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Artykuły w czasopismach na temat "Photographic criticism"
Foa, Michelle. "Textual Inhibitions: Photographic Criticism in Late Victorian Britain". History of Photography 36, nr 1 (luty 2012): 33–43. http://dx.doi.org/10.1080/03087298.2011.606724.
Pełny tekst źródłaHumm, Maggie. "Virginia Woolf and photography". Comunicação e Sociedade 32 (29.12.2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.
Pełny tekst źródłaVan der Vlies, Andrew. "Constellated in a flash: on the dialectics of seeing (beyond stasis) in Zoë Wicomb’s work". English in Africa 49, nr 2 (4.11.2022): 7–25. http://dx.doi.org/10.4314/eia.v49i2.1.
Pełny tekst źródłaGraziano, Maítha Elena Tosta, i Maria Leandra Bizello. "Os documentos fotográficos na perspectiva Teórico-metodológica da Diplomática um estudo da Fundação Fernando Henrique Cardoso". Páginas a&b Arquivos & Bibliotecas 17 (2022): 116–30. http://dx.doi.org/10.21747/21836671/pag17a7.
Pełny tekst źródłaGeurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'". Aesthetic Investigations 1, nr 1 (16.07.2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.
Pełny tekst źródłaKovach, Jodi. "Architectural Ruins and Urban Imaginaries: Carlos Garaicoa’s Images of Havana". Contemporaneity: Historical Presence in Visual Culture 5 (30.11.2016): 72–84. http://dx.doi.org/10.5195/contemp.2016.130.
Pełny tekst źródłaCocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, nr 2 (1.07.2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.
Pełny tekst źródłaClayton, Owen. "London Eyes: William Dean Howells and the Shift to Instant Photography". Nineteenth-Century Literature 65, nr 3 (1.12.2010): 374–94. http://dx.doi.org/10.1525/ncl.2010.65.3.374.
Pełny tekst źródłaJosiah Mosely, Michael. "Another Look at Heideggerian Cinema: Cinematic Excess, Antonioni's Dead Time and the Film-Photographic Image as Copy". Film-Philosophy 22, nr 3 (październik 2018): 364–83. http://dx.doi.org/10.3366/film.2018.0085.
Pełny tekst źródłaSzerszeń, Tomasz. "Konstruowanie atlasu. Surrealizm - fotografia - Reprodukcja". Artium Quaestiones, nr 33 (30.12.2022): 163–81. http://dx.doi.org/10.14746/aq.2022.33.7.
Pełny tekst źródłaRozprawy doktorskie na temat "Photographic criticism"
Alexander, Stuart. "THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS"". Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/277059.
Pełny tekst źródłaPettibone, John M. "Deconstructing the deconstructors : the politics of anti-photographic criticism (a metacritical analysis) /". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487325740719321.
Pełny tekst źródłaMaree, Christine Fae. "That-has-been a discussion on the body cast as that which fixes a subject in time, in relation to notions surrounding the photograph". Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002208.
Pełny tekst źródłaBradley, Alex Cilla. "The photographic other: Paradox in the cathexis of longing". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2054.
Pełny tekst źródłaCooper, Julie A. "Changing the Traditional High School Photography Curriculum: Integrating Traditional and Digital Technologies". Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/68.
Pełny tekst źródłaSchoenwandt, Jeanne Marie. "Toward a feminist 'third space' : photographic 'sites' of cultural transformation". Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37725.
Pełny tekst źródłaWong, Ka-fai. "The problems of visual discourse : a study of the politics of representation with special reference to the photographic image /". [Hong Kong : University of Hong Kong], 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12380519.
Pełny tekst źródłaScheffknecht, 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.
