Literatura científica selecionada sobre o tema "Photography, Artistic – Themes, motives"
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Artigos de revistas sobre o assunto "Photography, Artistic – Themes, motives"
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Colner, Miha. "Bojan Salaj, photographer: The Ambivalent Eclecticism of Contemporary Photography". Membrana Journal of Photography, Vol. 1, no. 1 (2016): 14–19. http://dx.doi.org/10.47659/m1.014.rev.
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The article that aims to analyse the artistic production of photographer Bojan Salaj is based on conversations and reviews of his archive. Among Slovenian photographers, Salaj is the one who has been seen as an embodiment of the decisive shift in perception of the photographic medium that occurred in the late 1980s and early 1990s. He has never worked as documentary photographer or photojournalist; his authorial practice has always been primarily focused on the context of exhibition and against unconventional solutions. Salaj is one of those photographers who are characterized by the deep reflection of the meaning and perception of image from different, mainly philosophical, viewpoints, while at the same time following the objectivistic principles of photography. At a glance, his practice is extremely eclectic and post-modern, which is due to the fact that he is not looking to find an individual and recognizable artistic voice; he dedicates his focus to individual projects, bringing into his work various different references and themes. Nevertheless, a central motive can still be perceived throughout his output. In the past 25 years, Salaj has mostly been attracted to the here and now; this includes the fundamental problems of representation of photography in mass media, iconography of power structures, models of construction of history, and ways of establishing national and cultural identities.
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Woźniak, Kamila. "Rozkosze czeskiej awangardy. O fuzjach literatury, sztuki i filozofii na przykładach z twórczości Jindřicha Štyrskiego, Toyen, Vítězslava Nezvalai Františka Drtikola". Slavica Wratislaviensia 164 (20 de novembro de 2017): 33–41. http://dx.doi.org/10.19195/0137-1150.164.3.
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The joys of the Czech avant-garde.On the amalgamation of literature, art and philosophy based on the examples from the works of Jindřich Štyrský, Toyen,Vítězslav Nezval and František DrtikolThe article points out some recurrent themes in the literary and artistic works by the repre- sentatives of the Czech avant-garde of the first half of the twentieth century. It is primarily about the motives of sleep, life, death and eroticism recognized most often in iconoclastic conventions, often on the borders of pornographic description and violating the taboo of eroticism, pleasures of the flesh and religion. In the case of Štyrský, among other topics, the theory of artificialism for- mulated by him and Toyen is discussed. The theory had a close relationship with the poetry, prose and art by this author. On the other hand, based on the example of Nezval, an image of literary pleasures is presented, associated with the often actuated by the author issues of first love and erot- ic sensations. In the end, the figure of František Drtikol is outlined — the creator of photographs, which often depict threads of femme fatale and scandalous nude crucified women.Rozkoše české avantgardy. O fúzi literatury, umění a filozofie na příkladu tvorby Jindřicha Štyrského, Toyen, Vítězslava Nezvala a Františka DrtikolaČlánek poukazuje na stálé motivy v literární a umělecké tvorbě představitelů české avant- gardy první poloviny 20. století. Jde především o motivy snu, života, smrti a erotiky, chápané nejčastěji jako obrazoborecké a nacházející se často na hranici tělesné rozkoše, náboženství a por-nografického obrazu, jenž prolamuje erotická tabu. V případě Štyrského půjde mj. o teorii artifi- cialismu, kterou zformuloval spolu s Toyen. Na příkladu Nezvala bude nastíněn literární obraz rozkoše související s problematikou prvních milostných a erotických zkušeností, které se autor často dotýkal. Závěr příspěvku přiblíží osobu Františka Drtikola — tvůrce fotografií, na kterých jsou často vyobrazena témata osudových žen a skandalizujících aktů ukřižovaných žen.
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Polańska, Anna. "Działania artystyczne w gdańskim środowisku fotograficznym promujące fotografię marynistyczną w latach 1948-1981". Porta Aurea, n.º 17 (27 de novembro de 2018): 179–217. http://dx.doi.org/10.26881/porta.2018.17.08.
