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Alexander, Stuart. "THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS"." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/277059.
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Pettibone, 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.
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Maree, Christine Fae. "That-has-been a discussion on the body cast as that which fixes a subject in time, in relation to notions surrounding the photograph." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002208.
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Much like a photograph, a casts creates a replica of its referent, thereby immobilising the subject in time. While the subject continues in time and hence ages and inevitably dies the replica does not. With this basic notion of fixing a subject, I have built an argument to contextualise my sculptures, which are made using casts of elderly people. In this discussion I have looked at my works through the ideas of different theorists. The main theorist I have cited is Roland Barthes, specifically with regards to his notion of the photograph as discussed in his book Camera Lucida. I have also referenced three particular artists: Rachel Whiteread, Diane Arbus and Churchill Madikida, as I have found each of their works relate to my work in various ways, creating a different reading from each viewpoint.
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Bradley, 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.
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A photographic and written examination of paradox in relation to the photograph
This research aims to illuminate the relationship between paradox and photography, elaborated via Julia Kristeva’s notion of the abject. Paradox is considered in relation to photography in terms of repeated and unresolved debates about the status of the photograph as either an ‘index of reality’ (Bate, 2004, p. 1) or as a sign. The significance of this research lies in its re-motivation of abjection in terms of paradox, not in order to resolve such debates but, rather, to illuminate the importance of such unresolved contradictions in terms of photography’s often powerful affect and meaning. Situated within the paradigm of qualitative research, the research employs the theoretical perspective of post-structuralist psychoanalysis, combined with the methodology of critical analysis, as an approach appropriate to illuminating latencies within representation. Photographs by Jeff Wall, Pat Brassington, Patricia Piccinini, Roger Ballen, and Bill Henson, are critically analysed as informationrich case studies of the use of photographic paradox. The creative component of the research is presented in the form of a web site consisting of photographs and animations of photographs, that collide aesthetic constructions of the body as an objective, external, object of an other’s vision with a more sensory, and personal, experience of the body as the site of inner subjectivity. As such, the camera lens functions as a metaphor for each of these constructions, while body parts and fluids vie with objects of memory and optical imaging, repeating and transforming existing objects into new aesthetic forms. As with the case studies of photographic paradox, this photographic project makes explicit the workings of paradox, revealing repeated and unresolved contradictions that serve to create contemplative and often powerfully affective experiences of viewing.
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Cooper, 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.
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This thesis presents a photography curriculum for a beginning high school level photography class. It is designed as a teaching guide to structure a photography class that incorporates both film photography and digital photographic technology. One of the biggest challenges for teachers of photography is how to structure a curriculum with a limited number of enlargers and space in the darkroom, while incorporating digital technology with limited computer access for students. The curriculum presented here includes three major parts: a traditional photographic film component, a digital photography component, and a concepts component where students will experiment with different photographic techniques of manipulation as well as tackle photographic history, criticism, and visual literacy.
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Schoenwandt, 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.
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This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.
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Wong, 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.
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Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.
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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.
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Mendes, 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.
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Orientador: Maria de Fátima Morethy Couto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-24T11:13:41Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>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<br>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<br>Mestrado<br>Artes Visuais<br>Mestra em Artes Visuais
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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.
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Thesis (M. Tech.) - Central University of Technology, Free State, 2011<br>The 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.
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Zen, Tania Maria Campos. "A construção do sujeito-leitor na cronica fotografica." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270698.
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Orientador: Eni de Lourdes Puccinelli Orlandi<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-10T00:22:26Z (GMT). No. of bitstreams: 1
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Previous issue date: 2007<br>Resumo: A construção do sujeito-leitor na crônica fotográfica tem como objetivos verificar a construção do sujeito-leitor no discurso da crônica fotográfica jornalística, procurando observar as marcas discursivas que conferem ao enunciado a dimensão de leitura e interpretação e não de transparência do discurso e mostrar os processos discursivos na textualidade considerada não só pela materialidade lingüística, mas também pela fotografia. Para tanto, sustentamos nossas reflexões na Análise de discurso de linha francesa. Essa abordagem da crônica, enquanto objeto de estudo, deve-se ao fato de que ela se apresenta como prática significante do espaço urbano que produz sentidos e que vai definir o brasileiro, o cidadão paulistano. Dessa perspectiva, a crônica fotográfica consiste em fonte importante para a produção de um discurso constituído em um determinado sujeito, em um determinado tempo e espaço sobre um acontecimento. Sob esse enfoque, voltando-nos para os aspectos sociais dos textos, examinamos a crônica fotográfica, mais precisamente as crônicas divulgadas pelo jornal O Estado de São Paulo, produzidas e editadas a partir de 1990 no caderno Cidades. Nesse Caderno, o tema das crônicas está centrado em acontecimentos do cotidiano urbano. Desse modo, nossa análise permitiu-nos identificar dois mecanismos de funcionamento do discurso de nosso objeto de análise: a determinação e a explicação. O sujeito-leitor é interpelado ideologicamente no discurso da crônica-fotográfica de maneira dissimulada, pois as marcas de presença não são marcadas no ¿fio discursivo¿. Entre o sujeito-leitor e o cidadão da foto produz-se a identificação pela reversibilidade de papéis que permite que o sujeito-leitor, imaginariamente, o lugar do outro.Como prática significante do espaço urbano que a provê de sentidos, a crônica fotográfica promove, pelo funcionamento discursivo, o reconhecimento no sujeito-leitor e, desse modo, vai definindo o paulistano<br>Abstract: The construction of the subject-reader in the photographic chronicle aims to check the construction of the subject-reader in the discourse of photographic-chronicle in the newspaper observing the marks of utterance which enable the sentence its dimension of reading and interpretation and not the transparence of discourse and show the process of discourse in the textuality considered not only for its linguistic materiality, but also for its photography. For this reason, our reflections are based on the French Discourse Analysis. This approach concerning the chronicle stems from the fact that it produces meanings in the urban space which can define the Brazilian citizen. On this perspective, the photographic chronicle consists of an important source of such a discourse presented in one subject in a certain time and space and in an event. Under this approach and addressing to the social aspects in the texts, we have examined the photographic chronicle portrayed in O ESTADO DE SÃO PAULO as of 1990 in the supplement called CIDADES, whose theme is centered in the urban happenings of the city. The study of the photographic chronicle published in the newspaper O ESTADO DE SÃO PAULO, in the supplement CIDADES made us understand how the construction of the subject-reader in this kind of discourse is formed through the marks of utterance which give the sentence the dimension of reading and interpretation and not the transparence of discourse. It also allowed us observe the discursive processes of textuality considered not only by the linguistic elements but also by photographic features<br>Doutorado<br>Linguistica<br>Doutor em Linguística
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Takacs, Stephen R. "Sing the Body Electric." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343344994.
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Egodapitiya, Irangi. "Satellite photography: instrumental, rhetorical, affective?" Diss., Rolla, Mo. : Missouri University of Science and Technology, 2009. http://scholarsmine.mst.edu/thesis/pdf/Egodapitiya_09007dcc8063e058.pdf.
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Thesis (M.S.)--Missouri University of Science and Technology, 2009.<br>Vita. The entire thesis text is included in file. Title from title screen of thesis/dissertation PDF file (viewed April 13, 2009) Includes bibliographical references (p. 108-109).
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Bork, Debora J. "History and criticism of photographically illustrated children's books /." Online version of thesis, 1988. http://hdl.handle.net/1850/11490.
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Pikelytė, Zita. "Lietuvos provincijos fotografija 1918-1940 metais." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20130205_113248-92387.
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Tyrimo objektas yra 1918–1940 m. Lietuvos provincijoje fotografijos verslą plėtojusių fotografų personalijos, jų darbo sąlygos, užfiksuoti vaizdai bei šių vaizdų sklaidos aplinkybės. Tai pirmasis mokslinis darbas, tiriantis Lietuvos provincijos fotografiją, žiūrint iš provincijos fotografų perspektyvos, kompleksiškai nagrinėjantis jų kilmę, išsilavinimą bei profesinę veiklą, jų savivoką, socialinį statusą bei materialinę padėtį, be ko neįmanoma atskleisti fotografavimo paskatų, o taip pat jų užfiksuotų vaizdų funkcionavimą tarpukariu, reikšmę sovietmečiu bei recepciją nepriklausomybės laikotarpiu. Nauja yra tai, kad į tiriamąjį objektą žiūrima iš muziejaus kuratoriaus pozicijų, tad nemažas dėmesys skiriamas fotografijų atribucijai bei fotografinių vaizdų reikšmei, tiriant lokalias istorijas.<br>The object of the research is personalities of photographers who were developing photography business in Lithuanian province in 1918–1940, their working conditions, captured photo images and the circumstances of these images dispersion. This is the first scientific study dealing with the Lithuanian province photography viewed from the perspective of photographers who lived and worked in Lithuanian province. This study researches professional activity of photographers in complex with their self-concept, their economic and social situation, and the functioning of their captured photo images in the interwar period, the importance of these photos in the Soviet period and their reception during the independence period. The novelty in this dissertation is the point of researcher view: the surveyed object is studied from the position of the museum-curator. Therefore much attention is paid to photo attribution and the significance of photographic images while researching the local histories.
