spatial mediator of memory are proposed. The article demonstrates photography as a complex and multidimensional object that can be fully studied only in the context of its existence – in a rural interior, in the meanings of folk culture. It also outlines opportunities for further development of the study.
18
Deluchi, Christina. "As an Interior: Reimagining Gerhard Richter’s Atlas". idea journal 18, n. 01 (31 agosto 2021): 205–22. http://dx.doi.org/10.37113/ij.v18i01.443.
Testo completoAbstract (sommario):
Gerhard Richter’s Atlas is a compilation of images arranged across 783 multi-image panels. Since its initial exhibition in 1972, it has been continuously expanded, amended and reorganised based on the volume of panels shown in each stage of its iteration. The serialisation of Atlas’s photographic register, its orthogonal schedule of panels (or sheets) grouped into blocks, is a by-product of its social, cultural and material conditions. It is built from ‘walls of images’ shaped by the architecture of a given room.[i]
Yet, Atlas is inherently an interior. Whilst Benjamin H. D. Buchloh’s reading of Atlas as a didactic model of display and/or mnemonic device, and Giuliana Bruno’s account of its emotive and/or filmic quality, are ways to navigate the work itself, this paper instead reconstructs its space of representation to critically reflect on the narrative sequences built in space. This paper reimagines Richter’s Atlas as an interior–a room of images where Atlas makes the architecture.
Rather than extending observations on Atlas as a retrospective of Richter’s artistic practice, the paper acts as a retrospective of its room(s). Moving beyond collecting, ordering and exhibiting images, this examination of Atlas detects the bond between surfaces, openings, sheets and subjects. Using ordinary orthographic methods, Atlas is inverted and drawn to trace the production and organisation of its framework for encounter and meaning. This depiction of space offers a way to see how Atlas constructs it. Lastly, the paper argues that this discursive practice, and the systematic form of Atlas itself, can bring about alternative ways of perceiving the work’s chronological, conceptual, and spatial, pathways.
[i] Ed. Friedel, H. 2016. Gerhard Richter: Atlas. Distributed Art Publisher, New York.
19
Close, Susan. "Gender, Space and Photography: Reading the Interiors of Clementina Hawarden". Design Principles and Practices: An International Journal—Annual Review 5, n. 1 (2011): 181–90. http://dx.doi.org/10.18848/1833-1874/cgp/v05i01/38004.
Testo completo
20
Stien, Hanne Hammer, e Marthe Tolnes Fjellestad. "Økobevisst fotografi". Periskop – Forum for kunsthistorisk debat, n. 31 (13 giugno 2024): 14–31. http://dx.doi.org/10.7146/periskop.v2024i31.146553.
Testo completoAbstract (sommario):
Current practices of eco-conscious photography, informed by the ongoing climate crisis and post-humanist theory, share characteristics such as collectivity, co-creation, and pro- cess orientation. By way of examples from the UK and the Nordic region, we investigate how these aspects are made (in)visible within the framework of photographic institu- tions: artist-led organizations, photographic festivals, exhibitions, and museums. We ask what implications can, or even should, eco-conscious photography have for the ways researchers, curators and institutions think about and engage with photography, both as an image and a practice.
21
Wizovský, Tomáš. "Museum and Educational Exhibitions in Castle-château Environment on the Example of the Phenomenon of the Reliquary of St. Maurus and the Authentically Preserved Bečov Castle". Muzeum Muzejní a vlastivedná práce 54, n. 2 (2016): 14–24. http://dx.doi.org/10.1515/mmvp-2017-0010.
Testo completoAbstract (sommario):
Usually state castles and châteaux in the Czech Republic take advantage of traditional guiding services for their public presentation, together with interior monument installations and allusive exhibitions. Exceptions are those monuments the current exhibitions in which follow- up on the pre-war family museums or on the presentations of family collections. Lately, however, the museum and gallery educational presentations of historical interiors are promoted in the form of free tours even in this area1. One example of the application of this concept is represented by the large premises of the National Heritage State Castle and Château in Bečov nad Teplou. To understand the specifics of the chosen solution, however, a more comprehensive excursion is required both into the history of this monument and to the approaches applied there previously.
22
Golia, Maria. "Surrealism and Photography in Egypt". Nka Journal of Contemporary African Art 2021, n. 49 (1 novembre 2021): 144–62. http://dx.doi.org/10.1215/10757163-9435751.
Testo completoAbstract (sommario):
Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed “surrealist photography” in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib’s Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss’s work and correspondence with Roland Penrose’s son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer’s Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.
