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Artigos de revistas sobre o assunto "Artistic photographers"
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Swensen, James R. "New cartographics: Photography and the artistic mapping of the American West, 1969‐79". European Journal of American Culture 39, n.º 1 (1 de março de 2020): 83–104. http://dx.doi.org/10.1386/ejac_00012_1.
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This article examines the work of a diverse group of photographers who in the late 1960s and 1970s employed mapping techniques and devices as a means of artistic creation. Products of photography’s unprecedented growth, photographers John Pfahl, Michael Bishop, Kenneth Josephson and the participants of the Rephotographic Survey Project employed cartographic and topographic strategies as part of their exploration of the history of their medium and the American West. These artist-photographers, moreover, responded to the nineteenth-century surveys of the West as well as its relation to other, better-known contemporary movements like ‘New Topographics’. In all, this article provides the first exploration of this distinctive group of American photographers which may be collectively termed: ‘new cartographics’.
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Pfautsch, Anne. "Documentary Photography from the German Democratic Republic as a Substitute Public". Humanities 7, n.º 3 (10 de setembro de 2018): 88. http://dx.doi.org/10.3390/h7030088.
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This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photography, despite having had a different status to literature in the GDR, adopted similar traits and also functioned as part of a substitute public sphere. These photographers aimed to expose the existing gap between the propagandised and actual life under socialism. They embedded a moral and critical position in their photographs to comment on society and to incite debate. However, it was necessary for these debates to occur in the private sphere, so that artists and their audience would avoid state persecution. In this paper, I review Harald Hauswald’s series Everyday Life (1976–1990) to demonstrate how photographs enabled substitute discourses in visual ways. Hauswald is a representative of artistic documentary photography and although he was never published in the official GDR media, he was the first East German photographer to publish in renowned West German and European media outlets, such as GEO magazine and ZEITmagazin, before the reunification. In 1990, he founded the ‘Ostkreuz–Agency of Photographers’ with six other East German documentary photographers.
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Ekimov, Evgeniy P. "Foreign photographers in Siberia: photography as a mean of dehumanization". Neophilology, n.º 20 (2019): 566–73. http://dx.doi.org/10.20310/2587-6953-2019-5-20-566-573.
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This cultural research is the analysis of the foreign photographers’ activities in Siberia from the second half of the 19th century to the present time. We consider the issue of dehumanization of Russian society and culture by means of foreign photography. On the basis of real photographs published on the Internet, the author compiled a list of all Western photographers who visited Siberia and proved their destructive and countercultural, political, and non-artistic goals aimed at weakening the Russian state and Russian people dehumanization; we confirmed it by the final relevant foreign publications. Some research materials are documents of the State Archive of the Republic of Buryatia and are the first time in scientific discourse. Until now, researchers consid-ered the activities of foreign photographers in Eastern Siberia mainly in the specialty of history, exclusively as a source base positively. The novelty of this cultural research lies in the fact that foreign photography of Eastern Siberia is considered from the perspective of the tasks set for for-eign photographers by their foreign customers, as well as from aesthetic and artistic positions. Thus, we prove the negative nature of the foreign photographers’ activities in Eastern Siberia.
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Xue, Xinyi. "Photography in the Late Qing Dynasty: A Comparative Study". Journal of Education, Humanities and Social Sciences 8 (7 de fevereiro de 2023): 1–15. http://dx.doi.org/10.54097/ehss.v8i.4218.
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Photography was introduced to China in the early 1840s. The early Western photographers in China were mainly driven by artistic pursuit or curiosity of the Orient. This paper argues that the artistic value of photography was higher and the purpose of photography was simpler during the first years of its introduction to China than the late nineteenth century when photography was increasingly associated with colonialism. The situation of Western photography in China changed profoundly in the latter decades of the nineteenth century: photography began to serve colonialism, and photographers became accomplices of the colonizers. In addition, this paper also addresses the experience of Zou Boqi, the first Chinese photographer, who combined traditional Chinese knowledge with Western science and produced the first Chinese camera in 1844. Both Chinese and Western photography have evolved as the technology advanced over time. However, Chinese and Western photographers differed greatly in their techniques, motivations, and choices of subject.
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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology". Nordic Theatre Studies 26, n.º 2 (9 de setembro de 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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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918". Africa 57, n.º 4 (outubro de 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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Shik, I. A. "“Moscow Surrealism” by Mikhail Dashevsky". Art & Culture Studies, n.º 4 (dezembro de 2023): 152–81. http://dx.doi.org/10.51678/2226-0072-2023-4-152-181.