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Nieberding, William J. "Photography, Phenomenology and Sight: Toward an Understanding of Photography through the Discourse of Vision." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308249027.
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Wong, Wilson Heitung. "The cultural politics of foodie criticism in Hong Kong : a case study of foodies on Instagram." HKBU Institutional Repository, 2019. https://repository.hkbu.edu.hk/etd_oa/704.
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This thesis investigates the cultural politics of taste in contemporary food media of Hong Kong through the lens of foodie stylistics on Instagram. By bearing on the semiotic theory and analysis by Roland Barthes, this research seeks to closely examine the mythmaking of taste in foodie criticism--the food and restaurant review written by foodies on social media platform. The theory will be used to spell out the layered meaning of foodie criticism: a linguistic depiction of food, visual stylistic of writing about taste, tactics of gaining voice of authority by foodie critics and their intention of writing. Considering taste as a cultural and social construct, the present research examines the pivotal role of foodie critics as mythmakers that render and stylize taste on Instagram, which mythologizes the intention of writing and complicates how voice of authority can be accumulated and how monopolized power of food media corporate can be further expanded invisibly. Through semiotic analysis, how taste is represented and informed by the mythmaker linguistically, how food trends are set stylistically to attract and affect the audience, as well as how attraction accumulates the voice of authority and engenders problems of self-branding, commercialization and collusion will become apparent. Finally, the findings of this pilot research of Hong Kong foodies will contribute to the understanding of cultural politics of contemporary food criticism media in the social media era.
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Lockridge, Rebecca Bryant. "Rhetorical strategy and meaning : a constructivist approach to the feminine- and masculine-principled judgements of photographic critics /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487670346873971.
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Corp, Mathieu. "Des expériences du temps dans la photographie latino-americaine contemporaine." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA093/document.
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Les images exposées sous l’appellation de photographie latino-américaine varient selon les expositions où commissaires et critiques déterminent les critères qui légitiment la sélection et l’organisation des images. Seuls des partis pris curatoriaux semblent ainsi gouverner des choix dont les enjeux éthiques et esthétiques diffèrent et découper les expositions par des catégories thématiques et des textes exégétiques des œuvres où, depuis les années 1990, l’usage récurrent des termes « histoire », « mémoire » et « identité » contribue à attribuer des significations moins géographiques qu’historiques à l’adjectif latino-américain. Nous nous proposons de montrer comment des expériences du temps sont configurées par les artistes dans leurs images par bien des modalités plastiques, comment les images sont capables d’établir, depuis et en fonction du présent, des rapports avec le passé. Selon une approche sémantico-pragmatique, nous analysons les références employées dans les images et dans les textes pour mesurer les implications contextuelles des rapports temporels, tandis que les modalités plastiques qui les traduisent nous permettent d’en interpréter le sens<br>During an exhibition, images displayed under the rubric of Latin-American photography vary according to the criteria retained by both curators and critics who legitimate their selection as well as their organisation. Curatorial biases can on their own determine choices with changing ethical and aesthetic implications and thus influence the shape taken on by exhibitions according to the thematic categories retained and the textual commentaries proposed for works whose Latin-American meanings, ever since the 1990s, are less affected by geographical considerations than by historical ones. In this thesis, it is our intention to show, first, how artists, using a plethora of plastic means, impart shape and form to experiences of time and, second, how images, through and according to the present moment, can establish various relationships with the past. Enlisting a semantic-pragmatic approach, we analyse the references established by images and texts in order to measure the contextual implications borne by their temporal relations; at the same time, the plastic modalities given to these temporalities allow us to interpret their meaning
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Bonnet, Vincent. "La photographie contre le monochrome." Thesis, Aix-Marseille, 2021. http://www.theses.fr/2021AIXM0295.
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Cette thèse interroge en acte les relations entre photographie et monochrome. Si au XIXe et XXe siècle, la photographie a participé à une redéfinition de l’art, notamment en le « libérant » d’une nécessité de faire image, le monochrome pictural peut être considéré comme un des aboutissements de cette « libération ». Mais qu’en est-il de la possibilité d’un monochrome photographique ? La photographie ayant complètement bousculé les « réalismes », l’idée et la mise en forme d’un monochrome spécifiquement photographique semble assez problématique…Si ces deux pratiques ont longtemps semblé antagonistes, l’enjeu sera d’évaluer leurs proximités et de réfléchir à certaines questions fondamentales comme : qu’est-ce qu’un monochrome photographique ? Quels en sont les nécessités et les enjeux ? Une première partie décline chronologiquement de 1929 à 2015 un corpus inédit et une analyse approfondie de pièces qui sont vraisemblablement des monochromes photographiques. Une deuxième partie s’attache à expliciter les problématiques plastiques et théoriques communes à ces monochromes photographiques, notamment autour d’une redéfinition critique de ce qu’est une image — à travers son processus de fabrication, ses relations à la réalité, au langage et à l’abstraction etc. Dans cette approche, trois pistes de réflexion sont développées théoriquement, historiquement et plastiquement : l’une aborde l’œuvre en tant qu'invention d’une couleur, la seconde traite de la littéralité de l’image et la troisième d’une photographie qui serait déjà faite. Cette recherche s’achève avec la création de pièces plastiques liées à ces trois approches spéculatives<br>This thesis questions the relations between photography and monochrome. If photography is considered to have taken part in a redefinition of art in the nineteenth and twentieth century, most notably «releasing» it from the necessity to produce images, the pictorial monochrome can hence be considered as one of the outcomes of this «liberation». But what about the possibility of a photographic monochrome? Photography having completely upset «realisms», the idea and framing of a specifically photographic monochrome seems rather problematic…If these two plastic practices have long seemed antagonistic, the challenge will be to evaluate their proximities and try to think about some fundamental questions such as: what is a photographic monochrome? What are its necessities and challenges?A first part chronologically displays a hitherto unpublished corpus and in-depth analysis of pieces going from 1929 to 2015, that are presumably photographic monochromes. A second part focusses on explaining the plastic and theoretical problems common to these photographic monochromes, particularly around a critical redefinition of what an image is—through its manufacturing process, its relations to reality, to language and abstraction etc. In this approach, three avenues of reflection are put to the test, developed theoretically, historically and plastically: the first approaches the artwork as invention of a color, the second deals with the literality of the image and the third with a photograph that would be already made. This research leads to the creation of pieces related to these three speculative approaches
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Pabedinskas, Tomas. "Relationship between the image and the identity of a person in contemporary Lithuanian photography." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20091204_132210-08996.
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At the end of the 20th century, significant changes occurred in Lithuanian photography: a certain part of photography relinquished earlier traditions of Lithuanian photography and did not conform to the conventional criteria of artistry of photography altogether. Photographers and other artists abandoned expressive visual form and humanist content, which had dominated Lithuanian photography since 1960s, and came up with featureless photography suggesting a reflective approach towards a person and his or her environment. Such photography transcended relatively narrow boundaries of artistic photography and became a part of the Lithuanian and international contemporary art scene.
At the same time the theme of personal identity gained importance in Lithuanian photography. The works of Lithuanian photographers and artists of the young generation encouraged critical look at the stereotypes of personal identity as well as the role of photography itself in the shaping of such stereotypes. Authors of contemporary photography began to treat personal identity not as a natural feature recorded in pictures, but as a problematic phenomenon.
The dissertation analyses the works of Lithuanian authors, created from the second half of the 1980s to this day. The goal of the thesis is to define different creative tactics used by Lithuanian authors as well as to reveal different versions of the relationship between the image and the identity of a person in photography. This goal is achieved by... [to full text]<br>Baigiantis XX amžiui, Lietuvos fotografijos mene išryškėjo svarbūs pokyčiai: dalis tuomet sukurtos fotografijos netęsė ankstesnių Lietuvos fotografijos tradicijų ir apskritai neatitiko įprastų fotografijos meniškumo kriterijų. Fotografai ir kiti menininkai, atsiriboję nuo ekspresyvios vaizdinės formos ir humanistinio turinio, dominavusių lietuviškoje fotografijoje nuo XX a. septintojo dešimtmečio, ėmė kurti neišraiškingos formos, refleksyvų požiūrį į žmogų ir jo aplinką skatinančią fotografiją. Tokia fotografija, peržengus sąlyginai siauras meninės fotografijos ribas, tapo Lietuvos ir tarptautinės šiuolaikinio meno scenos dalimi.