23
Polańska, Anna. "Działania artystyczne w gdańskim środowisku fotograficznym promujące fotografię marynistyczną w latach 1948-1981". Porta Aurea, n. 17 (27 novembre 2018): 179–217. http://dx.doi.org/10.26881/porta.2018.17.08.
Testo completoAbstract (sommario):
With Gdansk artists an approach to the subject of the marine photography, was marked on several levels – artistic, documentary, journalistic and usable. Since 1945 to the first half of the 80s, we notice the popularization of maritime theme in the environment throughout artistic exhibition activities, and the program objectives. Maritime photography or maritime themes in photography? An analysis of the photographic medium in terms of belonging to the art can give the answer to this question. It is also worth considering whether there was „Gdansk School of the Maritime Photography”? The phenomenon of Polish marine art in the case of photography has been strongly emphasized in the Gdansk photography environment. The traditional display of the maritime theme has been broken, and with the approval of the authorities. Shipyard workers and dockers joined to the effigy of the sea people (fishermen, sailors). Photographers began to enter the maritime economy and use the effects of cooperation with maritime institutions for artistic purposes. Thematic exhibitions on shipyards and ports were created showing the sea from a different point of view, from the perspective of land. Socio-political events related to Solidarity stopped the promotion of the sea through the image of a shipyard worker and a shipyard, which became icons of the struggle for freedom. The Gdansk photographic community after the socio-political crisis of the first half of the 1980s, has not yet rebuilt its leading position in the dissemination of the maritime theme in photography on a large scale. Maritime exhibitions still appeared, but mainly on the local level, and the sea was reduced to the landscape understood very traditionally. At the same time photographers of the younger generation were interested in completely different issues of the style and aesthetics of photography. Te slogan „face to the sea” ceased to correspond with new times.
24
Rifandi, Fadli, Tri Viqi Adriansyah e Rina Kurniawati. "Website Gallery Development Using Tailwind CSS Framework". Jurnal E-Komtek (Elektro-Komputer-Teknik) 6, n. 2 (31 dicembre 2022): 205–14. http://dx.doi.org/10.37339/e-komtek.v6i2.937.
Testo completoAbstract (sommario):
This research designs and builds a special website for photography galleries, where this application is made to help and make it easier for photographers to store and exhibit photography widely via online media. So far, the storage media for exhibiting photographers' results is still conventional, for example exhibitions of certain photographers' artworks or special events. This makes it difficult for art enthusiasts or novice photographers to see or display their photography results. The website design uses the waterfall method and uses HTML, CSS programming language tools with the TailwindCSS framework, PHP, and MySQL as the database.
25
Tifentale, Alise. "Introduction to José Oiticica Filho's “Setting the Record Straighter”". ARTMargins 8, n. 2 (giugno 2019): 105–15. http://dx.doi.org/10.1162/artm_a_00239.
Testo completoAbstract (sommario):
This text introduces article “Setting the Record Straighter” (1951) by Brazilian photographer and artist José Oiticica Filho (1906–1964). The core of Oiticica Filho's article is a discussion of the significance of photo-club exhibitions, based on the example of an ongoing rivalry between the members of São Paulo-based photo club Foto Cine Clube Bandeirante (FCCB) and Rio de Janeiro-based club Sociedade Fluminense de Fotografia. Oiticica Filho, as a member of the São Paulo-based club who resided in Rio, emerged as a mediator between the two groups—an impartial scientist who sought a solution in data, not in the clashes between egos. The article, partially translated here for the first time, illuminates the inner workings of photo-club culture, the motivation for photographers to participate, and their major concerns about the club exhibitions. Oiticica Filho's method, based on statistics and data analysis, anticipate the sociological approach to photography developed by Pierre Bourdieu in Photography: A Middle-Brow Art (1965). Understanding Oiticica Filho's statistical work is key to establishing a broader perspective on postwar photo-club culture as an international phenomenon that contributed to the recognition of photography as an autonomous art form during the 1950s.
26
Filho, José Oiticica. "Setting The Record Straighter: Part II". ARTMargins 8, n. 2 (giugno 2019): 116–21. http://dx.doi.org/10.1162/artm_a_00240.
Testo completoAbstract (sommario):
This text introduces article “Setting the Record Straighter” (1951) by Brazilian photographer and artist José Oiticica Filho (1906–1964). The core of Oiticica Filho's article is a discussion of the significance of photo-club exhibitions, based on the example of an ongoing rivalry between the members of São Paulo-based photo club Foto Cine Clube Bandeirante (FCCB) and Rio de Janeiro-based club Sociedade Fluminense de Fotografia. Oiticica Filho, as a member of the São Paulo-based club who resided in Rio, emerged as a mediator between the two groups—an impartial scientist who sought a solution in data, not in the clashes between egos. The article, partially translated here for the first time, illuminates the inner workings of photo-club culture, the motivation for photographers to participate, and their major concerns about the club exhibitions. Oiticica Filho's method, based on statistics and data analysis, anticipate the sociological approach to photography developed by Pierre Bourdieu in Photography: A Middle-Brow Art (1965). Understanding Oiticica Filho's statistical work is key to establishing a broader perspective on postwar photo-club culture as an international phenomenon that contributed to the recognition of photography as an autonomous art form during the 1950s.