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In the article, the researcher analyzed the photographic heritage of the Moscow photographer M.A. Dashevsky presented in the book Native Retro. 1962–2002. Photo Saga (2020) through the prism of surrealist aesthetics, and draws parallels between his works and the works of foreign photographers connected with this art movement. Despite the fact that in Russia, surrealism as a separate trend was not fully represented, it is possible to reveal the elements close to its conceptual program in various types of Russian art of the 20th century. In his photographs, M.A. Dashevsky offered the author’s version of “surrealism” or, more precisely, a particular “Moscow surrealism”. It was formed in the context of both the photographer’s own poetics and the specifics of the development of Russian photography in general. Like many works by surrealist photographers, Dashevsky’s photographs can be read both as an authentic story about his era and as its subjective interpretation. The researcher reveals parallels between historical photographic surrealism and the works of Dashevsky at the levels of the choice of motives, conceptions and artistic techniques. Their common motives and themes include interest in monuments, mannequins, shop windows, cafes, antique shops, flea markets, images of picturesque destruction, and absurd situations. Among their general strategies it is important to mention the search for “paradoxical juxtapositions” generated by reality itself, the choice of an unusual angle of shooting, the work with inscriptions in the urban space, and the involvement of the viewer’s associative thinking. Dialectics of the real and the phantom, internal and external, public and private, which is close to surrealist aesthetics, endows the works of M.A. Dashevsky with semantic versatility. The photographer also actively uses the strategy of one reality penetrating into another, generating surreality, which is developed in his photographs of “glass life” and “overlays”. An integral part of the works by M.A. Dashevsky is the author’s humor — kind and lyrical or close to surrealistic black humor.
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Yaman, Hakan. "The Perception and Views of Photographers on Artistic Photography in Turkey". Harmonia: Journal of Arts Research and Education 18, n.º 1 (30 de agosto de 2018): 77–84. http://dx.doi.org/10.15294/harmonia.v18i1.14667.
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The purposes of this study are to know generally the perception and view of photographers on artistic photography in a purposeful sample in Turkey. Participants were purposefully selected (purposive sample) from the community of photographers because it would represent diverse photographers in Turkey. The survey included 19 questions and divided into three parts. Findings of our study revealed that most of the participants were at their middle-age, male, married, university graduates, private sector employed, DSLR users, amateur/ traveling-landscape-portrait photographers, and they shoot their photos to be happy, to document anything, and for spending time (Hobby). They mainly thought that photos should be taken for documentary reasons. The creativity is mainly dependent on perspective (or photographic seeing). Good photography could be achieved with good photographic technique, a good photo is relying on the influence to the spectator, photo critics/reading should be mainly based on technique, the most influential movement is realism, artistic photography will improve, photography in future will improve, and some are participating in photographic projects. The results show that good grounds exist in Turkey to shape artistic photography for the needs of the 21st century.
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Colner, Miha. "Bojan Salaj, photographer: The Ambivalent Eclecticism of Contemporary Photography". Membrana Journal of Photography, Vol. 1, no. 1 (2016): 14–19. http://dx.doi.org/10.47659/m1.014.rev.
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The article that aims to analyse the artistic production of photographer Bojan Salaj is based on conversations and reviews of his archive. Among Slovenian photographers, Salaj is the one who has been seen as an embodiment of the decisive shift in perception of the photographic medium that occurred in the late 1980s and early 1990s. He has never worked as documentary photographer or photojournalist; his authorial practice has always been primarily focused on the context of exhibition and against unconventional solutions. Salaj is one of those photographers who are characterized by the deep reflection of the meaning and perception of image from different, mainly philosophical, viewpoints, while at the same time following the objectivistic principles of photography. At a glance, his practice is extremely eclectic and post-modern, which is due to the fact that he is not looking to find an individual and recognizable artistic voice; he dedicates his focus to individual projects, bringing into his work various different references and themes. Nevertheless, a central motive can still be perceived throughout his output. In the past 25 years, Salaj has mostly been attracted to the here and now; this includes the fundamental problems of representation of photography in mass media, iconography of power structures, models of construction of history, and ways of establishing national and cultural identities.
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Grossmann, Rebekka. "Image Transfer and Visual Friction: Staging Palestine in the National Socialist Spectacle". Leo Baeck Institute Year Book 64, n.º 1 (2019): 19–45. http://dx.doi.org/10.1093/leobaeck/yby022.
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Abstract This article highlights modes of image transfer between photographers in Palestine and photo agencies and editors in 1930s Europe. It argues that Jewish photographers—who had shaped the central European photographic and photojournalistic scene before 1933, and were now excluded from it—continued to influence the international news and press market through their works. Palestine, a place to which several of these journalists fled, had been known in the European spectacle as the timeless ‘Holy Land’; now, through political upheavals, it entered the news. The photographic documents of the clashes between Arabs, Jews, and British troops during the 1930s and taken by German-Jewish photographers in exile became valuable commodities internationally and entered a plethora of national markets, including that of National Socialist Germany. Many of the photographers who had been banned from the German photojournalistic scene in fact remained part of the visual discourse negotiated in German illustrated newspapers. The experience of exile of the photographers and photo agents involved in the international image transfer of photographs from Palestine can be seen as a catalyst for the contingencies in international photo trade, the loss of control of news photographs, and ultimately the crossing of the aesthetic and artistic borders of National Socialist Germany, which were believed to be closed to outside influences. The various views and the ways in which they were used trigger questions about the nature of the photographic gaze and the possibility or impossibility of distorting visual content via textual frameworks in photo essays and newspaper articles.