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With Gdansk artists an approach to the subject of the marine photography, was marked on several levels – artistic, documentary, journalistic and usable. Since 1945 to the first half of the 80s, we notice the popularization of maritime theme in the environment throughout artistic exhibition activities, and the program objectives. Maritime photography or maritime themes in photography? An analysis of the photographic medium in terms of belonging to the art can give the answer to this question. It is also worth considering whether there was „Gdansk School of the Maritime Photography”? The phenomenon of Polish marine art in the case of photography has been strongly emphasized in the Gdansk photography environment. The traditional display of the maritime theme has been broken, and with the approval of the authorities. Shipyard workers and dockers joined to the effigy of the sea people (fishermen, sailors). Photographers began to enter the maritime economy and use the effects of cooperation with maritime institutions for artistic purposes. Thematic exhibitions on shipyards and ports were created showing the sea from a different point of view, from the perspective of land. Socio-political events related to Solidarity stopped the promotion of the sea through the image of a shipyard worker and a shipyard, which became icons of the struggle for freedom. The Gdansk photographic community after the socio-political crisis of the first half of the 1980s, has not yet rebuilt its leading position in the dissemination of the maritime theme in photography on a large scale. Maritime exhibitions still appeared, but mainly on the local level, and the sea was reduced to the landscape understood very traditionally. At the same time photographers of the younger generation were interested in completely different issues of the style and aesthetics of photography. Te slogan „face to the sea” ceased to correspond with new times.
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Colner, Miha, e Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović". Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.
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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the search, preservation, collection and analysis of local photographic materials from recent history. In the past ten years, Petrović also moved his artistic practice beyond mere artistic expression, since he addresses the phenomena of photography from an analytical-theoretical point of view. His interest lies in the nature of the photographic image and its role in society and historiography. In this spirit, long-term projects such as Documents (1997–2008), Images (2002–), Portfolio Belgrade (2015–) and the latest film production were created. The interview with Ivan Petrović took place on 1 September 2017 in Belgrade. The main themes were the role of photography in the dominant history, the boundary between one’s own practice and archival work, photography as an art and the likes. Keywords: collection, documentary, photography's role, preservation, research
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Wiedemann, Thomas. "Preface". Novos Olhares 9, n.º 1 (10 de julho de 2020): 9–12. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.171983.
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The Dossier entitled “(Audio)Visions: photography, cinema and memory” is edited by Thomas Wiedemann on behalf of the Visual Culture Working Group (VIC) of the International Association for Media and Communication Research (IAMCR). Within IAMCR, VIC focuses on artistic, cultural, socio-cultural and technological studies in visual media and communication—pictures and photography, respectively, but also cinema, audiovisuals and arts—from a critical view point that might enhance the international field of communication studies. In this spirit, after the IAMCR Conference 2019 held in Madrid, Spain, the idea arose to publish some of the research papers by members of the working group that dealt with the themes of the dossier.
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LAMBERT, PHILIP. "Brian Wilson’s Pet Sounds". Twentieth-Century Music 5, n.º 1 (março de 2008): 109–33. http://dx.doi.org/10.1017/s1478572208000625.
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AbstractPet Sounds, the landmark Beach Boys album of 1966, has received wide acclaim as one of rock’s first ‘concept albums’. It also represents a milestone in the artistic evolution of the group’s primary creative force, Brian Wilson. A thorough examination of the texts and music of the songs of Pet Sounds reveals a unified art work projecting a coherent textual narrative. Songs are associated and interrelated via recurrent motives and harmonic patterns, expressing extremely personal themes of romance and heartbreak. The musical ideas are mostly culminations of Brian Wilson’s earlier work – they are the ‘pet sounds’ that he had been raising and nurturing since the early 1960s – but they appear here in an unprecedented artistic context. Despite Wilson’s continued, if sporadic, productivity in the decades that followed, including the ill-fated Smile project, Pet Sounds stands as his crowning artistic achievement, an album with vast appeal and broad influence.
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Yahyabala qızı Bağıyeva, Nubar. "Carpet compositions by carpet artist Mammadhuseyn Huseynov". ANCIENT LAND 03, n.º 04 (30 de junho de 2021): 15–18. http://dx.doi.org/10.36719/2706-6185/03/15-18.
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The artist has created valuable works of art that attract the attention of the most beautiful traditions of the pre-existing artistic heritage with a choice of different themes and styles. He created expressive images that characterize the environment in which any subject is reflected, and tried to make room for elements of national motives. This is an indication of his rich artistic imagination and delicate taste. The carpets created by the carpet artist are distinguished by the fact that the ornaments are very complex and very versatile. The ornament of these carpets will remain the object of research for a long time, because its artistic-schematic aesthetic, spiritual and emotional content is an inexhaustible treasure. The carpet patterns created by the carpet artist attract the audience's attention at first sight. The carpets he authored are always met with interest, love and appreciation. Keywords: Mammadhuseyn Huseynov, fine art, carpet art, composition, ornament
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Reinhuber, Elke. "The Urban Beautician: a practice of transferring ephemeral interventions in the public space via media into a work of art". Lumina 11, n.º 2 (30 de agosto de 2017): 60–81. http://dx.doi.org/10.34019/1981-4070.2017.v11.21442.