Tuo pačiu metu Lietuvos fotografijoje tapo svarbi asmens tapatybės tema. Jaunosios kartos lietuvių fotografai ir menininkai savo darbais provokavo kritišką žvilgsnį tiek į asmens identiteto stereotipus, tiek į pačios fotografijos vaidmenį jų formavime. Šiuolaikinės fotografijos kūrėjai žmogaus identitetą ėmė traktuoti ne kaip nuotraukose užfiksuotą duotybę, bet kaip problemišką reiškinį.
Disertacijoje analizuojamos nuo XX a. devinto dešimtmečio antros pusės iki šių dienų sukurtos lietuvių autorių fotografijos. Vadovaujantis nauju teoriniu požiūriu, pagrįstu šiuolaikinės fotografijos sampratos ir performatyvumo teorijos sinteze, siekiama apibūdinti skirtingas lietuvių autorių kūrybinės taktikas ir tuo pačiu atskleisti skirtingus žmogaus atvaizdo ir identiteto santykio fotografijoje variantus. Disertacijoje taip pat apibrėžiama Lietuvos šiuolaikinės... [toliau žr. visą tekstą]
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黃嘉輝 and Ka-fai Wong. "The problems of visual discourse: a study of the politics of representation with special reference to thephotographic image." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31208988.
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Beeston, Alix Mallory. "Composite Visions: Writing and Photography in American Modernism." Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13431.
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This dissertation builds on scholarship that apprehends the ways in which modernist writing instantiates the episteme of doubt and contingency that emerges, paradoxically, from the development of photographic technologies. It accounts for an unexplored aspect of the photography effect in modernist writing that is variously composite in form and narrative. Early twentieth century texts by Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald function analogously to photography—and are culturally imbricated with it—inasmuch as they privilege representational ambiguity through their sequenced, fragmentary poetics. I argue that formal interstices of these composite texts, like that of serialized photographic practice, are raised as signposts to the limits of the eye and of visual and discursive objectification itself. Most provocatively, I interpret their gaps and openings as textual sites in which the dominant socio-political order is negotiated and even circumvented. I map the sequenced tissue of modernist narration onto the repeated disappearances and appearances of female bodies that are, like the narratives they populate, constructed as aggregates or assemblages. In so doing, I enrol what I call the woman-in-series within a host of new theoretical figurations of female subjectivity emerging within feminist scholarship that seeks to exceed the hostile relationships between the camera and the female subject that have dominated discussions of photography and cinema. As such, this dissertation works to destabilize gendered and racialized oppositions of power and vulnerability as they relate to encounters between subjects and objects in the visual realm. The gap or interval in the composite visions of American modernism signifies both as a mark of trauma, the wounding of objectifying representation, and as a means for evading or defending against such trauma. The woman-in-series thereby stages the insurrectionary potential of the in/visible subject.
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Girskienė, Inga. "Butaforinės moterys." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100903_165130-64960.
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Darbe nagrinėjamos butaforiškumo ir moteriškumo sąsajos bei pateikiama meninė jų vizualizacija. Apžvelgiama bendroji butaforijos samprata, ieškoma butaforijos apraiškų kultūroje, mene ir madoje. Koncentruojantis ties mados butaforijos apraiškomis, analizuojamos sudėtinės kostiumo dalys, nagrinėjama ar drabužis, kaip kostiumo detalė, gali butaforizuoti jį dėvintįjį. Atsižvelgus į drabužio galią butaforizuoti, išskirtas labiausiai šią galią įprasminantis drabužis – korsetas. Jis pasirinktas, kaip meninės raiškos priemonė praktines darbo dalies fotografijose, vizualizuojant butaforinę moterį. Ši sąvoka teorinėje darbo dalyje nagrinėjama masinės ir moderniosios (postmoderno) kultūros kontekste, analizėje atsižvelgiant į feminizmo atstovių teiginius. Darbe taip pat aptarti populiariausi šiuolaikinėje visuomenėje moters įvaizdžiai bei jų kūrimo principai. Daug dėmesio skiriama mados fotografijai ir grafiniam dizainui, koncentruotasi ties kalendorių dizaino sritimi. Grafinio dizaino ir fotografijos dermė naudojama, išryškinant butaforinės moters sąvoką praktinei darbo daliai sukurtame kalendoriuje. Įvertinus ir išnagrinėjus butaforinės moters sąvoką bei vizualizaciją fotografijos mene, aptariamas darbo temos aktualumas pedagogikai bei praktinis darbo tematikos pritaikymas meninio ugdymo srityje.<br>The object of this study is to investigate specific sham woman image in art works, and to analyse the treatment of woman as object in art and society. To analyse the general conception of props and sham, look through the cultural history on purpose to find how they were used in practical part of art. The author of this study examines the sham principle in fashion, analyses components of the costume and focuses on phenomenon how the part of the costume can change the person into the sham object. The corset is used as such changing part of the costume. It is chosen as the artistic expression of the practical work of women photographers trying to visualize sham principle. The concept of theoretical part deals with the culture for and (postmodern) culture in the context of the feminist analysis of the representatives of the claims. Also the most popular images of woman in art and the main principles of making these images were discussed in this study. A lot of attention was paid to fashion photography and also graphic design, having an assumption that most important part of graphic design for this study is calendar design. The correlation between art photography and graphic design was used as purpose to expose visualization of sham woman in calendar which was designed especially for this study. Also the relevance for pedagogy and practical adaptation of this study in the fields of art education were evaluated.
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Andriukaitytė, Laura. "Intertekstualumas fotografijos kontekste." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130619_164159-77567.
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Darbe nagrinėjama intertekstualumo ir intertekstualios kūrybos samprata, teksto ir vaizdo ryšys, intertekstualumas fotografijoje. Darbo tikslas – išanalizuoti intertekstualumą fotografijos kontekste. Šio tikslo siekiama apibrėžiant intertekstualumo ir intervizualumo sąvokas, aptariant skirtingas intertekstualumo aiškinimo teorijas (Julia Kristeva, Roland Barthes), analizuojant fotografų Elena Kalis, Vladimir Clavijo-Telepnev, Dennis Ziliotto, Wojciech Prazmowski, Alvydo Lukio, Kitason Katue kūrybą ir pagrindžiant, kad intertekstualumo sąvoka tinkama vartoti kalbant apie visas meno rūšis ir aptariant konkrečius intertekstualios fotografijos atvejus. Kalbant apie fotografijos intertekstualumą galima išskirti du atvejus: fotografijos reiškinio intertekstualumą ir fotografinių vaizdų esančių nuotraukose intertekstualumą.<br>This study analyzes the concept of ntertextuality and intertextual creation, the relation between text and video, intetextuality in photography. The aim of this work is to analyze intertextuality in the context of photography. The purpose is being attained by describing definitions of intertextuality and intervisuality, discussing different theories of intertextuality (Julia Kristeva, Roland Barthes), referring to creations of photographers like Elena Kalis, Vladimir Clavijo- Telepnev, Dennis Ziliotto, Wojciech Prazmowski, Alvydas Lukys, Kitason Katue and justifying the term of intertextuality is proper to use talking about all the types of art. In terms of intertextuality of photography can separate two cases: the intertextuality of photography phenomena and the intertextuality of the photographic images. The analyze of specific works showed that essence of photography is intertextual.
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Strazevičiūtė, Lina. "Politiniai ženklai Lietuvos meninėje fotografijoje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120913_092748-00907.