Teses / dissertações sobre o assunto "Artistic photographers"
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Landriaux, Jo-Anne. "False illusion : animals, nature and consumerism /". Online version of thesis, 1989. http://hdl.handle.net/1850/11296.
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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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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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Lavie, Juliette. "Emmanuel Sougez (1889-1972) : un photographe en prise avec son temps". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100165.
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La Renaissance de la photographie entre la fin des années 1920 et le début des années 1930 en France était-elle liée au seul cercle des avants-gardes ? Les historiens de la photographie ont longtemps orienté leurs recherches sur le fait que les photographes de la Nouvelle Vision avaient sorti la photographie des errements du pictorialisme et lui avait rendu son autonomie vis-à-vis des arts graphiques, toutefois ils ont négligé une remarque formulée dès 1930 par Carlo Rim selon lequel « les images abstraites de Man Ray et de Tabard, qui annoncèrent une réaction heureuse […] ne fur[ent] qu’une vogue éphémère ». Si la Nouvelle Vision fut considérée comme un nouvel âge d’or, elle fut rapidement éclipsée en France par un retour « à l’image la plus nette du sujet le plus pauvre » généré par la redécouverte des photographes primitifs.C’est à cette part de l’histoire de la photographie que cette étude sur le photographe Emmanuel Sougez (1889-1972) est consacrée. Car si Sougez a été élevé au rang des maîtres de la photographie et célébré jusque dans les années 1950 comme le plus grand photographe français vivant, c’est pour avoir réintroduit l’usage de la chambre photographique de grand format et le tirage par contact. Ce faisant, cette étude fait apparaître une autre face de la Renaissance de la photographie en France à partir d’une figure oubliée, en évoquant le rôle crucial que Sougez a joué entre le Premier Salon indépendant de la photographie en 1928 et le dernier Salon national de la photographie en 1959. Aussi, en soulignant l’apport de ce photographe à l’histoire de son art, cette thèse révèle des aspects inédits de la photographie dans la première moitié du XXe siècleIs it possible for the renaissance in the field of photography that took place in France between the 1920’s and early 1930’s to be traced to a single group of avant-garde artists ? Photography historians have traditionally concentrated their research on the fact that the photographs of the New Vision released photography from the mistakes of pictorialism and gave it back its autonomy in terms of graphic arts. However, they neglected a remark made in 1930 by Carlo Rim: “the abstract images of Man Ray and Tabard, which foreshadow a joyful reaction, are nothing but an ephemeral fad.” Though the New Vision can be considered to be photography’s new golden age, in France it was rapidly eclipsed by a return “to the most in focus image of the poorest subject,” generated by the rediscovery of early photographs.It is to this era in the history of photography that this study of the photographer Emmanuel Sougez (1889-1972) is devoted. Sougez’s rise to the ranks of the masters of photography and his celebration until the 1950’s as one of the greatest living French photographers, is largely due to his reintroduction of the use of a large format view camera and contact prints. Thus, this study brings to light another facet of the renaissance of photography in France, within the context of a forgotten figure, by assessing the crucial role that Sougez played between the First Independent Salon of Photography in 1928 and the last National Salon of Photography in 1959. Furthermore, in emphasizing the photographer’s contribution to his art, this thesis reveals previously unseen aspects of photography in the first half of the 20th century
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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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Mthethwa, Zwelethu. ""Personal" constructs /". Online version of thesis, 1988. http://hdl.handle.net/1850/11638.
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Medeiros, Maria Margarida Abreu de Figueiredo. "Fotografia e auto-representação-identidade e imagens do corpo na obra de Cindy Sherman". Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de Ciências da Comunicação, 1997. http://dited.bn.pt:80/29931.
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Lavie, Juliette. "Emmanuel Sougez (1889-1972) : un photographe en prise avec son temps". Electronic Thesis or Diss., Paris 10, 2013. http://www.theses.fr/2013PA100165.