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In this artistic research, I argue that a range of artistic practices is capable of addressing relevant issues in our material, specifically our urban, environment. In particular, conceptual interventions or non-theatrical performances, which are in most cases mundane everyday activities that require transformation through media to be understood as art. Yet, as human memory is susceptible, media is also required to provide proof of the action for archives or exhibitions, or simply as a memento of the artwork itself. Lens-based media, such as photography and video-recording, are in most cases the ideal form of documentation and distribution, while the actual performance is transferred to another genre of artistic practice and dissociated from the immediate experience of the moment.This paper introduces the enduring work of the author’s alter ego, The Urban Beautician, and defines her actions and documentation of this work within the framework of the conceptual and performance art scene. An assiduous assessment of her artistic ancestry is given and a catalogue of her endeavours, categorised by diverse subjects, arranged to isolate the themes and to connect the topics.
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Kamitova, Alevtina Vasilevna, e Tatyana Ivanovna Zaitseva. "ARTISTIC ASSIMILATION OF THE WORLD IN THE ESSAY PROSE OF M. G. ATAMANOV (BASED ON THE BOOK “I AM UDMURT. WHY DOES IT HURT?”)". Yearbook of Finno-Ugric Studies 14, n.º 3 (2 de outubro de 2020): 459–64. http://dx.doi.org/10.35634/2224-9443-2020-14-3-459-464.
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The paper reflects the specificity of the fundamental ideas of the artistic world of M. G. Atamanov, which includes a wide range of literary facts from the content level of the text of the works to their poetics. A particularly important role in the works of M. G. Atamanov is played by cross-cutting themes and images that reflect the author's individual style and his idea of national-ethnic identity. The subject of the research is the book of essays “Mon - Udmurt. Maly mynym vös’?” (“I am Udmurt. Why does it hurt?”), which most vividly reflected the main spiritual and artistic searches of M. G. Atamanov, associated with his ideas about the Udmurt people. The main motives and plots of the works included in the book under consideration are accumulated around the concept of “Udmurtness”. The comprehension of “Udmurtness” is modeled in his essays through specific leit themes: native language, Udmurt people, national culture, mentality, geographic and topographic features of the Udmurt people’ places of residence, the Orthodox idea. The “Udmurt theme” is recognized and comprehended by the writer through the prism of national identity.
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Arzamazov, Aleksei A. "Dolgan Invitation to the Tundra: the Artistic World of Ogdo Aksenova". Polylinguality and Transcultural Practices 17, n.º 3 (15 de dezembro de 2020): 321–33. http://dx.doi.org/10.22363/2618-897x-2020-17-3-321-333.
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The main purpose of the article is to analyze the poetic texts of Ogdo Aksenova, who is sole representative of the Dolgan national literary tradition. The main themes, key motives and symbols of her artistic world (the image of the northern landscape, the image of the tundra, poetic variations on the theme of the seasons, etc.) are established, the ethnocultural originality of the poetic discourse (linguistic levels of expressiveness, realities of Dolgan culture) is analyzed. Special attention is paid to the genre of the song, which has folklore and mythological roots. It is emphasized that in separate collections and works the boundaries between the authors and folklore are blurred. The article assesses the quality of the literary translation of the texts of the Dolgan poetess into Russian. The work of O. Aksenova is of great research interest from the point of view of identifying specific mechanisms of the formation and development of minority literature.
Teses / dissertações sobre o assunto "Photography, Artistic – Themes, motives"
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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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Fiveash, Tina Dale Media Arts College of Fine Arts UNSW. "The enigma of appearances: photography of the third dimension". 2007. http://handle.unsw.edu.au/1959.4/44259.