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Tai teorinis – praktinis darbas, kuriame nagrinėjamas, analizuojamas politinių ženklų naudojimas mene, o taip pat ir Lietuvos meninėje fotografijoje. Nagrinėjamas fotografinio portreto kaip politinio ženklo naudojimas. Taip pat svarbi teorijos dalis gilinasi į portreto bei fotografinio portreto panaudojimą mene, jį traktuojant kaip politinį ženklą. Gyvendami ženklų apsuptyje atpažįstame begales ženklų bei simbolių. Tačiau stipriausi mus veikiantys ženklai yra tie, kurie užsifiksavę mūsų atmintyje. Lengviausiai identifikuojami, dažnai matomi, kontraversiškiausi ženklai yra lengviausiai įsimenami, todėl stipriausiai veikia ne tik asmeninę, bet ir kolektyvinę pasamonę. Kūrybinio darbo objektas – fotoinstaliacija „Prarasto laiko beieškant“. Fotoinstaliacija žvelgiama į praėjusį Nepriklausomos Lietuvos laikotarpį, kurį nurodo politiniais ženklais pasirinkti Lietuvos Respublikos prezidentų portretai. Per portretus matoma kasdieninio gyvenimo akimirka iliustruoja tuo laikotrpio žmonių gyvenimą.<br>The thesis analyses how political signs are used in art as well as in Lithuania’s art photography. In this work photographic portrait is being analised as a political sign, which is being intentionally or accidentally used in photography. As we live surounded by signs we are able to recognize thousand of them. Easiest to remember are the ones, that has meaning based on our knowledge and past experiences. Easiest to identify are most widespread signs, the one, that you can see everyday. In the creative part of the study the photoinstalation created on the chosen theme summarize the essence of the final thesis. Works focus on portrait as a political signs usage in art.
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Johnson, Stacey. "Taking pictures, making movies and telling time : charting the domestication of a producing and consuming visual culture in North America." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35900.
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The dissertation examines how image-making, a common pastime, was made common. It investigates the ways in which the production and consumption of images in the context of the North American family contributed to the development of a distinctly domestic and privatized visual culture, and the transformation of the home into a site for privatized spectatorship.<br>Four cultural forms (No. 1 Kodak, Box Brownie, Cine Kodak and Cine Kodak 8) are specified in this development, all pioneered by the Eastman Kodak Company. The dissertation traces Eastman Kodak's direct involvement in the popularization of image practices. It analyzes strategies used by them to make this possible, namely an appeal to the becoming lifestyles of the bourgeois and middle-classes.<br>The analysis links the popularization of image-making and consuming practices to other popular amusements (i.e. cycling, cinema-going) to work against an artifact-centred analysis. Issues of gender and generation are critically evaluated as concepts used to instill image-making as a popular, family practice. Shifts in modern temporal and spatial experience, as well as mobility are also explored in relation to popular image-making.
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Jauniūtė, Silvija. "Savianalizės raiška fotografijoje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100903_130305-65412.
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Šiame darbe analizuojamos sąvojo aš paieškos mene, taip pat teorijų apie sąvajį aš analizės filosofiniu ir psichologiniu aspektais. Praktiniame darbe pateikiamas fotografijų ciklas - pinhole fototehnika atlikti autoportretai.<br>In this work analysed the self search in art, and the theories analyze of the philosophical and psychological aspects. In practical work presents series of photographs - self-portraits by pinhole technology.
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Urbelienė, Inga. "Tonuota fotografija – sepija tiražinėje spaudoje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100907_090217-85773.
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Bakalauro darbo tikslas — išspausdinti ofsetine dvispalve spauda sepijos fotografijos
atvirutes, reprezentuojančias Kelmės miestelį, pritaikius teorijoje išnagrinėtą dvispalvės spaudos
procesą. Siekiant įgyvendinti šį tikslą buvo aptarti menininkų darbai (V. Balčyčio, A. Budvyčio
G. Trimako, R. Treigio, A. Ostašenkovo), kuriuose naudojama tonuota fotografija — sepija, kaip
idėjos realizavimo forma urbanistiniame peizaže; išanalizuota literatūra, susijusi su sepija
technologija fotografijoje; aptarta sepijos tono problematika dvispalvėje spaudoje; pasirinkti
tinkamiausi spaudos paruošimo variantai kūrybinės idėjos įgyvendinimui.
Darbo objektas — tonuotos fotografijos – sepijos panaudojimas tiražinėje spaudoje
vaizduojant urbanistinį peizažą.
Bakalauro darbą sudaro teorinė ir kūrybinė dalys. Teorinėje dalyje analizuojama, kaip ir
kokie aspektai reikalingi reprezentuoti miestelį kaip kultūrinį identitetą fotografijoje, perteikiant
mažo miestelio istorinį veidą. Literatūros analizė padėjo atskleisti sepijos tono subtilius aspektus
ofsetinėje spaudoje ir išryškino galimus sepijos tono pasikeitimų manipuliacijas. Kūrybinėje
dalyje pristatomas Kelmės miestelį reprezentuojantis mažasis leidinys – atvirutės, atspausdintos
ofsetine dvispalve spauda, kuriuose panaudotas sepija tonas.
Atlikta menininkų kūrybinių darbų, kuriuose naudojama tonuota fotografija, sepija
analizė parodo, kad sepijos tonas yra mėgiamas menininkų dėl rusvo minkšto atspalvio, kuris
leidžia paryškinti fotografijai... [toliau žr. visą tekstą]<br>The purpose of bachelor's work is to print the sepia postcards of photography in the
circulation of press in bicolour, representing the town of Kelme, applying the analysed bicolour
press process fitted to theory. Seeking to fulfil the purpose, artists' works were discussed (V.
Balčytis, A. Budvytis, G. Trimakas, R. Treigys, A. Ostašenkovas'), in which toned photography
– sepia is used like the form of realization of the idea in the urban landscape; literature,
connected with sepia technology in photography is analysed; sepia tone problems in bicolour
press are columniated; the most suitable variants of press preparation, accomplishing the creative
idea, are chosen. The object of work is using toned photography – sepia in the circulating press,
representing urban landscape.
Bachelor's work consists of theoretical and creative parts. Its theoretical part analyses,
how and what aspects are necessary to represent the town like cultural identity in photography,
rendering the historical aspect of a little town. Literature analysis helped to reveal the subtle
sepia tone aspects in offset press and revealed the manipulations in possible sepia tone changes.
The creative part introduces Kelme's town representing little edition – postcards, printed in offset
bicolour press, in which sepia tone in used.
The analysis of artists works, in which toned photography is used, shows, that sepia tone,
used in creative works, is favourite one because of its brownish soft tint, which allows to... [to full text]
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Juodytė, Jūratė. "Prisiminimų vaizdavimas fotografijoje.Fotografijų triptikas "Mano vaikystės tvenkinys"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120704_130807-34422.
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Darbą sudaro teorinė ir praktinė dalys. Teorinėje dalyje nagrinėjama prisiminimų reikšmė žmogui ir atminties savoka. Analizuojama žmogaus atminties ir prisiminimų reikšmė filosofijoje ir šiuolaikiniuose moksliniuose ir menotyriniuose kontekstuose. Nagrinėjamas prisiminimų vaizdavimas fotografijoje bei dailėje. Analizuojami ir lyginami šiuolaikiniai lietuvių menininkai, kurie savo fotografijuose, remiasi prisiminimų tematika (Aleksandras Ostašenkovas, Alvydas Lukys, Regina Šulskytė, Ugnius Gelguda). Praktinėje darbo dalyje pateikiamas fotografijų triptikas pavadinimu „Mano vaikystės tvenkinys“. Šiuose fotografijose siekiama perteikti asmeninius prisiminimus iš vaikystės. Fotografijų pagalba norima pavaizduoti asmeninį prisiminimą - savitą kelionę į praeitį, atsigręžimą į vaikystėje patirtus asmeninius išgyvenimus ir atsiminimus. Konkreti vieta (šiuo atvėju tvenkinys) - tai prisiminimus kelianti nostalgiška erdvė, kurioje būnant atminties verpiatuose iškyla ir ryškūs ir migloti vaikystės prisiminimai.<br>The work consist of theory analysis and visual practical parts. The theoretical part deals with humans memories and the concept of memory. There are analyzed the human memory and the meaning of memories in ancient antiquity and in contemporary scientific and philosophical context. Also, the memory representations in art and cinema. There are analyzed and compared contemporary Lithuanian artists, whose photographies are based on the topic of memory (Aleksandras Ostasenkovas, Alvydas Lukys, Regina Sulskyte, Ugnius Gelguda). The visual practical part are the series of photographies called “My childhood pond”. These photographies presents the personal memories from the childhood. Also, the visual part represents the unique journey to the past by thoughts and shows the personal experiences from the childhood. The specific location (in this case the pond) is giving rise to nostalgic mood, there being restore sometimes bright, sometimes blur memories.
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Arlauskaitė, Dainora. "Vojerizmas fotografijoje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110802_143304-44757.