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La Renaissance de la photographie entre la fin des années 1920 et le début des années 1930 en France était-elle liée au seul cercle des avants-gardes ? Les historiens de la photographie ont longtemps orienté leurs recherches sur le fait que les photographes de la Nouvelle Vision avaient sorti la photographie des errements du pictorialisme et lui avait rendu son autonomie vis-à-vis des arts graphiques, toutefois ils ont négligé une remarque formulée dès 1930 par Carlo Rim selon lequel « les images abstraites de Man Ray et de Tabard, qui annoncèrent une réaction heureuse […] ne fur[ent] qu’une vogue éphémère ». Si la Nouvelle Vision fut considérée comme un nouvel âge d’or, elle fut rapidement éclipsée en France par un retour « à l’image la plus nette du sujet le plus pauvre » généré par la redécouverte des photographes primitifs.C’est à cette part de l’histoire de la photographie que cette étude sur le photographe Emmanuel Sougez (1889-1972) est consacrée. Car si Sougez a été élevé au rang des maîtres de la photographie et célébré jusque dans les années 1950 comme le plus grand photographe français vivant, c’est pour avoir réintroduit l’usage de la chambre photographique de grand format et le tirage par contact. Ce faisant, cette étude fait apparaître une autre face de la Renaissance de la photographie en France à partir d’une figure oubliée, en évoquant le rôle crucial que Sougez a joué entre le Premier Salon indépendant de la photographie en 1928 et le dernier Salon national de la photographie en 1959. Aussi, en soulignant l’apport de ce photographe à l’histoire de son art, cette thèse révèle des aspects inédits de la photographie dans la première moitié du XXe siècleIs it possible for the renaissance in the field of photography that took place in France between the 1920’s and early 1930’s to be traced to a single group of avant-garde artists ? Photography historians have traditionally concentrated their research on the fact that the photographs of the New Vision released photography from the mistakes of pictorialism and gave it back its autonomy in terms of graphic arts. However, they neglected a remark made in 1930 by Carlo Rim: “the abstract images of Man Ray and Tabard, which foreshadow a joyful reaction, are nothing but an ephemeral fad.” Though the New Vision can be considered to be photography’s new golden age, in France it was rapidly eclipsed by a return “to the most in focus image of the poorest subject,” generated by the rediscovery of early photographs.It is to this era in the history of photography that this study of the photographer Emmanuel Sougez (1889-1972) is devoted. Sougez’s rise to the ranks of the masters of photography and his celebration until the 1950’s as one of the greatest living French photographers, is largely due to his reintroduction of the use of a large format view camera and contact prints. Thus, this study brings to light another facet of the renaissance of photography in France, within the context of a forgotten figure, by assessing the crucial role that Sougez played between the First Independent Salon of Photography in 1928 and the last National Salon of Photography in 1959. Furthermore, in emphasizing the photographer’s contribution to his art, this thesis reveals previously unseen aspects of photography in the first half of the 20th century
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Harel-Vivier, Mathieu. "Photographies, abstraction et réalité : l'agencement comme processus artistique". Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20025/document.
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Construite à partir des questions soulevées par le travail artistique de l’auteur, cette thèse examine le rapport qu’entretiennent certains artistes, essentiellement contemporains, avec la réalité de l’image photographique, sa capacité à produire une abstraction et à s’inscrire dans un agencement. Considérée selon un double point de vue, la notion d’agencement apparait ici d’une part comme le processus de l’artiste qui travaille avec des images,et d’autre part comme une forme d’organisation qui favorise une diversité de relations entre les images, àla façon de constellations. La première partie intitulée « les conditions de l’agencement » s’intéresse au passage à l’acte photographique, à l’appropriation d’une image, comme au détachement que nécessitent parfois ces deux actions propres aux pratiques de Christian Marclay et Wolfgang Tillmans. Alternative à ces divers mouvements qui animent les élans de l’artiste vers le réel, l’abstraction photographique fait l’objet d’une étude à travers l’analyse des travaux de quelques artistes parmi lesquels Pierre Cordier, Michael Flomen et James Welling.La seconde partie s’attache à décrire comment « l’agencement d’images » est investi d’un fonctionnement caractéristique du montage cinématographique et de l’atlas warburgien. Sont ainsi tour à tour observées des oeuvres où l’agencement d’images est délimité par le cadre (John Baldessari et John Stezaker), ventilé à travers les pages d’un livre (Hans-Peter Feldmann, Luis Jacob, Gerhard Richter, etc.) et déployé dans l’espace d’exposition : sur les cimaises, au sol ou sur des tables (Pierre Leguillon, Batia Suter, Wolfgang Tillmans). L’intérêtest finalement porté sur les enjeux de transmission de l’agencement, sa volonté de non-Hiérarchie aussi, et ce notamment, dans le contexte d’expositions de collections publiques et privées (Des images comme des oiseaux, Le Mur, Les peintres de la vie moderne).