27
Huang, Nanyan. "Memorial Hall of the Victims: portrait photography, war-political narratives and transformation from exhibition media". Journal of Education, Humanities and Social Sciences 1 (6 luglio 2022): 332–40. http://dx.doi.org/10.54097/ehss.v1i.680.
Testo completoAbstract (sommario):
This study takes the Memorial Hall of the Victims of Nanjing Massacre by Japanese Invaders as a case to discuss how the portrait photography exhibitions transform the modern individual into a collective mind, especially from the period or memory of the War of Resistance. By analyzing the inherent attributes of portrait photography, this article situates the general effect of the media and genre, as well as the mode of narrative in this specific type of museum exhibition.
28
Vokes, Richard. "Photography, exhibitions and embodied futures in colonial Uganda, 1908–1960". Visual Studies 33, n. 1 (2 gennaio 2018): 11–27. http://dx.doi.org/10.1080/1472586x.2018.1424989.
Testo completo
29
Diamond, Hanna. "The Return of the Republic". French Politics, Culture & Society 37, n. 1 (1 marzo 2019): 90–116. http://dx.doi.org/10.3167/fpcs.2019.370106.
Testo completoAbstract (sommario):
During the Liberation of Toulouse, crowd photography dominated the local press rather than the scenes of combat and barricades that marked coverage in Paris and elsewhere. This article shows how crowd photography contributed to a common construction of republicanism across the Toulouse press and exhibitions. It argues that the circulation of these images not only communicated the message that the “people” were once again sovereign, but also implied that these populations had been instrumental in their liberation, thereby contributing to the mythology of “la France résistante.” Editors mobilized crowd photography to convey to viewers the importance of adopting their republican roles at a time of community reconstruction. Reading the photography of the Liberation of Toulouse reveals that while photographic messaging in Liberation France varied in line with local circumstances, it nonetheless played a potent role in contributing to democratic resurgence.
30
Neto, Pedro Leão. "Visual Spaces of Change: Self-reflection on Architecture and Urban Change Through Photography". Journal of Design Studio 4, n. 2 (20 dicembre 2022): 293–15. http://dx.doi.org/10.46474/jds.1208215.
Testo completoAbstract (sommario):
This paper synthetizes theoretical aspects of photography related to architecture, city and territory, as well as the case studies coming from the research project Visual Spaces of Change, focusing on the use of photography to investigate the dynamics of architecture and urban change. The project proposed to engage researchers and artists from the fields of architecture, art and image in the creation of visual narratives that promote public debates and a new understanding on urban change. The methodological framework adopted an integrative approach regarding Architecture, City and Territory integrating a series of open talks, public presentations and exhibitions of contemporary photography projects related to the subjects of Architecture, City and Territory during the years of 2019 and 2020 on several public spaces of Oporto City. A pedagogical experiment was also taken that builds up on previous research and had as base the several impressions from the students collected through quantitative and qualitative survey. The potential of visual methods for communicating the identity and transformation of architectures and public spaces are made clear through the discussion of photography (including its uses, methods and approaches) as a valuable research tool and technique to disseminate architecture and public space problematics in contemporary cities. The paper presents the results of the qualitative survey made to the audience of four site-specific exhibitions comprehending visual narratives produced in the context of the research project, as well as the survey made to students of Architecture from third year (1ºcycle) in the Faculty of Architecture of University of Porto (FAUP).
31
Blos-Jáni, Melinda. "The Visibility of a City in the Interwar Period. Scopic Regimes in the Photographs of Lajos Orbán (1897–1972) From Cluj". Studia Universitatis Babeș-Bolyai Historia Artium 68 (30 dicembre 2023): 141–64. http://dx.doi.org/10.24193/subbhistart.2023.06.
