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Journal articles on the topic 'Humanities -> art -> photography'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Vellanki, Vivek. "Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research." Cultural Studies ↔ Critical Methodologies 22, no. 2 (2021): 132–42. http://dx.doi.org/10.1177/15327086211045976.

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In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual researc

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Rissanen, Mari-Jatta. "Entangled photographers: Agents and actants in preschoolers’ photography talk." International Journal of Education Through Art 16, no. 2 (2020): 271–86. http://dx.doi.org/10.1386/eta_00031_1.

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Photographs taken by young children have engendered a growing amount of research across diverse academic disciplines. Photographs have been used as visual data for analysing for example children’s social relations and well-being. However, only a few studies have addressed the photographic practices of young children as means for them to explore, imagine and coexist with the surrounding world. In this article, I introduce a case study that draws on research from art education and sociology of childhood. The data were gathered in a photography workshop in a Finnish early childhood education and

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Okpoko, Chinwe, and Mpho Chaka. "Exploratory view of the synergy between photojournalism and fine-art photography." IKENGA International Journal of Institute of African Studies 23, no. 2 (2022): 1–23. http://dx.doi.org/10.53836/ijia/2022/23/2/003.

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Photojournalism uses images to tell stories and report events, while fine-art photography aims to express creative ideas and messages also through images. Although both fields express socio-political and religious ideas and reflect the past through pictures, they differ in approach. Photojournalism portrays events as they are using pictorial representations, without imputing the opinion of the journalist; fine art projects such events also pictorially, but from the vision of the artist. Thus both photojournalism and fine-art photography use photographs as a medium of expression. However, while

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Glebova, Aglaya. "Elements of Photography." Representations 142, no. 1 (2018): 56–90. http://dx.doi.org/10.1525/rep.2018.142.1.56.

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This essay traces the evolution of landscape imagery in Aleksandr Rodchenko’s photographic oeuvre, focusing especially on images produced during his journalistic trip to the White Sea-Baltic Canal, one of the first Soviet forced labor camps. Through close reading of photographs, it argues that Rodchenko’s abandonment of avant-garde aesthetics, in particular the emphasis on photography’s transformative powers and its medium-specificity, in these images did not represent a shift toward socialist realism but, rather, held critical potential in the face of contemporaneous official censure of forma

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Sarsby, Jacqueline. "Exmoor Village Revisited: Mass-Observation's ‘Anthropology of Ourselves’, the ‘Feel Good Factor’ in Wartime Colour Photography and the Photograph as Art or Social Document." Rural History 9, no. 1 (1998): 99–115. http://dx.doi.org/10.1017/s0956793300001461.

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In 1988, HTV made a series of programmes about a Somerset village called Luccombe. Their starting point was the Mass-Observation survey carried out over forty years before and described in Exmoor Village. No mention was made of the larger project - the ‘wholesome’ British export, for which the survey and perhaps even more importantly, the photographs, were commissioned. The difficulties of producing and reproducing fine-quality colour photographs at that time, however, suggest that the social investigators and the photographer were pursuing widely differing goals. The different approaches of s

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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.

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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic pr

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Mountfort, Paul. "Dérives: Street photography as post-/Situationist practice." Australasian Journal of Popular Culture 10, no. 1 (2021): 21–38. http://dx.doi.org/10.1386/ajpc_00036_1.

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Street photography has hardly lacked for popular cultural currency, as attested by those ubiquitous black framed prints and coffee table tomes. However, it has long been a relatively marginalized genre within photography that has seen relative critical neglect even compared to other demotic forms concerned with the everyday, such as the family portrait (Bourdieu) and snapshot (Barthes). This article seeks to sketch a series of potential intersections between street photography’s antecedent, formative and breakout phases on both sides of the Atlantic and the Situationist International’s (1957‐7

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Massarente, Martina. "The Digital Platform of D.I.R.A.A.S. (UNIGE)." Studies in Digital Heritage 3, no. 2 (2020): 156–69. http://dx.doi.org/10.14434/sdh.v3i2.27441.

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This project studies photography as an instrument for artistic and historical teaching in relation to the didactic traditions of the Humanities at the University of Genoa. This research was initially based on an analysis of the corpus of glass diapositives and phototypes mostly owned by Giusta Nicco Fasola, Genoa’s first art history professor, and currently stored by D.I.R.A.A.S. (Dipartimento di Italianistica, Romanistica, Antichistica, arti e spettacolo). The corpus contextualizes Fasola's scientific and didactic interests in relation to her complex biography as a woman, professor, and polit

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Miller, Melissa. "British Theatre Collections in the Harry Ransom Humanities Research Center." Theatre Survey 39, no. 1 (1998): 63–72. http://dx.doi.org/10.1017/s0040557400003021.