Pełny tekst źródłaMendes, Talita 1985. "Rosângela Rennó = fotografia, deslocamentos e desaparição na arte contemporânea brasileira = Rosângela Rennó: photography, displacements and disappearance in brazilian contemporary art". [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285257.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T11:13:41Z (GMT). No. of bitstreams: 1 Mendes_Talita_M.pdf: 6181643 bytes, checksum: 13de2f327820836fe396de02355bc780 (MD5) Previous issue date: 2014
Resumo: Esta pesquisa tem por objeto a análise de três instalações realizadas pela artista brasileira Rosângela Rennó ¿ a saber: Imemorial (1994-1995), In Oblivionem (1994-1995) e Hipocampo (1995) ¿ com o propósito de compreender as investigações da artista em torno da imagem fotográfica e das implicações de seu uso no que concerne aos conceitos de memória, deslocamento e estética da desaparição na arte contemporânea. Além das citadas obras deve-se considerar, para efeito analítico, o work in progress da artista, seu Arquivo Universal (desde 1992), por se tratar de coleção pessoal de notícias de jornal que, frequentemente, é revisitada para a elaboração das obras. Fundamental para a pesquisa é a análise do posicionamento de Rennó enquanto colecionadora de ruínas (fotografias descartadas e outros resíduos culturais), de modo a problematizar a tensão existente entre duas formas de coleção que implicam maneiras diferentes de lidar com o tempo e a história: têm-se a dimensão singular e afetiva das coleções da artista como uma prática da memória ¿ fragmentária por excelência ¿ e a organização de suas instalações nos espaços destinados às exposições de arte (galerias e museus), em que prevalece o discurso pautado na linearidade histórica. O papel da artista, que é discutido na pesquisa, coincide, a meu ver, com o contratipo positivo do colecionador, definido por Walter Benjamin como aquele que descarta a função utilitária dos objetos ligando o ato de colecionar a uma percepção dialética do tempo, não linear. A este posicionamento da artista está associado o conceito de desaparição do teórico da cultura e urbanista Paul Virilio, importante para a análise das manipulações que Rosângela Rennó exerce nas imagens das quais se apropria
Abstract: In this research were analyzed three installations made by the Brazilian artist Rosângela Rennó ¿ Imemorial (1994-1995), In Oblivionem (1994-1995) and Hipocampo (1995) ¿ aiming to understand the artist's investigations about the photographic image and the implication of its uses when related to memory, displacement and aesthetics of disappearance concepts in contemporary art. Besides the mentioned works, the artist's work in progress Arquivo Universal (since 1992) is also considered in the analysis, once it consists in her personal collection of news articles which are usually consulted during the conception of her works. It¿s fundamental for this research the analysis of Rennó's position as a collector of ruins (wasted photos and other cultural remains) to problematize the tension between the two types of collection, which mean different ways to deal with time and history: there is the unique and affectionate dimension of the artist's collection as a memory practice ¿ fragmentary par excellence ¿ and the organization of her installations in spaces for art expositions (galleries and museums), where the historical linear discourse is predominant. The role of the artist, which is discussed during this research, coincides with the positive countertype of the collector, defined by Walter Benjamin as the one who discards the utility functions of the objects, connecting the action of collecting to a nonlinear dialectical perception of time. The artist's position is related to the disappearance concept thought by the cultural theorist and urbanist Paul Virilio, important for the analysis of the alterations Rosângela Rennó does in the images she appropriates
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Artes Visuais
Mestra em Artes Visuais
Rowe, Michelle. "A hermeneutical approach to creative perception as an element in photography". Thesis, [Bloemfontein?] : Central University of Technology, Free State, 2011. http://hdl.handle.net/11462/150.
Pełny tekst źródłaThe purpose of the study is to mitigate the restrictions of ocularcentrism by employing an interactive hermeneutical approach to the creation and interpretation of the implied meanings in a photograph. The principles of hermeneutic phenomenology are applied to outline the putative strengths and weaknesses associated with ocularcentrism as applied to photography and to attempt to illustrate how the proposed model of aesthetic participation may overcome these weaknesses. The literature review shows that ocularcentrism is a mode of perception concerned with a one-sided preference to sight over the other senses and may limit photographers and perceivers to create or interpret meaning in a photograph solely on what they see. Concerning ocularcentrism, it is not the art object alone, but the self-centred worldviews of the photographer and perceiver that limit the basis for the development of an interactive aesthetic experience. The photographer who successfully challenges the ocularcentric worldviews of perceivers in the world of the work succeeds in initiating participation between all the coordinates of the proposed interactive hermeneutical model of aesthetic participation. Interactivity between the coordinates artist, perceiver, artwork and worldviews is achieved through the application of creative strategies during the creation of photographs. These creative strategies may include facets that contradict consistency building, illusion building, defamiliarization, irony, the deliberate stimulation or frustration of a perceiver's interpretation and the use of a known theme placed within an unknown context with a view on challenging the ocularcentric perceptions of perceivers. The application of any combination of these strategies is the decision of the photographer, who applies them according to the imaginary embodiment of the photographer in the position of the perceiver. The photographs produced by the author for analysis in this study presents three images which elicit allegorical, figurative and esoterical forms of interpretation. Each step of the hermeneutic phenomenological process was carefully documented prior to the analysis and are presented in the hermeneutic phenomenological format in conjunction with the proposed interactive model of aesthetic participation. The main point that emerged from this study is that a hermeneutical approach to creative perception as an element in photography will give rise to interactive participation between all the coordinates of the proposed interactive hermeneutical model of aesthetic participation and thus ocularcentric restrictions may be overcome by photographers and perceivers by employing an interactive hermeneutical approach when creating as well as interpreting the implied meanings in a photograph.