À l’issue de ce texte placé en regard d’une succession de planches d’images s’ouvre une autre collection dephotographies annotées et légendées, consacrée à la pratique artistique de l’auteurDeveloped based on questions from the author’s artistic practice, this thesis examines the relationship between some artists, mainly contemporary, and the reality of the photographic picture, its ability to produce abstraction and to fit within a display. Considered here in a double perspective, the concept of display is seen, on one hand, as the process of the artist working with pictures and, on the other hand, as an organizational model that foster a variety of connections, like constellations do.Entitled “display’s conditions”, the first part deals with photographic acting-Out, the appropriation of a picture as well as the detachment that sometimes these two actions involve like in Christian Marclay’s and Wolfgang Tillmans’s practices. As an alternative to these various movements which spur on the artist’s impetus towards reality, photographic abstraction is considered for further study through the analysis of artistic works like Pierre Cordier’s, Michael Flomen’s or James Welling’s.The second part describes how the “display of pictures” is invested by a functioning that is a feature of editingand Warburg’s atlas. Several works are observed in which the display of pictures is delimited by the frame(John Baldessari and John Stezaker) scattered through the pages of a book (Hans-Peter Feldmann’s, LuisJacob’s, Gerhard Richter’s, etc.) and spread out in the exhibition space: on the walls, the ground and tables(Pierre Leguillon, Batia Suter, Wolfgang Tillmans). The interest is finally moved on the issue of displaytransmission, its aim of non-Hierarchy, especially in the context of public and private collections exhibited(Des images comme des oiseaux, Le Mur, Les Peintres de la vie moderne).As the outcome of this text that appears beside a series of plates, a new collection of annotated and captionedphotographs is developed, dedicated to the artistic practice of the author
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Perkins, Elizabeth W. "Conversations With the Self: An Artist's Visual & Written Wanderings". VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/872.
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The thesis is made up of episodes in which I am in dialogue with myself, sometimes in dialogue with the work, and yet other times I am speaking directly to the reader/viewer. The tense also sways from past to present as frequently as the visual language does. The following episodes are a selection of writings from my final year at graduate school. The episodes express my influences, inspirations, theories, and philosophies as a person and a maker. I think of these things as what allows me to wander and then wander somewhere else completely different within the same landscape. I feel it is important for an audience to experience these wanderings. I feel it is more valid for you to read exactly what I am thinking rather than to tell you about what I am thinking and making, because it is an expression of my relationship with my work. The images are supplemental to the writing. The images and writings fit together in that they inform one another. That is not to say that the ideas do not always transfer literally from image to writing but that they are what is thought about simultaneously through out my creative process. Most importantly I have developed through my graduate experience an intense relationship with the work. This is the most important relationship an artist has, the one with his or her work. It is deep and enriching, at times painful and frustrating, and at its best surprising, amazing, and even glorious. This is what I have to share through my thesis.
Livros sobre o assunto "Artistic photographers"
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Kempadoo, Roshini. Monograph. London: Autograph, 1997.
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1954-, Freidus Marc, Lingwood James 1959-, Slemmons Rod e Newport Harbor Art Museum, eds. Typologies: Nine contemporary photographers. Newport Beach, Calif: Newport Harbor Art Museum, 1991.
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Agnès, B., e Galerie du Jour, eds. Des photographes et le cardigan pression =: Photographers and the snap cardigan. [Paris]: Galerie du Jour, 1986.
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Chahroudi, Martha. Twelve photographers look at US. Philadelphia, Pa: Philadelphia Museum of Art, 1987.
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1948-, Adam Hans-Christian, ed. Swimmers: Seventy international photographers. New York, N.Y: Aperture, 1988.
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Stenzel, Paul. Graffiti photographers united. Berlin: Seltmann+Söhne, 2017.
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Tannenbaum, Barbara. DIY: Photographers & books. Cleveland: Cleveland Museum of Art, 2012.
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Dantzic, Cynthia Maris. 100 New York photographers. Atglen, PA: Schiffer, 2009.
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Barney, Tina. Friends and relations. Washington: Smithsonian Institution Press, 1991.
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Kim, Ka-jung. Taehan Min'guk kaesŏngp'adŭl: Excellent photographers. Sŏul: Sanyŏng Sajin Yŏn'guhoe Ch'ulp'an Saŏppu, 2009.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Artistic photographers"
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Campagnaro, Marnie. "Chapter 6. “A successful photograph is worth as much as a story”". In 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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Druker, Elina. "Chapter 8. In and out of focus". In 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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Huang, Yihui. "Artist 9". In Theories in Digital Composite Photographs, 104–11. London; New York: Routledge, [2019]: Routledge, 2018. http://dx.doi.org/10.4324/9781315195513-10.
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Huang, Yihui. "Artist 10". In Theories in Digital Composite Photographs, 112–23. London; New York: Routledge, [2019]: Routledge, 2018. http://dx.doi.org/10.4324/9781315195513-11.
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Huang, Yihui. "Artist 11". In Theories in Digital Composite Photographs, 124–32. London; New York: Routledge, [2019]: Routledge, 2018. http://dx.doi.org/10.4324/9781315195513-12.