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The Enigma of Appearances is an examination into the medium of three-dimensional photography, with particular focus on the technique of stereoscopy. Invented in the mid-Victorian era, stereoscopy was an attempt to simulate natural three-dimensional perception via a combination of optics, neurology, and a pair of dissimilar images. Whilst successful in producing a powerful illusion of spatial depth and tangibility, the illusion produced by stereoscopy is anything but ??natural??, when compared to three-dimensional perception observed with the naked eye. Rather, stereoscopic photography creates a strange and unnatural interpretation of three-dimensional reality, devoid of atmosphere, movement and sound, where figures appear frozen in mid-motion, like waxwork models, or embalmed creatures in a museum. However, it is precisely stereoscopic photography??s unique and enigmatic interpretation of three-dimensional reality, which gives it its strength, separating it from being a mere ??realistic?? recording of the natural world. This thesis examines the unique cultural position that stereoscopy has occupied since its invention in 1838, from its early role as a tool for the study of binocular vision, to its phenomenal popularity as a form of mass entertainment in the second half of the 19th century, to its emergence in contemporary fine art practice in the late 20th and 21stt centuries. Additionally, The Enigma of Appearances gives a detailed analysis of the theory of spatial depth perception; it discusses the dichotomy between naturalia versus artificialia in relation to stereoscopic vision; and finally, traces the development of experimental studio practice and research into stereoscopic photography, undertaken for this MFA between 2005 and 2007. The resulting work, Camera Mortuaria (Italian for ??Mortuary Room??), is a powerful and innovative series of anaglyptic portraits, based upon an experimental stereoscopic technique that enables the production of extreme close-up three-dimensional photography. Applying this technique to the reproduction of the human face in three-dimensional form, Camera Mortuaria presents a series of ??photo sculptures??, which hover between reality and illusion, pushing the boundaries of stills photography to the limit, and beyond.
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Hostetter, Carla. "Artistic meaning and conceptual frameworks : themes of gender and time in foreign imaging of Ni-Vanuatu material culture". Thesis, 2005. http://hdl.handle.net/10125/12081.
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Lobo, Carlos Afonso de Oliveira. "A fotografia entre a experiência do real e a expressão fragmentária do artista". Doctoral thesis, 2016. http://hdl.handle.net/10400.14/24176.
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Esta tese procura investigar a fotografia enquanto potencial imagem do mundo em resultado de
uma prática artística subjectiva. Em virtude da crescente hibridização entre o real e o artificial na
fotografia contemporânea, a fotografia é assumida como uma prática complexa que impõe a necessidade
de uma reflexão alargada. O estudo da história da fotografia e dos diferentes discursos estéticos e críticos
em torno da representação do real procurará contextualizar as novas correntes da fotografia
contemporânea e contribuir para o recorrente debate sobre as fronteiras que delimitam os discursos
artísticos e críticos da própria prática fotográfica. Em consequência da impossibilidade de se proceder
a uma investigação que englobe de forma inequívoca toda a variedade de práticas e discursos que
dominam o campo da fotografia, esta tese apresenta como eixo central a fotografia documental e o seu
legado de verosimilhança com o real, sob a perspectiva da prática fotográfica enquanto exercício da
expressão fragmentária do artista. De forma a sustentar a argumentação teórica aqui defendida, é
apresentada uma reflexão sobre a minha prática fotográfica, suportada por um corpo de trabalho
intitulado Still There (2011-2016).This thesis aims to investigate photography as a potential image of the world and as a result of a subjective artistic practice. Because of the increasing hybridization between reality and artificiality in contemporary photography, this thesis assumes photography as a highly complex practice that imposes the need for a broader reflection. The study of the history of photography and of the different aesthetic and critical discourses surrounding the representation of the theme of the real will try to contextualize the new contemporary photographic practices and contribute to the recurrent debate about the boundaries that delimit the artistic and critical discourses from the photographic practice itself. As a result of the impossibility of carrying out an investigation that unequivocally encompasses all the variety of practices and discourses that dominate the field of photography, this thesis assumes documentary photography and its legacy of verisimilitude with reality as its central axis, through the perspective of photographic practice as an exercise of the fragmentary expression of an artist. In order to support the theoretical arguments herein analyzed, this thesis presents a reflection on my own photographic practice, based on a body of work entitled Still There (2011-2016).
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Chaitow, Tanya School of Arts UNSW. "Nothing personal". 2007. http://handle.unsw.edu.au/1959.4/44254.