Testo completoAbstract (sommario):
The Visibility of a City in the Interwar Period. Scopic Regimes in the Photographs of Lajos Orbán (1897–1972) from Cluj. Lajos Orbán was an amateur photographer, whose main body of work was produced starting from the 1920s when he became the employee of a local shop specialized in photographic equipment and member in local photographic societies, e.g. the Tessar Bowling Society. His photographs were displayed at international photo exhibitions, but he was organising regional photo contests and exhibitions as well. His photographs show the influence of the pictorialist photography, but traces of modernism or the new objectivism are present as well. These pictures became archival documents, and they are also important resources to the visual culture of Transylvania, the visual literacy of the people living in the interwar years. The paper offers an in depth analysis of the scopic regimes detectable in the photographic heritage of Lajos Orbán based on the ways human figures and spatial relations are represented in his pictures. Keywords: amateur photography, visual culture, urban life, “flâneur”, scopic regime, landscape, human figures
32
McKellar, Erin. "Designing the Child’s World: Ernö Goldfinger and the Role of the Architect, 1933–1946". Journal of Design History 33, n. 1 (24 maggio 2019): 50–65. http://dx.doi.org/10.1093/jdh/epz024.
Testo completoAbstract (sommario):
Abstract Before Hungarian-born British architect Ernö Goldfinger became known for designing large-scale urban housing and office developments, he built a reputation designing toys, furnishings, interiors and exhibitions for and about children. Focussing on these projects, this article investigates how the architect sought to create a lasting audience for modern architecture by teaching children how to navigate the world independently. By looking at these projects, it is also possible to see how Goldfinger, and other architects, have bridged disciplinary categories by encompassing aspects of industrial, interior, urban and graphic design as part of a broad definition of architecture.
33
Kobylińska-Bunsch, Weronika. "The Post-War History of Pictorialism as Exemplifi ed by Exhibitions at the Zachęta and the Kordegarda (1953–1970)". Ikonotheka 26 (26 giugno 2017): 193–212. http://dx.doi.org/10.5604/01.3001.0010.1678.
Testo completoAbstract (sommario):
Existing academic works examining Polish artistic photography in the 1950s and 1960s are most often based on an analysis of the debates taking place within professional circles and the views of specifi c artists as expressed in the specialist periodicals that were published at that time. Such diagnoses are frequently based on a single and very particular source, namely the monthly magazine Fotografi a. The pages of this periodical project an image of an artistic society enjoying a relatively high degree of autonomy. The present study represents a different research approach, inspired e.g. by the works of Bruce Altshuler and Kenneth Luckhurst, who postulated the re-orientation of art history away from biographical works focused on the individual subject towards a discipline understood as the history of exhibitions. Following the course set by these scholars, one may come to the conclusion that an analysis of the place which photography held in the offi cial exhibition strategy implemented in the 1950s and 1960s in the prestigious Warsaw galleries of the Kordegarda and the Central Bureau of Art Exhibitions (CBWA) may provide an interesting and new contribution to the current state of research. A study based on an examination of the history of exhibitions may help to answer the question whether all forms of photography were equally approved by the authorities at a time when the rules of the cultural policy of the People’s Republic of Poland became more lenient. It also makes it possible to evaluate the degree to which autonomy and heterogeneity (features which may be associated with the magazine Fotografi a) were legitimised through presentation in a state-owned, politicised public space. Conducted from the perspective of exhibition history, the analysis presented herein makes an important shift in the signifi cance of Pictorialism – from a topic on the margins of academic interest to a harbinger of modernity, and thus a central subject in the discourse on Polish photography in the post-war period. Rather surprisingly, it appears to be the slogan that legitimised the more innovative and modern forms of photographic art in the offi cial contexts of the day.
34
Wójcik, Agata. "Projekty wnętrz i mebli zaprezentowane na „wystawie Architektury i wnętrz w otoczeniu ogrodowem” w Krakowie w 1912 roku". Roczniki Humanistyczne 67, n. 4 (4 luglio 2019): 109. http://dx.doi.org/10.18290/rh.2019.67.4-4.
Testo completoAbstract (sommario):
The aim of this study is to analyze the architecture of residential interiors and furniture making presented at the exhibition in 1912, to indicate the sources of inspiration for designers and to place them in the context of foreign furniture making. The sources of information were the exhibition catalog, press articles, and the archival materials stored in the National Archives in Krakow that had not been used so far, as well as photographs from the collections of the Print Room of the Academy of Fine Arts in Krakow and the Museum of the Jagiellonian University.The interiors and furniture presented by the artists from the society for Polish applied arts (TPSS) at the Krakow exhibition in 1912 perfectly matched the trends prevailing in designing around 1910. How far they were from the curvy-line Art Nouveau. The designers consciously and creatively used their native tradition, especially the furniture making of the Biedermeier period and folk art. On the one hand, Polish artists drew from the architecture of manor interiors, and on the other they were close to the inspiration of an English home. Their projects can be compared with the works of Austrian artists from the circle of the Vienna Workshop and German artists associated with the Deutscher Werkbund. They were a harbinger of simplified, geometrized, folk-inspired, influencing the beauty of the material, Polish furniture of the interwar period. The equipment for the house of a worker and a craftsman being an example of cheap furniture was characterized by solidity, modesty, operating with economical, but noble forms, inspired by folk ornamentation. They were the beginning of attempts by Polish designers to create minimalist, functional, solid and cheap equipment that were continued in the interwar period.