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Kūnas įvairių mokslo šakų tyrinėjimo objektas, sunku apsiriboti ties viena sritimi ar pripaţinti tik vieną sritį kaip teisingiausią kūno suvokimui. Bet kokiu atveju ţmogus savo kūną paţysta bei formuoja per aplinka. Fotografiją taip pat yra įvaizdţio formavimo priemonė. Pati fotografija ne tik formuoja įvaizdį, bet ir formuoją patį ţmogaus poreikį vaizdiniui ir kitokį ţvilgsnį į aplinką. Diplominiame darbe nagrinėju vojerizmą, jo ryšį su fotografija. Stengiuosi surasti momentą kada paprastas ţvilgsnis tampa vojeristiniu ţiūrėjimu, ar tiesiog vojerizmas yra netskiriamas dalykas nuo fotografijos. Analizuoju vojerizmo teoriją, kaip vojerizmas atsiskleidţia fotografijoje. Nagrinėju kūno samprata, nuogą kūną fotografijoje, erotinę fotografiją, akto fotografiją Lietuvoje. Atlikdama savo uţdavinius, analizuodama literatūrą ir prototipus, siekiu uţsibrėţto tikslo, sukurti stereografijų ciklą, kuriame atsispindėtų diplominiame darbe nagrinėjami aspektai. Diplominiame darbe taip nagrinėju stereografijos sąvoka, kuri siejasi su vojerizmo ištakomis fotografijoje ir mano stereografijų ciklu. Stereografija- diplominio darbo, praktinės dalies pateikimo forma.<br>The body is exploration object in the vorius science discipline, it would be difficult to confine by one discipline or recognize only one discipline as the farest for body knowing. In any case human knows his body and formed whitin the enviroment. The photography as a discipline is also body formating tool. Photography itself is not only shaped the image, but also formating a requirement for the image and different gaze to enviroment. I‘m analyzed voyeur in photography, it‘s connection whit photography. Trying to find a moment when a simple looking bicome voyeuristic gaze or maby voyeurism is the main part in photography. I analyzed voyeur theory, how voyeurism reveals in photography. Describing body as a concept, naked body in photography, erotic photography, nude photography in Lithuania. Doing my tasks, analyzing literature and prototipes, try to achiev the main target, to create a stereography cycle in which reflected dealing aspects. I‘m Analyzed steregraphy concept, which pertain whit voyeurism orgins in photography and my stereography cycle. Stereography is submission form of the practical part.
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Ragozinaitė, Agnė. "Lemties fatališkumo projekcija fotografijoje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120817_131125-78452.
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Diplominiame darbe nagrinėjamas žmogaus likimo suvokimas filosofiniame kontekste bei ženklo, simbolio ištakos ir vartojimas Vakarų kultūroje. Darbo tikslas – analizuoti lemties nuotaikų, nuojautų raišką fotografijoje. Šio tikslo siekiama remiantis tokių fotografų kaip A. Ostašenkovas kūryba, kuriai būdingas fatališkumas, egzistencinis laikinumas. Remiantis C. G. Jung‘o kolektyvinės pasąmonės ir archetipų teorija, taip pat Vakarų kultūroje vyraujančiais prietarais, fotografijose ieškoma lemties ženklų, simbolių. Kūrybiniame darbe įprasminamos teorinės dalies žinios. Pasiriktoje erdvėje – ligoninėje, ieškoma lemties ženklų, jie fiksuojami, analizuojami.<br>This study analyzes the perception of humans destiny in philosophical context and Western cultures understanding and usage of signs, symbols. The aim of this work is to analyze fateful moods and foreboding feelings in photography. The purpose is being attained by referring to creations of photographers like A. Ostašenkovas, for their characteristic fatality, existential temporality. Referring to C. G. Jungs theory of collective consciousness and archetypes, also to dominant superstitions of Western culture, it is being searched for signs, symbols of fate in photography.
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Nurenberg, Kenneth Martin. "On Approach: Making From and Towards the Image of the War Victim." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345485114.
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Venckus, Remigijus. "Būtis ir baigtis fotografijoje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060116_141751-75834.
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Grikštaitė, Ramunė. "MIKRO, MAKRO PLANETA." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2009~D_20090211_105955-80485.
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Iš tiesų, menas žmonijos raidai padarė neginčijamai teigiamą įtaką ir mano gyvenime jis ir užima vieną iš svarbiausių vietų. Juk žmogus yra ir kūrėjas, ir menininkas, ir konstruktorius, ir meistras, ir darbininkas. Kuriant kažką svarbaus, mano nuomone, reikalinga idėja, o paskui jos įgyvendinimas. Kaip kiti pasakytų, gera pradžia - pusė darbo. Nesvarbu ar vaizduojamas mažas, ar didelis daiktas, svarbu, kad jis pasakytų tai, ką nori pasakyti. Kiekvienas eksponatas turi atskleisti žiūrovui tam tikrą informaciją. Toks kūrinys gali būti laikomas tikru meno kūriniu. Šiais laikais meno kūrinys yra istorijos ir kultūros dalis. Svarbu jam turėti išorinę ir vidinę formą. Išorinė būna susijusi su reikšme - gamtos ir žmogaus gyvenimo pokyčiais, o vidinė – su spalvų santykiais. Menininkas gal tik per formą įtvirtina harmoniją ir pusiausvyrą mene bei gyvenime. Mano kaip menininkės noras pateikti sustojusį laiką planetoje, kuris tarsi užhipnotizuoja savyje praeitu laiku. Mes atsiduriame kitoje planetoje, kitame laike, kitokio kraštovaizdžio mieste. Susiduriame su ženklais, kurie yra tarsi tos planetos kodai. Mes klajojame…žvilgsniu, mintimis, ieškome atsakymo, bet tai liks mums tik didžiulė paslaptis Tikiuosi, kad mano kolekcija jus nunešė, į mikro ir makro planetą...<br>In fact, the art has made undeniable positive impact on human development, and it is one of the most important positions in my life. After all, the man is the creator and artist, and the constructor, and the master, and the worker. In my view, the creation of something important first demands the idea and then the implementation. As others say, a good start for half the work. Whether displaying a small or large object, it is important that it tells what you want to tell. Each exhibit must reveal certain information to the spectator. Such creation can be a real piece of art. Nowadays a piece of art is a part of history and culture. It must have outward and inward form. Outside is related to the value - with the nature and evolution of human life, and the inner - the relationship of colors. The artist can only through form establish the harmony and a balance between art and life. My desire as an artist is to express stopped time of the planet, which hypnotize in itself in the past. We appear on another planet in other time with different city landscape. We face signs of that planet as if codes. We stroll around sighting, thinking, looking for the answer, but everything remains a black secret for us.I hope that my collection will take you to the micro and macro planet...
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Jonaitis, Dalius. "Tikrovės ir imitacijos problema fotografijoje pagal Jean‘ą Baudrillard‘ą. Fotografijų ciklas „Pajūrio peizažas“." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100907_094937-20934.
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Darbe nagrinėjama tikrovės ir imitacijos problema fotografijoje pagal Jean‘ą Baurillard‘ą, menamos ir realios tikrovių koegzistavimo bei sąveikos problema. Darbe keliamas tikslas – imituotas peizažas: nagrinėjama imitacijos tendencija šiuolaikinėje kūrybinėje fotografijoje, kai išryškinami realybės neatitikimai, t.y. kur „imituotas peizažas“ prasilenkia su menamu realiu peizažu. Darbo objektas yra „imituoto peizažo“, kaip šiuolaikinio meno objekto, vaizdavimas, konstravimas. Klausimai, susiję su tokiu peizažu, yra nagrinėjami, vadovaujantis simuliakrų teorija. Šio tikslo siekiama analizuojant imituotą peizažą, kuris yra susijęs su šiomis problemomis: jis nėra pasaulio (tikrovės) atspindys, tačiau, nebūdamas pasaulio atspindžiu, vis tiek atspindi pasaulį (klausimas: kokį), erdvę ir laiką, aptariami tokio peizažo šifravimo kodai, ženklai ir nusakoma, kaip tai susiję ar nesusiję su simuliakrų teorija. Tyrimo metodai, naudoti teoriniame darbe: menotyrinės literatūros analizė ir apibendrinimas, komparatyvinė analizė, menininkų darbų analizavimas ir interpretavimas, sisteminimas. Tikrovės ir imitacijos problemos fotografijoje analizė išryškino, jog šiuolaikinė fotografija, dažnai apibūdinama simuliakro sąvoka, neneigia galimybę fotografuojant fiksuoti objektyvią tikrovę.