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Huang, Yihui. "Artist 12". In Theories in Digital Composite Photographs, 133–42. London; New York: Routledge, [2019]: Routledge, 2018. http://dx.doi.org/10.4324/9781315195513-13.
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Huang, Yihui. "Artist 1". In Theories in Digital Composite Photographs, 9–24. London; New York: Routledge, [2019]: Routledge, 2018. http://dx.doi.org/10.4324/9781315195513-2.
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Huang, Yihui. "Artist 2". In Theories in Digital Composite Photographs, 25–37. London; New York: Routledge, [2019]: Routledge, 2018. http://dx.doi.org/10.4324/9781315195513-3.
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Huang, Yihui. "Artist 3". In Theories in Digital Composite Photographs, 38–51. London; New York: Routledge, [2019]: Routledge, 2018. http://dx.doi.org/10.4324/9781315195513-4.
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Huang, Yihui. "Artist 4". In Theories in Digital Composite Photographs, 52–60. London; New York: Routledge, [2019]: Routledge, 2018. http://dx.doi.org/10.4324/9781315195513-5.
Texto completo da fonteTrabalhos de conferências sobre o assunto "Artistic photographers"
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Olarescu, Dumitru. "Ion Creanga phenomenon in audiovisual images". In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.03.
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The destiny and literary creation of Ion Creangă crystallized into an unprecedented phenomenon in our culture, always inciting artists and literati to the most diverse interpretations and visions. But a re-interpretation of the “spectacle of the world”, created by the great storyteller from Humulești, requires great aesthetic and artistic efforts. To argue these ideas, we will refer to the non-fiction film “Ion Creangă” directed by Vlad Druc, based on a script signed by Anatol Codru, cameraman - Ion Bolboceanu. In search of the most appropriate audiovisual equivalents for the rendering/interpretation through another language, the cinematographic one, of the artistic phenomenon Ion Creangă, the film director Vlad Druc turned to some iconographic materials (photographs, manuscripts), places filmed “live”, but also to some works from the paintings of the Yugoslav naivists, which restore the values of authentic life, but also of the imaginary. In the director V. Druc’s conception, this art has some qualities in common with the world perceived by the great storyteller finding suggestive ambiences in the context of his cinematic approach. Finally, the director Vlad Druc managed to consolidate these heterogeneous materials into a unique whole through audiovisual language, launching a cinematic product that resists the erosion of time.
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Brown, Alexander David, Gareth Lloyd Roderick, Hannah M. Dee e Lorna M. Hughes. "Can we date an artist's work from catalogue photographs?" In 2013 8th International Symposium on Image and Signal Processing and Analysis (ISPA). IEEE, 2013. http://dx.doi.org/10.1109/ispa.2013.6703803.
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Kuharić, Daria. "CULTURAL GEOGRAPHY: OLD SLAVONIAN OAK TREES". In European realities - Power : 5th International Scientific Conference. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2023. http://dx.doi.org/10.59014/vbei4004.
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The paper provides a scientific insight into the history of human interaction with the environment. It focuses on the history of the Slavonian (oak) tree forests and lumbering that inspired the artists and their images. On the one hand, there is the well-known pre-war Vinkovci photographer, Franjo Körner (1901-1945), whose valuable collection of 97 glass plate negatives was accidentally discovered in 2020. Unlike Körner, another artist from Vinkovci used words to express his passion and love for the Slavonian (oak) tree forests. Being a professional forester, Ivan Kozarac wrote numerous poems, short stories and novels inspired by the Slavonian landscape. From the perspective of new cultural geography i.e. literature geography, the landscape is not simply a material artifact that reflects the culture in straightforward ways but is laden with symbolic meaning that needs to be decoded concerning the social and historical context.
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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In 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/cifo17.2017.6880.
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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values that have served to interpret painting or sculpture in the history of art.
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Stewart, Michelle. "Ghostly Imprints: Revisiting the Tradition of the Death Mask in Digital Clay". In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35905.
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This paper explores the representation of the dead through a creative project that involves 3D digital sculptures inspired by forensic facial photographs of unclaimed deceased in government morgues as well as posthumous photographs of the author’s mother-in-law. The project draws on the tradition of death masks and aims to create final portraits that commemorate the individuals and acknowledge the transcendental aspects of death masks. The author’s work is situated within the discourse of art theory and history, rather than forensic art, and emphasises the artistic and conceptual nature of the sculptures. The project is associated with the International Committee of the Red Cross’s Missing and Deceased Migrant Project and explores the humanitarian implications of migrant deaths in South Africa. The paper also delves into the history and evolution of death masks in Western culture, highlighting their significance as representations of true faces and their use in phrenology.
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Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition". In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.