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The Harry Ransom Humanities Research Center at the University of Texas at Austin has become, since the 1950s, well-known for its holdings in twentieth century literature. I offer here a brief description of the holdings in British theatre in the Theatre Arts Collection and the Manuscripts and Archives division of the Ransom Center. My secondary purpose is to suggest: and encourage corollary research in other Ransom Center holdings, such as its Art Collection and Photography and Film Collection. A listing of selected holdings follows this overview below, together with information on fellowships

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Zambenedetti, Alberto. "Emplacing Time: Photography, Location, and the Cinematic Pilgrimage." Space and Culture 23, no. 4 (2018): 548–60. http://dx.doi.org/10.1177/1206331218805381.

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Cinema, arguably the time-based medium most synonymous with modernity, is also an art form of place: cinema records place in time and, in the best circumstances, stores it through time. If, as Michel de Certeau remarked, “space is a practiced place,” then cinema is the memory of that practice; it is the archive of that transformation. Cinema, in other words, “emplaces time.” Moreover, because of its physical properties, film is also an archival object whose very existence is challenged by the passing of time. In recent years, the ways in which cinema emplaces time have become the subject of a

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Schaefer, William. "Poor and Blank: History's Marks and the Photographies of Displacement." Representations 109, no. 1 (2010): 1–34. http://dx.doi.org/10.1525/rep.2010.109.1.1.

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Observing a conjunction between massive rural-to-urban migration and the recent documentary turn in Chinese art, this essay suggests some of the ways documentary photography works as a medium of historical thinking in contemporary China. Through the work of the photographer Zhang Xinmin, it examines the cultural politics of blankness and marked surfaces as representational strategies for exploring the intersection of historical remains and mass migration.

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Cannon, Ingrid M., and Karl Gernot Kuehn. "Caught: The Art of Photography in the German Democratic Republic." German Studies Review 23, no. 1 (2000): 221. http://dx.doi.org/10.2307/1431512.

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Nordström, Paulina. "Glass Architecture as a Site for Encountering the Surface Aesthetics of Urban Photography." Space and Culture 20, no. 3 (2017): 271–86. http://dx.doi.org/10.1177/1206331217707475.

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This article brings glass architecture and geophilosophy into a relationship with one another with the further aim of studying surface aesthetics of urban photography. First I present a selected history of glass architecture and its previous methodological applications. Then, I focus on the characteristics of glass architecture—its permeability/reflectivity and capacity to act with light—in relation to the geophilosophies of Nietzsche and Deleuze. I aim to formulate surface aesthetics through which I contemplate the materialities and the fabulative landscape of urban photography. Urban photogr

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Cruickshank, Iona, and Rachel Mason. "Using Photography in Art Education Research: A Reflexive Inquiry." International Journal of Art & Design Education 22, no. 1 (2003): 5–22. http://dx.doi.org/10.1111/1468-5949.00335.

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Parker, Jan. "Stories, narratives, scenarios in Medicine." Arts and Humanities in Higher Education 17, no. 1 (2018): 3–19. http://dx.doi.org/10.1177/1474022217740300.

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This Medical Humanities Special Issue critiques and reflects on narrative practices around medical, psychiatric and trauma care. This introductory article explores the affordances of patient experience narratives and scenarios to illuminate lives interrupted by medical and psychological crises while raising questions about the medical ethics, epistemological frameworks and potential pathologising of diagnosing complex conditions. It discusses the problematics and ethics of ‘re-presenting’ trauma in art, photography, film or music and the potential for theatre to raise difficult issues in and b

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Gonzalez, J. A. "A Contemporary Look at Pierre Bourdieu's Photography: a Middle-Brow Art." Visual Anthropology Review 8, no. 1 (1992): 126–31. http://dx.doi.org/10.1525/var.1992.8.1.126.

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Shoked, Noam. "Hanging Out with Cyclists." Boom 6, no. 3 (2016): 84–88. http://dx.doi.org/10.1525/boom.2016.6.3.84.

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In 2014, architecture Professor Margaret Crawford and Associate Professor of Art Practice Anne Walsh taught the first University of California, Berkeley, Global Urban Humanities Initiative research studio course, called “No Cruising: Mobility and Identity in Los Angeles.” What occurred during the course had both varied and unexpected interpretations as ten students majoring in art practice, art history, architecture, and performance studies each selected a dimension of mobility they wished to identify on field trips to LA. One goal of these field trips, or research studios, was to get students

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Хохлова, С. П. "Photos by Eugène Atget as expression of objectivity of architecture: Hôtel de Beauvais." Shagi / Steps 10, no. 1 (2024): 297–323. http://dx.doi.org/10.22394/2412-9410-2024-10-1-297-323.