Pagrindus simuliacijos esmę, išryškėja jos didelis vaidmuo šiuolaikinėje fotografijoje: menininkai kartu kelia klausimą dėl fotografijos kuriamo tikrovės atvaizdo patikimumą, parodo, kad fotografija nėra... [toliau žr. visą tekstą]<br>This work analyzes the problem of imitation and reality in the photography according to Jean Baurillard. Also it is looked into the problem of coexistence and interaction of apparent and actual realities. The aim of this work is the imitated scenery: the tendency of imitation in the modern creative photography is examined; the inadequacies of reality are highlighted that is how “the imitated scenery” is inadequate to the apparent real scenery. The object of this work is to construct and depict “the imitated scenery” as an object of postmodern art. The questions concerned with the imitated scenery are analyzed in accordance with Jean Baurillard’s simulacra and simulation theory. In order to reach this goal the imitated scenery is analyzed, which is concerned with these issues: the imitated scenery is not a reflection of real-life (reality), however, it still reflects the world (the question is what world it reflects), space and time. Furthermore, the encoding of codes and signs in such scenery is discussed with reference to the simulacra and simulation theory. The research methods used in this work are: the analysis and generalization of literature on art criticism, comparative analysis, the analysis and interpretation of artistic works, the systemization of accomplished analyses. The analysis of the problem of reality and imitation in the photography has revealed that contemporary photography, which is often described by the concept of simulacra, do not deny the possibility... [to full text]
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Morris, Ryan L. "Hand/Face/Object." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent155655052646378.
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Naryškin, Romanas. "Socialinis portretas Lietuvos fotografijoje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140717_105943-09546.
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Naryškin Romanas, Socialinis portretas Lietuvos fotografijoje, fotografijų ciklas „Nebūtini“: Audiovizualinio meno studijų bakalauro baigiamasis darbas / vadovas A. Uogintas; Šiaulių Universitetas, Menų fakultetas, Dailės katedra. Šiauliai, 2014 m. 43 p.
Bakalauro darbe nagrinėjamas socialinis portretas fotografijoje pirmiausiai aptariant dokumentinę, tuomet – socialinę dokumentinę fotografiją, kalbama apie jos ištakas Lietuvoje remiantis Margaritos Matulytės teorine ţiūra. Kūrybiniam darbui išskiriama konkreti socialinės atskirties grupė – benamiai-elgetos, apibrėţiama benamystė kaip socialinė problema, trumpai apţvelgiama jos raida.
Pirmame skyriuje apibrėţiama dokumentinė ir socialinė dokumentinė fotografija. Šių dviejų teorinių apybraiţų pagalba yra apibrėţiama socialinio portreto sąvoka, kadangi socialinis portretas iš esmės yra neatskiriama socialinės dokumentinės, o todėl ir dokumentinės fotografijos dalis. Išskiriami socialinio portreto bruoţai remiantis ankstyvaisiais socialinės dokumentinės fotografijos kūrėjų darbais.
Antrame skyriuje aptariamas socialinis portretas pasirinkto socialinės dokumentinės fotografijos atstovo, Antano Sutkaus, kūryboje. Nagrinėjamas šio autoriaus portretų psichologiškumas bei braiţas, taip pat tokį braiţą įtakoję veiksniai, paminėti pirmąjame skyriuje.
Trečiame skyriuje kalbama apie kūrybinį darba, fotografijų serija „Nebūtini“. Pirmiausiai aptariamos ir pagrįstai sugretinamos benamio ir elgetos sąvokos šio darbo kontekste, tuomet... [toliau žr. visą tekstą]<br>Naryškin Romanas, Social portrait in Lithuanian photography, photographic series „The Unnecessary“. Closing Bachelor„s work of multimedia art studies / lecturer A. Uogintas; Šiauliai University, Faculty of Arts, Art Department. Šiauliai 2014, 43 pages.
In this Bachelor„s work the author is looking into social portrait photography by first of all discussing documentary photography, and then social-documentary photography as social portraiture is an inseparable part of these two similar genres. Further on the origins of social documentary photography is discussed based on M. Matulytė„s theoretical work on the subject. For the creative part of the work, a specific group of social isolation is chosen (homeless people) and its relevance as that of a social problem is explained with a short overview of the development of the said social problem.
The first part touches the suject of both documentary and social documentary photography as a context for the theory on social portraiture, definition of which is then based on the mentioned genres. The similarities and differences between the genres are pointed out. The second part contains an overview of social-psichological portraiture in the works of Antanas Sutkus with detailed analysis of the psichological aspect of his portraits as well as general features peviously described in the social portrait definition.
The third part is dedicated to the creative project of the Bachelor„s work. Choice of subject is explained through short... [to full text]
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Lavarda, Marcus Túlio Borowiski. "Desmontando o “formigueiro humano”: uma leitura barthesiana das fotografias de Serra Pelada por Sebastião Salgado." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20682.
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Previous issue date: 2017-12-07<br>This paper aims to analyze Sebastião Salgado’s photographs about the region of Serra Pelada
and its gold-mining activities that took place mainly from 1980 to 1992. This study focuses
mainly in a photo series called Ouro, Serra Pelada, Brasil (Gold, Serra Pelada, Brazil), which
is part of Salgado’s masterpiece Workers (1996). This monumental body of photographic
work depicts what was coined by the Brazilian media at that time “a human ant nest”. The
methodology used in this study is an analysis of document-based bibliographical research on
reference papers about Salgado’s work as well as other journalistic photos of the gold mine
pits, such as the ones published in Brazilian journalist Ricardo Kotscho’s book Serra Pelada:
uma ferida aberta na selva (1984). The main theoretical concept used was Roland Barthes’
semiology, particularly the Barthesian concept of myth – viewed as a system of signs that
indefinitely expands the initial representations of the meaning. The theoretical framework of
this paper also relies on reference studies on the Barthesian critique. The assumption of this
study is that Salgado’s photographic work relies on the process of super construction of
themes – as most photographers do – as described in Barthes’ Mythologies. This is thought to
be a relevant theme for investigation because no scholars have scrutinized Salgado’s Serra
Pelada yet – hence this attempt to analyze Salgado’s work from an academic perspective<br>Esta tese contempla as fotografias feitas em Serra Pelada, p garimpo ativo no Pará no período
de 1980 a 1992, por Sebastião Salgado. Dentre os muitos registros realizados em meio ao
“formigueiro humano” do garimpo, segundo metáfora que lhe foi atribuída pela imprensa da
época, elege-se como corpus principal da pesquisa a série fotográfica “Ouro, Serra Pelada,
Brasil”, que consta da obra monumental intitulada Trabalhadores (1996), do renomado
fotógrafo brasileiro. Metodologicamente, a pesquisa é bibliográfica e documental, abarcando
obras de referência sobre a fotografia e as imagens, assim como reportagens de impacto sobre
o referido formigueiro, como aquelas do jornalista Ricardo Kotscho, publicadas no livro Serra
Pelada: uma ferida aberta na selva (1984). O principal referencial da pesquisa é a semiologia
de Roland Barthes e mais especificamente o conceito barthesiano de “mito”, entendido como
sistema conotado que distende abusivamente o sentido das representações iniciais de que
parte. Tal base teórica demanda ainda a consideração de estudos abalizados sobre a crítica
barthesiana. Trabalhamos com a hipótese de que a cobertura fotográfica em questão incorre
naquilo que, em Mitologias, Barthes chama a “sobreconstrução” do tema pelo fotógrafo. A
relevância da pesquisa prende-se ao fato de não haver, por ora, recepção acadêmica dos
testemunhos fotográficos de Serra Pelada e à tentativa que aqui se leva a cabo de pensar as
imagens de Salgado
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Iwataki, Ana A. "Mythic Narratives: The Chronicling of Conceptual Art." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/pitzer_theses/1.
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An exploration of the mythologized narratives that the work and lives of Conceptual artists Bas Jan Ader, Ana Mendieta, and Francis Alÿs have created and inspired. By virtue of their biographies, the fetishization of their personalities, and the ways in which this anecdotal information can be read in their work, mythologized narratives have been constructed, allowing for a prolonged interest existing within and without the confines of the art world. These mythologies come together as part of the oral tradition of the art world, a chronicling of narratives that incites continued interest for future generations.
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Rodger, Calum. "From Stonypath to Little Sparta : navigating the work of Ian Hamilton Finlay." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6442/.