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The autobiographical nature of my work deals with the space between the innocence of childhood and the wisdom of adulthood. I explore the complexities of personal experience, old and new landscapes and the scar tissue of memory. The work deals with beginnings and departures, relationships and conflict of power and vulnerability in the quest to make sense of life. My work connects with moments of childhood that I try to retain as a touchstone for authentic experience. The images are derived from personal and familial experiences, moving through to the universal to tell the human tale, using the human body as a metaphor. The body becomes the subject matter for expressing ideas about our universal and personal concerns. I explore the gulf between the real and the unreal through examining themes such as identity, vulnerability, anxiety, fear, alienation, abandonment, loss, corruption of innocence, love and death within a contemporary urban framework. These emotions are played out against the backdrop of daily domesticity and reflect the physical reality of the world around us, often exposing the contrast between the orderly veneer of our daily lives and our emotional reality. My work methodology uses narrative found in books, films, fairy tales or fables to explore the conflicting emotions which structure human identity and interaction. I use the stories as a way of approaching ideas or emotions and exploiting the story as a focus of cultural knowledge. In the search for emotional truth I draw parallels between my art practice and the search for authenticity within the theatre. My work is an attempt to explain my own creative process in relation to the artists who have influenced me, my childhood, its rich tradition of storytelling and my passion for theatre and literature as well as a search for meaning in my own relationships and life's journey. This is conveyed through a series of paintings and works on paper.
Livros sobre o assunto "Photography, Artistic – Themes, motives"
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Saborit, Antonio. Tina Modotti: Vivir y morir en México. México, D.F: Consejo Nacional para la Cultura y las Artes, 1999.
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Baquero, Orlando. Arqueología del aire: Notas desde una fotografía. [Venezuela: s.n.], 2007.
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E, Coca Villar Cristina, ed. Karen Knorr. Madrid]: La Fábrica, 2011.
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author, Pedicini Isabella 1983, ed. La camera incantata. Roma: Contrasto, 2013.
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1961-, Rodríguez José Antonio, Tovalín Ahumada Alberto 1961- e Mendieta Adrián 1948-, eds. Carlos Jurado y el arte de la aprehensión de las imágenes. Xalapa, Veracruz: Universidad Veracruzana, Dirección General Editorial, 2010.
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Laure, Beaumont-Maillet, Denoyelle Françoise, Versavel Dominique e Bibliothèque nationale de France. Galerie de photographie., eds. La photographie humaniste, 1945-1968: Autour d'Izis, Boubat, Brassaï, Doisneau, Ronis-- : [catalogue de l'exposition présentée à la Bibliothèque nationale de France, sur le site Richelieu, Galerie de photographie, du 31 octobre 2006 au 28 janvier 2007]. Paris: Bibliothèque nationale de France, 2006.
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La fotografia in Italia, 1945-1975. Roma: Contrasto, 2010.
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Gonzalo, Leiva Quijada, ed. Contrasombras: Leonora Vicuña. Providencia, Santiago [Chile]: Ocho Libros, 2010.
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Profond silence. Bruxelles: Lettre volée, 2009.
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Marín, Matilde. Matilde Marín: Bricolage contemporáneo. Buenos Aires, Argentina: M. Marín, 2005.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Photography, Artistic – Themes, motives"
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Markevych, Larysa. "POSTMODERN TENDENCIES IN UKRAINIAN BALLET IN SOVIET TIMES IN THE 60S-80S OF THE 20TH CENTURY". In Integration of traditional and innovative scientific researches: global trends and regional aspect. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-3-2.
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The article deals with the artistic language evolution in the Ukrainian national ballet performance in terms of the creative process and the gained image-result – the author’s and the performer’s reflection (certain specifics of thinking), directly creative action, the form of existence of a choreographic work. The well-known choreographers-directors’ creative activity of Ukrainian performances of the above period has been analyzed, the peculiarities of the work of each of them have been revealed. Emphasis is focuses on expanding the thematic range of ballet works in the practice of the national stage. The specifics of the work of Ukrainian composers in the field of the national ballet genre have been identified; the evolution of the artistic language in ballet in historical retrospect has been defined. It has been emphasized that an important aspect for the choreographic language formation of the Ukrainian national ballet performance was the embodiment of the historical and the heroic themes. The canonical feature of the stylistic certainty of the Ukrainian national ballet performance is the combination of the heroic motives and the lyrical-romantic perspective of the image of opposing forces. Having analyzed significant historiographical material, it has been proved the difference between the national ballet performance of the 60s and 80s of the twentieth century from the similar productions in other republics. Based on a comprehensive analysis of a number of ballet performances of the 60-80s of the twentieth century, the following functions of the artistic language in the structure of this genre have been identified: expressive, emotional, figurative, symbolic, and thematic contrast. It is the transformation of the functions of the artistic language that leads to changes in the genre and the style format of a ballet performance.