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Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
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Strava, Salomea, Cristian Tecu e Mihai Onita. "" TEACH ME PHOTOGRAPHY, ROBOT." A CASE STUDY REGARDING VISUAL EDUCATION". In 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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Meier, Cecile, Silvia Díaz Parilla, Jose Luis Saorín Pérez, Alejandro Bonnet de León e Dámari Melián Díaz. "Virtual tour with multimedia information of the Chapel of Los Dolores (Icod de los Vinos) for tourist and cultural dissemination". In HEDIT 2024 - International Congress for Heritage Digital Technologies and Tourism Management. Valencia: Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/hedit2024.2024.17417.
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Virtual tours using 360-degree photos offer a quick, simple, and accessible way to share immersive experiences of real places. For this experience, a virtual tour has been created with 360-degree photos of the Chapel of Nuestra Señora de los Dolores, also known as Capilla de la Huerta, located in the municipality of Icod de los Vinos, on the island of Tenerife. It currently belongs to the Bishopric, and although the temple is still open for worship, access is limited to specific days and festivities. It has been designated as an Asset of Cultural Interest in the Monument category since 2013. To create the virtual tour, a 360 camera, model Insta 360 X3, was used. A total of 27 photographs were taken of both the exterior and the visitable interior. In addition, areas that are not ordinarily accessible to the general public due to their poor state of conservation were also photographed. Subsequently, the virtual tour was generated with the CloudPano program. A simple tour was created without multimedia information that can be viewed using virtual reality glasses such as Cardboard, allowing for a completely immersive experience. At the same time, another version was created, enriched with data that can be viewed in a non-immersive way on a computer screen or Smartphoneand enriched with data that can be viewed non-immersively on a computer screen or smartphone. This chapel has been selected for a virtual tour with 360 photos due to its originality and historical-artistic interest, which justifies its dissemination. In addition, we have taken into account its good general state of preservation and the amount of existing documentation, thanks to the studies and interventions carried out. In short, this project aims to enhance the value of the Chapel of Dolores, making known, in addition, rooms and spaces that are not currently accessible to the public.
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Кузнецова, Ю. Н. "AKHAL-TEKE BEFORE AND NOW. TWO PORTRAITS". In СОВРЕМЕННЫЕ ДОСТИЖЕНИЯ И АКТУАЛЬНЫЕ ПРОБЛЕМЫ В КОНЕВОДСТВЕ. Crossref, 2019. http://dx.doi.org/10.25727/hs.2019.1.35383.
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Представлены результаты сравнения лучших жеребцов ахалтекинской породы XIX века с картин русских художников А.Б. Виллевальде (жеребец Сардар) и Н.Е. Сверчкова (жеребец Аад) с фотографическими изображениями современных жеребцов - лучших представителей этой породы. Для сравнения отбирались жеребцы разных временных периодов XX-XXI веков, сфотографированные в сходной позе. Учитывалась принадлежность к внутрипородному типу - основному (Сардар) и скаковому (Аад). Определены параметры, по каким изменился экстерьер ахалтекинской лошади в указанный период. Среди современных жеребцов полностью идентичного Сардару не обнаружилось. Ближе всех по многим признакам стоит к нему трехлетний жеребец Караоглан. В экспозиции музея имеется также художественное изображение другого ахалтекинского жеребца - серого Аада. Этому изображению наиболее наиболее близок из современных жеребцов Гахрыман 1975 г.р. The results of comparison of the best stallions of the Akhal-Teke breed of the XIX century with the paintings of Russian artists A. B. Villevalde (Sardar stallion) and N. E. Sverchkova (Aad stallion) with photographic images of modern stallions - the best representatives of this breed. For comparison, stallions of different time periods of XX-XXI centuries were selected, photographed in a similar pose. Account of the belonging to intrabreed type - basic (Sardar) and the race (Aad). The parameters conformation changings of the Akhal-Teke horse during this period were determined.Among modern stallions it were not found stallions identical to the Sardar. The closest in many ways to it is a three year old stallion Karaoglan.In the exposition of the Museum there is also an artistic image 146of another Akhal-Teke stallion - grey Aad. The modern stallions Ghahraman ,1975, is the closest to this image.
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Fortin, Moira. "Practice as Research a collective form of activism from a South American perspective". In LINK 2023. Tuwhera Open Access, 2023. http://dx.doi.org/10.24135/link2022.v4i1.202.