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The article compares the representation of architecture in French and Russian academic art history, on the one hand, and in Eugène Atget’s photographs, on the other. The starting point for the art historical descriptions is Jacques-François Blondel’s analysis, supported by Jean Marot’s drawings. The choice of characteristics analyzed by Blondel and later researchers reflects the schematism in the understanding of architecture, its distance from the human being, and its lack of existential characteristics. This representation finds correspondence in the illustrative material — in the preference

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PEARISO, CRAIG J. "Styleless Style? What Photorealism Can Tell Us about “the Sixties”." Journal of American Studies 47, no. 3 (2013): 743–57. http://dx.doi.org/10.1017/s0021875812002071.

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This essay reads 1960s “photorealist” painting and its critical reception against two sets of contemporary social analyses. First, it places these artistic and critical works next to Pierre Bourdieu's 1965 textPhotography: A Middle-Brow Art, demonstrating that, although the critical literature surrounding “photorealism” tended to assume that its involvement with photography grew out of a desire for an objective realism, contemporary thought on photography was anything but convinced of the medium's transparency. Second, it looks to cultural critics like Susan Sontag and Jacob Brackman to propos

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LAVRENOVA, OLGA A. "The Geography of Art IX International Scientific Conference." Art and Science of Television 19, no. 2 (2023): 245–58. http://dx.doi.org/10.30628/1994-9529-2023-19.2-245-258.

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Geography of Art is an interdisciplinary synthesis inspired by the theme of creative genius comprehending and exploring space. The project began in 1994, with the first collection of works published at the Russian Heritage Institute under Yuri Vedenin’s guidance; the first conference was held in 2009. In recent years, the conferences have been held annually under the auspices of the Institute of Scientific Information on Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, GITR Film and Television School, the Russian State University for the Humanities. The IX Inter

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Papargyriou, Eleni. "Mia ‘Yperochos Nothos’ Techni: Poiitikes tis Fotografias (Teli 19ou‐Arches 20ou Aiona) (A ‘Majestically Counterfeit Art’: Poetics of Photography [End of 19th‐Beginning of 20th Centuries]), Kostas Ioannidis (2019)." Journal of Greek Media & Culture 7, no. 1 (2021): 121–24. http://dx.doi.org/10.1386/jgmc_00032_5.

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Review of: Mia ‘Yperochos Nothos’ Techni: Poiitikes tis Fotografias (Teli 19ou‐Arches 20ou Aiona) (A ‘Majestically Counterfeit Art’: Poetics of Photography [End of 19th‐Beginning of 20th Centuries]), Kostas Ioannidis (2019)Athens: Futura, 325 pp.,ISBN 978-9-60948-987-4, p/bk, €20.99

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Rutherford, Emer Forde, Jacqueline Priego-Hernandez, Aurelia Butcher, and Clare Wedderburn. "Using photography to enhance GP trainees’ reflective practice and professional development." Medical Humanities 44, no. 3 (2018): 158–64. http://dx.doi.org/10.1136/medhum-2017-011203.

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The capacity and the commitment to reflect are integral to the practice of medicine and are core components of most general practitioners (GP) training programmes. Teaching through the humanities is a growing area within medical education, but one which is often considered a voluntary ‘add-on’ for the interested doctor. This article describes an evaluation of a highly innovative pedagogical project which used photography as a means to enhance GP trainees’ reflective capacity, self-awareness and professional development. Photography was used as a tool to develop GP trainees’ skills in recognisi

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Bishop, Paul. "Book Review: Christopher Webster (ed.): Photography in the Third Reich: Art, Physiognomy and Propaganda." Journal of European Studies 51, no. 2 (2021): 173–74. http://dx.doi.org/10.1177/00472441211013111n.

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Huang, Weiwei, Qiong Luo, and Lingling Chen. "A Brief Analysis of the Role of Architectural Aesthetics in Chinese Architectural Education from the Perspective of Mental Health." Occupation and Professional Education 1, no. 2 (2024): 77–84. http://dx.doi.org/10.62381/o242214.