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The work of Ian Hamilton Finlay spans a fifty-year career, numerous media (many invented by Finlay himself) and thousands of years of Western history. Yet despite its range, it is the product of a singular artistic vision. The object of this thesis is to provide a philosophical and aesthetic framework through which Finlay’s work can be read comprehensively. Centred on the notion of the ‘non-secular’ – a term coined by Finlay in response to bureaucratic, social and artistic antagonisms – it proposes that Finlay’s entire body of work can be read as a project towards realisation of ‘non-secular’ awareness. This comprises, firstly, a longing for an ‘essential’ language and absolute truths, and a respect and reverence for those aspects of culture which strove to, if not discover, then construct and have faith in those truths. It also comprises, secondly and as a consequence, reconciliation with the fact that these absolutes can never be fully realised in the practice of everyday living. This prompts further reconciliation with the limits of our comprehension of the universe and, in the last analysis, our own mortality. This reconciliation is ‘non-secular’ insofar as it does not dispel, but rather emphasises, the notion of a ‘beyond’ inherent to these limits, without defining that ‘beyond’. Using the metaphor of a navigator’s compass, the thesis defines the borders of the ‘non-secular’ through study of Finlay’s work, his correspondence, and his relationship with his contemporaries and critics. It gathers together, develops and responds to previous criticism on Finlay in order to present a unified reading of the poet’s oeuvre which, though it cannot hope to cover every aspect, suggests how his work might best be approached, navigated and read. To this end, the thesis also draws from a number of philosophers working in the continental, hermeneutic tradition, who present ways of thinking the ‘non-secular’ which complement Finlay’s project and, in some cases, directly influence it. As the title would suggest, though the thesis explores Finlay’s work in all media, its locus is Stonypath/Little Sparta, the poet’s family home and magnum opus. Here, the tensions between life and art which give rise to the ‘non-secular’ are at their most palpable. Despite Finlay’s reputation as a visual and plastic artist, this thesis opens with the premise that his work is best approached as poetry, beginning with an extended Introduction which shows how Stonypath/Little Sparta develops from modernist poetry. Coining and defining the term ‘topographical poetics’ to describe Finlay’s site-specific works, it then constructs a formal and methodological approach for reading these ‘poems’. Preliminary discussion of the ‘non-secular’ follows, leading into a four-chapter structure concerned with sketching out the limits of the ‘non-secular compass’. The compass consists of four poles – the Poetic, the Homely, the Modern and the Classical – corresponding to Chapters One through Four respectively. Each pole serves as an absolute point by which to consider the idea of the ‘non-secular’. The exception is the Homely, a pragmatic anchor from which develops the ‘non-secular’ in its reconciliatory aspect and, ultimately, provides the unique foundation for Finlay’s work. This ‘non-secular compass’ is presented as a critical paradigm for reading Finlay. With the work itself, it may also be used as an interpretative tool which opens up to fresh and vital reflections on our comparatively ‘secularised’ existences.
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Barnett, Maura. "The contemporary response to British art before Ruskin's "Modern painters" : an examination of exhibition reviews published in the British periodical press and the journalist art critics who penned them : from the late eighteenth century to 1843." Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/34732/.
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A particular literary genre, the exhibition review, forms the subject of this dissertation. It represents one facet of a discourse which began to develop in Britain during the latter years of the eighteenth century. Art historians have become increasingly interested in such criticism, but have usually treated it, not as an historical phenomenon which in itself deserves a full investigation, but as a pool of evidence from which to draw remarks concerning individual artists or works of art It is argued that such a one-dimensional approach is unsatisfactory, but that in attempting to go beyond it, the methodological problems posed by this primary source need to be considered. It is stressed that the building up of a basic corpus of knowledge is very important, and an inventory of identified critics is presented in order to assist this. Some observations on the careers of these critics are given. The exhibition reviews published in two contrasting periodicals, the Sun and The Examiner, form the subjects of case studies. The latter are known to have been penned by Robert Hunt and present no problems of attribution. The former are ascribed to John Taylor and the supporting evidence is put forward. The reviews are compared and it is shown how they differed according to their published contexts, and according to the idiosyncracies of their authors. It is suggested that in spite of these differences, a shared critical idiom was a strong force which led reviewers to make many similar comments. This idiom and the precedents which determined its nature are examined. The ways in which it at once harboured and yet disguised certain ideologies are demonstrated. Evidence which helps to place reviews into a more rounded picture of the past is given in conclusion, including statements which show that contemporaries perceived the press as an important influence on the development of taste.
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Giedraitytė, Rūta. "„Epizodas. Siekis“. Stop kadrais animuota fotografija." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110803_092305-37400.
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Šiame darbe analizuojami optinio meno, stop kadro animacijos veikimo principai, žmogaus gyvenimo momento svarba bei lentikuliarinės spaudos technologija, autorės nuomone, turintys sąsają su jos kurta animuota fotografija. Žmogaus trumpos nenutrūkstamo, ištisinio gyvenimo dalelės aktualumas kūrybiniame darbe virsta meniniu objektu, turinčiu aiškią motyvaciją, priežastis bei tikslus. Kūrybinio darbo dalyje pateikiama stop kadrais animuota fotografija. Darbas atspausdintas modernia technika, vienu iš naujausių spaudos būdų Lietuvoje – lentikuliarine spauda. Šis spaudos būdas atveria platesnes ir efektyvesnes galimybes, suteikiant darbui šiuolaikiškumo, išskirtinumo, originalumo bei skatina kurti naujas ir aktualias idėjas. Žiūrovui, stebinčiam animuotą fotografiją, suteikiama galimybė pristabdyti, sugrįžti atgal arba pakartoti reginį. Jis pats kontroliuoja žiūrėjimo kampą bei tempą, suvokdamas imituojamą judesį.<br>Here is analyzed optical art, stop-frame animation’s principle, the moment of importance in human life and lenticular press technology in this work. According to the author, all it has connection with her created work. The relevance of particles of human short-continuous life into the creative work becomes an artistic object with a clear motivation for the reasons and goals. Here is introduced stop motion animated photography in creative work park. The work is printed by modern technology, one of the newest ways to press in Lithuania - lenticular press. This printing method offers a wider and more effective option, giving modernity, exclusivity, originality for the work and encourages the development of new and relevant ideas. The viewer, who is observing an animated photography, has a opportunity to pause, go back or repeat the view. He controls the viewing angle and tempo, aware of the simulated motion.
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Kibildė, Justina. "Mergaičių seksualizacija fotografijose instaliacija – fotografijų ciklas „Mažosios moterys“." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_105548-71647.
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Justina Kibildė – Mergaičių seksualizacija fotografijose, instaliacija – fotografijų ciklas „Mažosios moterys“: Audiovizualinio meno studijų bakalauro baigiamasis darbas / vadovas A. Uogintas; Šiaulių universitetas, Menų fakultetas, Audiovizualinio meno katedra. Šiauliai, 2012 m.. 56 p.<br>Kibildė Justina – Sexualisation of girls in photography, installation – cycle of photographs „Little women“: Closing Bachelor’s work of media art studies / lecturer A. Uogintas; Šiauliai university, Faculty of arts, Media art department. Šiauliai, 2012. 56 p.
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Leedy, Alison J. "Interpretations of the Politics of Fictive Landscapes in Context: A Comparison of Allan Sekula's Sketch on a Geography Lesson and Martha Rosler's In the Place of the Public Airport Series." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/197472.
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Art History<br>M.A.<br>Interpretations of the Politics of Fictive Landscapes in Context: A Comparison of Allan Sekula's Sketch on a Geography Lesson and Martha Rosler's In the Place of the Public Airport Series Throughout this thesis project I examine the geopolitical context(s) of the photographs featured in Martha Rosler's 'In the Place of the Public Airport Series' (1983) and Allan Sekula's series, 'Sketch on a Geography Lesson' (1982). I investigate the manner in which they question the legitimacy of the genre of documentary photography within the post-modern age by emphasizing the documentation of an actual physical place, presenting an alternative to the post-modern notion of photograph merely as another component of simulacra, or the intentional creation of an image without meaning or origin. By looking at photographs that Rosler and Sekula made during the burgeoning stages of post-modern theory, presents a broader interpretation of the development of Marxist documentary photography from the early 1980's to today. One way in which I dialogue with the discourse surrounding documentary photography in the 1980's is to focus on Rosler's and Sekula's intentional choice of material that emphasizes the political dialogue rather than concepts that are abstract and maintain no reference to real life. Furthermore, the period of the 1980's is considered a point in contemporary art history when the political fervor of the 1960's and early 1970's diminished greatly. Departing from this trend, Rosler's and Sekula's work continues to address political ideas throughout the 1980's, creating a bridge to today's photographers, such as Edward Burtynsky and Andreas Gursky who consider aesthetics from a socio-political perspective.<br>Temple University--Theses
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Viraben, Hadrien. "Le savant et le profane : documenter l'impressionnisme en France, 1900-1939." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR095.