Książki na temat "Photographic criticism"
Coleman, A. D. Light readings: A photography critic's writings, 1968-1978. Wyd. 2. Albuquerque: University of New Mexico Press, 1998.
Znajdź pełny tekst źródłaDas subjektive Bild: Texte zur Kunstphotographie um 1900. München: Wilhelm Fink, 2012.
Znajdź pełny tekst źródłaHugunin, James Richard. Understanding the effect that photographs have on us: Case studies in photographic criticism. Lewiston, N.Y: Edwin Mellen Press, 2012.
Znajdź pełny tekst źródłaHugunin, James Richard. Understanding the effect that photographs have on us: Case studies in photographic criticism. Lewiston, N.Y: Edwin Mellen Press, 2012.
Znajdź pełny tekst źródłaBill, Jay, i Allen Dana, red. Critics, 1840-1880. [Phoenix?]: Arizona Board of Regents, 1985.
Znajdź pełny tekst źródłaBilder, leicht verschoben: Zur Veränderung der Fotografie in den Medien. Zürich: Limmat-Verlag, 2009.
Znajdź pełny tekst źródłaPhotography and its critics: A cultural history, 1839-1900. Cambridge, U.K: Cambridge University Press, 1997.
Znajdź pełny tekst źródłaAlka, Pande, red. Dancescapes: A photographic journey. New Delhi, India: Showcase, 2013.
Znajdź pełny tekst źródłaWarhol: A personal photographic memoir. New York: New American Library, 1989.
Znajdź pełny tekst źródłaLuc, Sante, Muniz Vik i Independent Curators Incorporated, red. Making it real: A traveling exhibition. New York, N.Y: Independent Curators Incorporated, 1997.
Znajdź pełny tekst źródłaCzęści książek na temat "Photographic criticism"
Barrett, Terry. "About art criticism". W Criticizing Photographs, 1–13. Sixth edition. | New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003085126-1.
Pełny tekst źródłaCostello, Diarmuid. "Transparency and its critics". W On Photography, 102–40. 1 [edition]. | New York : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315266688-4.
Pełny tekst źródłaCostello, Diarmuid. "Aesthetic scepticism and its critics". W On Photography, 52–101. 1 [edition]. | New York : Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315266688-3.
Pełny tekst źródłaTagg, John. "Totalled Machines: Criticism, Photography and Technological Change". W Grounds of Dispute, 115–33. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-21917-9_7.
Pełny tekst źródłaWaterman, Sally. "Staging Sermon". W Advances in Media, Entertainment, and the Arts, 59–81. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-5337-7.ch003.
Pełny tekst źródłaMitchell, J. Lawrence. "Appearances Matter: Katherine Mansfield and the Photographic Record". W Katherine Mansfield and Children, 178–90. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474491907.003.0014.
Pełny tekst źródłaConcilio, Carmen. "‘Following’ Teju Cole’s ‘Black Portraitures’ On Zigzagging Between (Digital) Literature, Photography, Art History, Music and Much More…". W Postcolonial Publics: Art and Citizen Media in Europe. Venice: Fondazione Università Ca’ Foscari, 2023. http://dx.doi.org/10.30687/978-88-6969-677-0/016.
Pełny tekst źródłaNannicelli, Ted. "Photography". W Artistic Creation and Ethical Criticism, 71–102. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197507247.003.0004.
Pełny tekst źródłaSAMPSON, G. "Histories, Theories, Criticism". W The Focal Encyclopedia of Photography, 227–34. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80740-9.50025-8.
Pełny tekst źródłaDonoso Macaya, Ángeles. "Introduction". W The Insubordination of Photography, 1–34. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401117.003.0001.
Pełny tekst źródłaStreszczenia konferencji na temat "Photographic criticism"
Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography". W LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.
Pełny tekst źródłaBriandana, Rizki, i Dini Ari Mukti. "Understanding Photography Representation: Humanism and Social Criticism in Social Media". W Proceedings of the International Conference on Psychology and Communication 2018 (ICPC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icpc-18.2019.13.
Pełny tekst źródłaLaurentiz, Silvia. "Realities Research Group: 10 years of studies in art-technology". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.130.
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