35
Lehmuskallio, Asko, Jukka Hӓkkinen e Janne Seppӓnen. "Photorealistic computer-generated images are difficult to distinguish from digital photographs: a case study with professional photographers and photo-editors". Visual Communication 18, n. 4 (4 marzo 2018): 427–51. http://dx.doi.org/10.1177/1470357218759809.
Testo completoAbstract (sommario):
There are strict guidelines on photoediting in newsrooms and serious professional repercussions for any failure to adhere to them, while computer-generated imagery is increasingly used in other areas of visual communication. This article presents empirical research on the ability of professional photographers and editors to distinguish photographs from photorealistic computer-generated images by looking at them on a screen. The results show clearly that those studied ( N = 20) are unable to distinguish one from another, suggesting that it is increasingly difficult to make this distinction, particularly since most viewers are not as experienced in photography as those studied. Interestingly, the participants continue to share a conventional understanding of photography that is not in line with current developments in digital photography and digital image rendering. Based on their findings, the authors suggest there is a need for developing a particular visual literacy that understands the computational in digital photography and grounds the use of digital photography among particular communities of practice. When seeing photographs on screens, journals, exhibitions, or newspapers, viewers might actually be looking at computer-generated simulations, and vice versa.
36
Ben-Choreen, Tal-Or K. "Emergence of Fine Art Photography in Israel in the 1970s to the 1990s Through Pedagogical and Social Links with the United States". Contemporary Review of the Middle East 6, n. 3-4 (settembre 2019): 252–65. http://dx.doi.org/10.1177/2347798919872588.
Testo completoAbstract (sommario):
The flourishing of photography as a tool for expressive reportage and artistic practice transformed photographic education during the mid-twentieth century. American-based academic institutions quickly established reputations in the emerging fine art field as leaders in photographic education drawing international students from diverse locations, including Israel. Many Israelis who studied photography in American institutions returned to Israel bringing with them the knowledge they had gained while abroad. This article considers the impact of American pedagogical models and social networks on the development of the Israeli photographic field. Included in this discussion is an exploration of the emergence of Israeli photography programs in institutions of higher education, photography galleries, museum collections, and exhibitions. By approaching the study through a network methodological approach, this article traces the transnational movements of individuals: photographers, program graduates, and curators in order to demonstrate the significant impact American photographic education had on the emerging Israeli photographic field.
37
Botar, Oliver A. I. "László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany". Science in Context 17, n. 4 (dicembre 2004): 525–56. http://dx.doi.org/10.1017/s0269889704000250.
Testo completoAbstract (sommario):
ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “biocentrism,” the early twentieth-century worldview that can be described as Naturromantik updated by biologism. His key inspiration in this regard was one of the most important figures of biocentrism, the biologist and popular scientific writer Raoul Heinrich Francé, and his conception of Biotechnik [bionics], in which he proposed that all human technologies are based in natural technologies.The biological, pure and simple, taken as the guide.– Moholy-Nagy (1938, 198)
38
Bishop, Claire. "Black Box, White Cube, Gray Zone: Dance Exhibitions and Audience Attention". TDR/The Drama Review 62, n. 2 (giugno 2018): 22–42. http://dx.doi.org/10.1162/dram_a_00746.
Testo completoAbstract (sommario):
Relocated from the “black box” of experimental theatre to the “white cube” of the gallery, dance in the museum brings about new forms of performance — the dance exhibition — and new protocols of audience behavior that permit, even encourage, smartphone photography. This is the “gray zone” of recent performance, which is both a symptom of, and compensation for, the virtualization of contemporary perception.
39
Grzybkowska, Teresa. "PROFESSOR ZDZISŁAW ŻYGULSKI JR.: AN OUTSTANDING PERSON, A GREAT PERSONALITY, A MUSEUM PROFESSIONAL, A RESEARCHER ON ANTIQUE WEAPONS, ORIENTAL ART AND EUROPEAN PAINTING (1921–2015)". Muzealnictwo 58, n. 1 (13 febbraio 2017): 2–13. http://dx.doi.org/10.5604/01.3001.0009.5602.