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En 1946, la parution à New York de l’Histoire de l’impressionnisme de John Rewald consacra l’aura d’une historiographie scientifique du mouvement, cautionnée par un investissement documentaire. Cette qualité l’opposait à un monde profane, dominé par une tradition orale et en particulier la réputation de certains témoignages. Un examen attentif ne saurait pourtant donner raison au postulat d’une nature exclusivement savante du document. Une documentation impressionniste se constitua en effet, dès le début du XXe siècle, par l’intermédiaire de producteurs hétéroclites, artistes, témoins, héritiers, critiques, journalistes, aussi bien qu’historiens professionnels, conservateurs et universitaires. Elle peut ainsi être envisagée autant comme le fruit d’une quête de la vérité factuelle que comme l’appropriation d’un objet d’étude populaire, à travers ses empreintes écrites et visuelles. L’appareillage des lectures de l’impressionnisme réunit de la sorte : les autographes ; les memorabilia, meubles ou immeubles chargés du souvenir des peintres ; les technologies photographique et cinématographique. Ces documents participaient en outre d’une culture visuelle plus vaste, incluant les monuments et les plaques commémoratives dans l’espace public, ou encore les motifs transformés par l’acte pictural en points de vue remarquables. L’étude historique et critique de l’écriture de l’histoire impressionniste comme (dé)monstration documentaire permet de revenir sur les circonstances sociales et visuelles de sa mise en œuvre, sur les enjeux de carrière auxquels elle participa, et sur les missions qui lui furent assignées au sein de différents discours sur l’art, savants et profanes<br>In 1946 the publication of John Rewald’s History of Impressionism in New York consecrated the aura of the movement’s scientific historiography, supported by documentary investment. This quality confronted laymen’s narratives, which oral tradition and some witness’s accounts’ reputations dominated. Yet, a close consideration could not agree with the assumption of an exclusive scholarly nature of the document. Since the beginning of the 20th century, varied producers, such as artists, witnesses, heirs, critics, journalists, as well as professional historians, museum curators and academics formed an impressionist documentation. It thus can be interpreted as a quest for factual truth, as much as an appropriation of a research object through its written and visual marks. The equipment of impressionist readings hence gathered are: autographs; memorabilia, movable and physical assets as souvenirs of artists; photographic and cinematographic technologies. Moreover, these documents fit into a broader visual culture which included monuments and commemorative plaques of the public sphere, or motives transformed by pictorial acts into remarkable viewpoints. A historical and critical study of such a writing of history as documentary (de)monstration allows here to look back to its execution’s social and visual contexts, the career issues in which it participated, the goals that had been assigned to it within both scholars’ and laymen’s art discourses
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Evans, Laura E. "Eating Our Words: How Museum Visitors and a Sample of Women Narratively React to and Interpret Lauren Greenfield's THIN." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299860725.
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Damisch, Robert. "Bring it To The Table." Thesis, Konstfack, Industridesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6909.
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The thesis is intending to answer the question: Do tools and objects have the ability to support capacities for imagining alternative ways of living the present and through that also the future? How do we imagine our future? What is necessary for us and how do we want to live our everyday? It is important to rest for a moment and have a conversation about this questions in order to adapt old concepts of the world towards drastically changing conditions. Most of us, mainly in the modern western society, know that we can no longer maintain this lifestyle in the future. We know that we have to react as soon as possible and find alternative ways of living together. Yet it seems that we are paralysed to initiate action towards new ways of thinking. Where does this inactivity come from? It is hard to find new ways of thinking, especially when conventional norms, rules and structures of the current system do not provide any room for new forms of development. Is it possible that we are trapped in this system and the web of stories that hold it together? Is it possible that we are so used to the structures of the everyday, that we see them as set truths and do not question them anymore? The work investigates where these conditions come from and how non-human stakeholders in form of our everyday objects impact human culture and core beliefs. Through designing a disobedient tool that supports the capacity for alternative thinking towards more playful, imaginative presents and futures I want to try to questioning established systems embedded in our everyday tools, tools which embody our relations to each other and to the living and non-living inhabitants of our surroundings.
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Steyn, Christine. "After birth : abjection and maternal subjectivity in Svea Josephy's "Confinement"." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85724.
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Thesis (MA)-- Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: In this thesis I investigate the radical reframing of maternal representation in the photographic series by Cape Town-based artist Svea Josephy (b. 1969), entitled Confinement 2005-ongoing. Using Julia Kristeva’s theorisation of the maternal body’s relation to abjection, as well as its imperative to the remodelling of the relationship between the corporeal and the cultural, I explore how Josephy’s images explicitly engage with the Kristevan abject in order to disrupt cultural inscriptions of maternity and ‘motherhood’. I contend that Confinement situates Josephy’s experience of ‘becoming-mother’ against the dominant discourses of maternity and birth, and thereby uses the maternal subject as a means to interrogate broader issues of gender and identity.<br>AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek ek die radikale herberaming van die moederfiguur in Confinement (2005 tot op hede) – ‘n fotoreeks van die Kaapse kunstenaar Svea Josephy (geb. 1969). Julia Kristeva se teorieë oor die moederlike liggaam, en in besonder die moederliggaam se verhouding tot abjeksie, word aangewend om die verband tussen die liggaamlike en die kulturele te herbedink. Ek ondersoek hoe hierdie fotoreeks Kristeva se konsep van die abjekte benut, ten einde kulturele voorskriftelikheid oor moederskap en 'ma-wees' te ontwrig. Ek argumenteer dat Confinement Josephy se ondervinding van 'wordend-moederskap’ die dominante diskoerse van moederskap en geboorte uitdaag, en sodoende die moederlike subjek gebruik om breër aspekte rondom geslag en identiteit te bevraagteken.
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Brandão, Maria Aparecida de Oliveira. "Cultura visual e a formação do olhar: desafios conceituais e didáticos para o currículo escolar." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/9880.
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Previous issue date: 2016-02-25<br>Secretaria da Educação do Estado de São Paulo<br>This research arose from the realization that we are living in this new century a proliferation, an image bombing, whose consequence is the gradual lost of subjectivity and the appearance of a new form of illiteracy, visual illiteracy, making necessary therefore, to reflect and to question the difficulties of their readings and the formation of their readers. Thus, the objective of this research is to diagnose the origin of difficulties in reading and the students critical image of the 9th grade of elementary education at a public school of Mauá, SP. Among the many forms of images, the clipping chosen and presented was the picture (photographed and created in digital environments). Then, the methodology used had qualitative approach, comprising between its instruments: the bibliography research, in which report the authors that contribute to the discussion on the particularities of the reading of images, visual literacy, perception of the codes of images reading, the contemporary characteristics of the new photographic images and Curriculum; documentary research, consisting of selecting a set of photographs and texts, of their readings made by students, and depth with a focus group. Based on the analysis of data token by the collection tools, showed that the over-exposed students to the multitude of new photographic images has low capacity of reading of essential elements, which is reinforced by the absence of treatment in curricular activities, showing that these difficulties are not only consequences of the low working in the art area, but the absence of a collective task, interdisciplinary, continuous and even social<br>A presente pesquisa surgiu da constatação de que estamos vivendo neste início de século uma proliferação, um bombardeamento de imagens, cuja consequência é a perda gradual da subjetividade e o aparecimento de uma nova modalidade de analfabetismo, o analfabetismo visual, fazendo-se necessário, por isso, refletir e questionar as dificuldades de suas leituras e da formação de seus leitores. Sendo assim, o objetivo desta pesquisa é diagnosticar a origem das dificuldades de leitura e da crítica de imagens de alunos do 9º ano do ensino fundamental de uma escola da rede pública estadual de ensino de Mauá, S.P. Dentre as muitas formas de imagens, o recorte escolhido e apresentado foi a fotografia (fotografadas e criadas em ambientes digitais). Para tanto a metodologia utilizada teve enfoque qualitativo, compreendendo entre seus instrumentos: a pesquisa bibliográfica, na qual se apresentam os autores que colaboram para a discussão sobre as particularidades da leitura de imagens, da alfabetização visual, da percepção dos códigos da sua leitura, das características contemporâneas das novas imagens fotográficas e do Currículo; a pesquisa documental, consistente na seleção de um conjunto de fotografias e de textos de suas leituras feitas pelos alunos, e aprofundada com um Grupo Focal. Com base nas análises dos dados recolhidos pelos instrumentos de coleta, evidenciou-se que o aluno exposto exageradamente à multidão de novas imagens fotográficas apresenta baixa capacidade de leitura de seus elementos essenciais, o que é reforçado pela ausência de tratamento nas atividades curriculares, mostrando que essas dificuldades não são consequências apenas do baixo trabalho na área de arte, mas da falta de uma tarefa coletiva, interdisciplinar, contínua e mesmo social