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As a Chilean living in Aotearoa/ New Zealand I am constantly looking to Latin and South America. Living in the diaspora has allowed me to examine and reflect upon the different socio-political issues arising in the region from afar and with perspective. As an actress and researcher, I am on an ongoing exploration considering how to share research projects from a creative activist standpoint, moving beyond traditional academic research publications into forms that are situated and accessed in the exchanges of everyday relationships and resistance. Written academic outputs are primarily intended for reading, although some contain images or photographs that complement and / or enrich the verbal content. These outputs tend to reach a small portion of the population, the highly educated elite with economic means to access books and participate in conferences or symposiums. Practice as research emerges from a rigorous process of research, critical analysis, and embodied distillation of academic texts. Practice as research relates to my aim to share research not only with wider audiences reaching communities with different cultural and linguistic backgrounds. It also relates to my intention to create work that could resonate outwards, across borders and boundaries, transferring content from one format to another, from the academic world to a medium of expression such as theatre, illustration, dance and/or digital. The concept of transposition emphasizes the creative process that operates in the transition from one medium to another, it “designates the idea of transference, but also that of transplantation, of putting something in another place, of removing certain models, but thinking of another register or system” (Wolf, 2001, p. 16). The transposition process creates a new object, precisely from other languages, cultural contexts, and disciplinary formats (Wolf, 2001). The idea of transmedia transformation certainly applies to my way of finding spaces to share research. Working across languages, Spanish, English, German and French has enabled me to work collectively and in collaboration with other artists, researchers, and activists. These collective actions have been produced through different media and artistic languages where each of us bring our specific artistic experiences, aesthetic incarnations, and gender experiences to inform our research practices.
Relatórios de organizações sobre o assunto "Artistic photographers"
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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, março de 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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Karlstrom, Karl, Laura Crossey, Allyson Matthis e Carl Bowman. Telling time at Grand Canyon National Park: 2020 update. National Park Service, abril de 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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Mexico 2010: A Vision of the 21st Century. Inter-American Development Bank, março de 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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At the Gates of Paradise: Art of the Guaraní of Paraguay. Inter-American Development Bank, setembro de 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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Figari's Montevideo: 1861 - 1938. Inter-American Development Bank, setembro de 1995. http://dx.doi.org/10.18235/0006406.
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Thirty-eight works including drawings, photographs and paintings that illustrate the life and times of artist Pedro Figari in Montevideo, Uruguay; from Montevideo's National Library, the Juan Manuel Blanes Municipal Museum, the National Museum of Visual Arts, the National History Museum, as well as several private collections.
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Discover Haiti Exhibition. Inter-American Development Bank, junho de 2012. http://dx.doi.org/10.18235/0005976.
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The Inter-American Development Bank's Cultural Center will host on June 11-27 Discover Haiti, an exhibit of handcrafts from the Urban Zen Foundation's Haitian Artisan Project and pieces from the Nomad Two Worlds collaborative arts project. Discover Haiti is being organized jointly by the IDB Cultural Center, renowned designer Donna Karan's Urban Zen Foundation and Nomad Two Worlds, a foundation established by acclaimed Australian photographer Russell James to promote artists from indigenous and marginal communities.
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Inside and Out: Recent Trends in the Arts of the Dominican Republic. Inter-American Development Bank, agosto de 2008. http://dx.doi.org/10.18235/0008270.
Texto completo da fonteResumo:
Presents an exhibition of Eight artists, four living in the Dominican Republic and the other four abroad, comprise the exhibition which addresses issues of originality, innovation, displacement, and identity, among others. The exhibition was run from August 25 to November 7, 2008. A full-color catalogue in English and Spanish was available to the public. Photographs of the artworks on exhibit was available upon request.
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Highlights from the Collection of the Art Museum of the Americas of the Organization of American States (OAS): Outstanding works by artists from the Spanish, English, French, and Dutch Speaking Caribb. Inter-American Development Bank, agosto de 2007. http://dx.doi.org/10.18235/0008217.
Texto completo da fonteResumo:
This paper presents a selection of 39 important works (paintings, sculptures, drawings, engravings and photographs) by recognized Caribbean artists from Barbados, Jamaica, The Bahamas, Trinidad and Tobago, Haiti, Dominican Republic, Puerto Rico, and Suriname, and early Cuban masters such as Amelia Peláez, Juan José Sicre and Mario Carreño, in the collection of the OAS Art Museum of the Americas, on loan to the IDB Cultural Center for this exhibition.
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The Art of Belize, Then and Now. Inter-American Development Bank, agosto de 2002. http://dx.doi.org/10.18235/0006432.
Texto completo da fonteResumo:
The exhibition gives an overview of contemporary visual arts in Belize, and features works representing Belize City and the country¿s Mayan past, with artifacts and photographs documenting the Mayan sites of Lamanai, Xunantunich and Caracol. The exhibition was organized with logistical support from the IDB Country Office in Belize and its Representative Mr. Hugo Souza, and the collaboration of the Museums of Belize, the Image Factory Foundation, and the Craig Family Collection. Artists such as Gilvano Swasey, Michael Gordon, Jeannie Shaw, Yasser Musa, Mercy Sabal, Jules Vásquez, Ivan Duran, Damian Perdomo, Benjamin Nicholas, and George Gabb are included.