Testo completoAbstract (sommario):
Professor Zdzisław Żygulski Jr. (1921–2015) was one of the most prominent Polish art historians of the second half of the 20th century. He treated the history of art as a broadly understood science of mankind and his artistic achievements. His name was recognised in global research on antique weapons, and among experts on Rembrandt and Leonardo da Vinci. He studied museums and Oriental art. He wrote 35 books, about 200 articles, and numerous essays on art; he wrote for the daily press about his artistic journeys through Europe, Japan and the United States. He illustrated his publications with his own photographs, and had a large set of slides. Żygulski created many exhibitions both at home and abroad presenting Polish art in which armour and oriental elements played an important role. He spent his youth in Lvov, and was expatriated to Cracow in 1945 together with his wife, the pottery artist and painter Eva Voelpel. He studied English philology and history of art at the Jagiellonian University (UJ), and was a student under Adam Bochnak and Vojeslav Molè. He was linked to the Czartoryski Museum in Cracow for his whole life; he worked there from 1949 until 2010, for the great majority of time as curator of the Arms and Armour Section. He devoted his whole life to the world of this museum, and wrote about its history and collections. Together with Prof. Zbigniew Bocheński, he set up the Association of Lovers of Old Armour and Flags, over which he presided from 1972 to 1998. He set up the Polish school of the study of militaria. He was a renowned and charismatic member of the circle of international researchers and lovers of militaria. He wrote the key texts in this field: Broń w dawnej Polsce na tle uzbrojenia Europy i Bliskiego Wschodu [Weapons in old Poland compared to armaments in Europe and the Near East], Stara broń w polskich zbiorach [Old weapons in Polish armouries], Polski mundur wojskowy [Polish military uniforms] (together with H. Wielecki). He was an outstanding researcher on Oriental art to which he dedicated several books: Sztuka turecka [Turkish art], Sztuka perska [Persian art], Sztuka mauretańska i jej echa w Polsce [Moorish art and its echoes in Poland]. Prof. Zdzisław Żygulski Jr. was a prominent educator who enjoyed great respect. He taught costume design and the history of art and interiors at the Academy of Fine Arts in Cracow, as well as Mediterranean culture at the Mediterranean Studies Department and at the Postgraduate Museum Studies at the UJ. His lectures attracted crowds of students, for whose needs he wrote a book Muzea na świecie. Wstęp do muzealnictwa [Museums in the world. Introduction to museum studies]. He also lectured at the Florence Academy of Art and at the New York University. He was active in numerous Polish scientific organisations such as PAU, PAN and SHS, and in international associations such as ICOMAM and ICOM. He represented Polish art history at general ICOM congresses many times. He was also active on diverse museum councils all over Poland.
40
Licul, Nina. "Teachers’ Views on the Use of Photography in Teaching Arts in Croatian Primary Schools". Center for Educational Policy Studies Journal 10, n. 4 (22 dicembre 2020): 187–205. http://dx.doi.org/10.26529/cepsj.909.
Testo completoAbstract (sommario):
Contemporary art education relies on the use of diverse methods, approaches, art techniques, and technologies. Although photography is part of daily visual communication and gallery exhibitions, there is no structured approach to photography as a medium for learning the arts in Croatian primary schools. The objectives of the quantitative study were to determine art teachers’ views on (1) their knowledge about photography, (2) their abilities in using photography in art teaching, (3) obstacles to using photography in art teaching, and (4) the importance of photography in students’ visual culture. Regarding the fourth objective, we wanted to examine possible differences in terms of the teachers’ gender, age, and length of service. A survey was conducted with 112 teachers who teach arts in 5th to 8th grades in 17 Croatian counties. The results of the descriptive statistics were supplemented with a qualitative analysis of the teachers’ responses in the questionnaire. The results show that the teachers perceive their knowledge about photography obtained by formal education as average, but they assess their abilities to apply photography in their lessons as slightly better. The main problem, in their view, is a low number of art lessons in the Croatian curriculum. The teachers generally agree that photography is very important in a student’s visual culture, regardless of the teachers’ gender, age. and years of service. These findings indicate the need to place greater emphasis on photography as an artistic medium in primary school, as it may generate new visual knowledge and artistic skills.
41
Polyakov, E. N., e T. V. Donchuk. "SCOTTISH MODERN IN DESIGN WORKS OF C.R. MACKINTOSH AND M. MACDONALD". Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture, n. 5 (30 ottobre 2018): 9–34. http://dx.doi.org/10.31675/1607-1859-2018-20-5-9-34.
Testo completoAbstract (sommario):
The article is devoted to the creative heritage of Charles Rennie Mackintosh (1868–1928), the outstanding Scottish architect and Margaret MacDonald Macintosh (1865–1933), his wife, an artist-designer. Their life and main character traits which predetermined the choice of their future profession are considered. A brief overview is given to the main stages of their professional development. In the Glasgow School of arts they organized the famous creative group „The Four‟ which created a unique Glasgow style. They participated in international exhibitions of Art Nouvea, engaged in successful architectural and design practice including the development of unique geometrical pictures and Macintosh style furniture, floral and landscape paintings. The paper describes the tragic end of their creative career, departure from Glasgow, posthumous rehabilitation and international recognition. Their style preferences in the world architecture and design are shown as well specific features of their unique style. The articlepresents three of the most famous design projects of the Macintosh spouses made in the tradition of Glasgow style. Here belong interiors of Cranston tea rooms, Hill House in Helensburgh, Scotland and Bassett-Lowke Northampton house. At present, many Macintoshes works are successfully restored, their museums and exhibitions are organized.
42
Angus, Siobhan. "Atomic Ecology". October, n. 179 (2022): 110–31. http://dx.doi.org/10.1162/octo_a_00450.
Testo completoAbstract (sommario):
Abstract Susanne Kriemann's Pechblende explores the material histories and visual (im)possibilities of uranium. Through a focus on the materiality of uranium, the article explores how the medium of photography is entangled with atomic histories by focusing on a series of exhibitions that explore the histories of photography, mining, and the damage slowly wrought by environmental change. While the violence of uranium exposure eludes vision, atomic light materially challenges the boundaries of the visible and the invisible, most tangibly shown in X-rays and autoradiographs, the camera-less exposures “taken” by uranium. Reading Kriemann's work through an eco-critical lens that centers environmental justice and labor, I explore the role of photography and the archive in the Anthropocene. Kriemann's counter-archival photographic practice draws attention to the socio-ecological costs of resource extraction while probing the limits of the visible. The materiality of the climate crisis necessitates thinking about materials—and the tangible consequences of their use—alongside questions of representation.
43
D’Ambrosio, Mariangela, Simona Palladino e Paola Mitra. "Welfare in-between artistic expressions and communities: Deanna Dikeman's exhibition "Leaving and Waving"". WELFARE E ERGONOMIA 9, n. 1 (agosto 2023): 75–86. http://dx.doi.org/10.3280/we2023-001006.
Testo completoAbstract (sommario):
With the intention to investigate the role of photography in addressing social issues and the function that exhibitions play as an engine of collective action, the research focuses on the analysis of Deanna Dikeman's exhibition Leaving and Waving. The photo reportage of nintyeight photographs was conducted over twentyseven years, through which the artist portrayed her parents at the moment of saying goodbye. This is a creative way that captures ageing, death, family bonds, generational relationships, greetings. The study was conducted by administering semi-structured anonymous questionnaires to visitors of three exhibitions in Italy (Campobasso, Rome, Verona) from February until June 2022. The study addresses the role of new social practices and associations, considering family ties in relational and socio-relational Welfare. The social as such is intended strategically to promote individual and collective well-being through artistic expression.
44
Yurgeneva, A. L. "Comic Images in Lithuanian Photography and Graphics of the 1970s-1980s". Art & Culture Studies, n. 1 (marzo 2024): 350–81. http://dx.doi.org/10.51678/2226-0072-2024-1-350-381.
Testo completoAbstract (sommario):
The article analyses the material of a series of comic photography exhibitions held from 1973 to 1981 in Vilnius. The author of the article considers the phenomenon of the interaction between Lithuanian photography and caricature in the context of Soviet culture and reveals the similarities and differences in the approaches to creating a comic effect emerging from documentary images. Comic photography demonstrates the ability to detect the unpredictable, standing out against the stable concepts of everyday life, or to see irrational signs accompanying a person in life. A drawing is born on a blank sheet; like a photograph, it is based on a real fact but has the freedom of interpretation in time and space, in building projections. It is emphasized that from the point of view of the audience’s reception, in a photo the very moment of shifting meanings is present, while in a caricature this stage is already overcome and the audience sees the result. For the artistic culture of the Soviet period, it was important to move away from standard thinking and applied purpose. This was especially significant for caricature and photography, which for a long time were in the service of ideology.
45
Skrejko, Magdalena. "WŁADYSŁAW KLIMCZAK (1923–2021), NAMELY PERSISTENCE IN ACHIEVING GOALS". Muzealnictwo 62 (17 giugno 2021): 111–14. http://dx.doi.org/10.5604/01.3001.0014.9466.
Testo completoAbstract (sommario):
The protagonist of the paper is Władysław Klimczak, a long-standing President of the Cracow Photographic Association as well as the founder and the first director of Cracow’s Museum of History of Photography. The portrait of W. Klimczak is outlined: a controversial individual of a clear-cut personality, eccentric, dynamic and hard-working, he was nevertheless extremely professional in his activities. The documentary exhibitions as well as the ‘Venus’ controversial ones mounted and curated by Władysław Klimczak are discussed.
46
Bialokur, Nicolae Gothard. "Exposiciones de artes marciales asiáticas en el castillo suizo de Morges". Revista de Artes Marciales Asiáticas 3, n. 3 (19 luglio 2012): 68. http://dx.doi.org/10.18002/rama.v3i3.378.
Testo completoAbstract (sommario):
<p class="MsoNormal" style="text-align: justify; margin: 0cm 0cm 6pt;"><span style="mso-ansi-language: EN-US;" lang="EN-US"><span style="font-size: small;"><span style="font-family: Calibri;">This article reports on two unique cultural exhibitions (2005 and 2007) held in Morges, Switzerland. The main theme for these exhibitions was Asian martial arts with a focus on those from Japan, including presentations by notable masters in aikido, karate, judo, kyudo, iaido, kenjutsu, jodo, juttejutsu, kusarigamajutsu, naginatajutsu, tameshigiri, and kendo. On exhibit were artifacts from Morges Castle museum collections as well as numerous ancient objects borrowed specifically for these exhibitions from other Swiss museums and private collections. There was also a lecture on Japanese sword collecting and care, and presentations of Japanese dance, flower arranging (ikebana), the art of tea (châ no yu, châdo), paper folding (origami), traditional kimono dress, and detailed demonstrations on the manufacture of bladed weapons. Text and photography were arranged to record these events for this article, showing how excellent organization and cooperation can introduce high-quality martial traditions to the public.</span></span></span></p>
47
Brickell, Katherine. "Home interiors, national identity and curatorial practice in the art photography of Simryn Gill". cultural geographies 21, n. 3 (13 maggio 2013): 525–32. http://dx.doi.org/10.1177/1474474013487486.
Testo completo
48
Weatherwax, Sarah J. "Making Culture Visible: Photography and Its Diplay at Industrial Fairs, International Exhibitions, and Institutional Exhibitions in the U.S., 1847-1900 (review)". Technology and Culture 43, n. 4 (2002): 833–35. http://dx.doi.org/10.1353/tech.2002.0190.
Testo completo
49
Sandbye, Mette. "Fotografiet som dokument". Periskop – Forum for kunsthistorisk debat, n. 31 (13 giugno 2024): 32–47. http://dx.doi.org/10.7146/periskop.v2024i31.146565.
Testo completoAbstract (sommario):
Departing from John Roberts’ notion of “the social ontology of photography”, I discuss how recent research and theories about photography in an expanded field have interacted with contemporary art’s use of photography in recent years, especially in an intersection between documentary and art, and especially among artists working with more or less political topics such as migration and the postcolonial. It is photography beyond “the politics of representation” in the sense that it is not about problematizing photography’s relationship to reality, but rather about actively using the medium as a social encounter and making hitherto unseen, sometimes personal and memory-based, material from the “archive” visible. Common to many of these recent works is that they incorporate several forms of photography and photographic archive material in an effort to convey, revitalize and possibly also criticize various historical issues, here linked to Danish colonialism and migration. Whereas Danish art institutions historically have had problems including documentary practices, they have embraced these new “mixed” forms more recently. In 2022/2023, three exhibitions at Copenhagen art institutions brought such practices into focus, and the article is based on examples of the use of photography in them: Moments in Greenland with Inuuteq Storch (with John Møller) and Teit Jørgensen at Nordatlantens Brygge, Tina Enghoff 's Displaced at the Royal Danish Library, and Vladimir Tomić’s and Ana Pavlović’s works in the group exhibition Connections — Danish artists from Ex-Yugoslavia at The National Gallery of Denmark.
50
Martínez, Miriam Velázquez. "The Franz Mayer Collection and the Rogerio Casas-Alatriste H. Library". Art Libraries Journal 37, n. 4 (2012): 27–30. http://dx.doi.org/10.1017/s0307472200017715.
Testo completoAbstract (sommario):
The existence of the Franz Mayer Museum is due to the German philanthropist and naturalized Mexican, Franz Gabriel Mayer Traumann Altschul (1882-1975), who bequeathed to the Mexican people his library and decorative arts collection. Considered the most important of its kind in the country, it includes works from the 16th through the 19th centuries, from America, Europe and Asia. It is located in Mexico City, in a building dating from the second half of the 16th century, and celebrated its 25th anniversary in 2011. The Library, which is open to researchers, is currently made up of around 22,000 volumes, and specializes in decorative arts and the history of Mexico in the 19th century, among other subjects. As well as displaying the Mayer Collection the Museum also presents temporary exhibitions on decorative arts, contemporary design and photography, while the library holds two exhibitions a year highlighting the bibliographic collections.