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With the progress of the times, Chinese education must enable students to understand that architecture is not only a tool for life, but also an artistic creation. Architectural aesthetics also involves historical, cultural, and social factors, as well as psychological health. To cultivate architects with good artistic cultivation, it is necessary to increase education in art, aesthetics, psychology, and humanities such as traditional architectural theory, Chinese traditional philosophy, Chinese and Western architectural aesthetics, aesthetic principles, Chinese and foreign art history, mental

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Acharya, Bipin. "Applicability of Visual Arts in the Age of Globalization." Cognition 5, no. 1 (2023): 6–10. http://dx.doi.org/10.3126/cognition.v5i1.55356.

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This research article focuses on the relevance of visual art in the age of globalization. It also depicts the visual culture as an inevitable genre to enhance the humanities through arts. The digitization of arts through technology in terms of painting, photography, film, dance and sculpture is knocking the door of globalization in order to flourish the significance of arts in the modern world. The article varies the arts and other humanities on the basis of their contribution in revealing and reflecting the social norms and values. Similarly, the research moves around the matter of interconne

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Röller, Nils. "Image Protocol – A Tool for the Philosophy of Art." Cubic Journal 5, no. 5 (2022): 86–93. http://dx.doi.org/10.31182/cubic.2022.5.52.

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An investigation into illustrations of philosophical texts conducted by artist Barbara Ellmerer and graphic designer Vera Kaspar, two artists who documented their enquiries with ‘image protocols’. These protocols, in turn, led to a re-evaluation of the materials and means used in the process of artistic perception and production. This process remains structurally resistant to verbalisation but relies on individual calibrations between the perception of a given image and the means and materialities at the artist’s disposal (colours, brushes, paper, but also photography, scanning, printing).

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Mancic, Ivana. "Outside of Memories We Belong, Women of Yugoslavia." Identities: Journal for Politics, Gender and Culture 17, no. 2-3 (2020): 82–88. http://dx.doi.org/10.51151/identities.v17i2-3.460.

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This article addresses the issues surrounding the Yugoslav Civil War by offering my personal narrative in relation to loss and disappearance resulting from the exposure to war and sanctions in the nineties and the “Merciful Angel“ operation of the bombing of Serbia by NATO in 1999. It thus focuses on the female interpretation of people, ways of life, buildings and human artifacts belonging to the historical period of communist Yugoslavia which once were, yet no longer remain. The work with archives, especially the photographs which originate from my personal family possession, brings closer th

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Kea, Pamela. "Photography, care and the visual economy of Gambian transatlantic kinship relations." Journal of Material Culture 22, no. 1 (2016): 51–71. http://dx.doi.org/10.1177/1359183516679188.

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This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and ae

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Sile, Agnese. "Mental illness within family context: Visual dialogues in Joshua Lutz’s photographic essay Hesitating beauty." Arts and Humanities in Higher Education 17, no. 1 (2018): 84–103. http://dx.doi.org/10.1177/1474022216684635.

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The status of photography within medical arts or humanities is still insecure. Despite a growing number of published photographic essays that disclose illness experience of an individual and how illness affects close relatives, these works have received relatively little scholarly attention. Through analysis of Joshua Lutz’s Hesitating Beauty (2012) which documents his mother who was suffering from schizophrenia, this article will explore how the photographic essay attempts to reconstruct a dialogue between mother and son out of fragmented, broken and undeveloped communications, and in the pro

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Just, Daniel. "Art and everydayness: Popular culture and daily life in the communist Czechoslovakia." European Journal of Cultural Studies 15, no. 6 (2012): 703–20. http://dx.doi.org/10.1177/1367549412450637.

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This article analyzes the interaction between art and practices of everyday life in communist Czechoslovakia in the 1970s and 1980s. Discussing various forms of adaptations to the politically repressive system – from photography and film to social activities such as ‘cottage homemaking’ and ‘cabining’ – the author describes ways in which popular culture under communism resisted the state-induced drive to modernize which, as a political tool, was designed to pacify the masses. The article suggests that by breaching the gap between the quotidian and the extraordinary, which as a systemic divisio

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Brand, Gabrielle, Ashlee Osborne, Steve Wise, Collette Isaac, and Christopher Etherton-Beer. "Using MRI art, poetry, photography and patient narratives to bridge clinical and human experiences of stroke recovery." Medical Humanities 46, no. 3 (2019): 243–49. http://dx.doi.org/10.1136/medhum-2018-011623.

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Integrating co-produced humanities-based pedagogy into patient and workforce education is of growing interest. The aim of our Depth of Field: Exploring Stroke Recovery project grew from a strong commitment to use patients' lived experiences as a voice to educate new stroke patients and the health professional staff who will care for them. The aim of the initial Quality Improvement project at a West Australian Stroke Rehabilitation Unit (SRU) was to co-produce a reflective learning resource with stroke patients and their families to help navigate the stroke recovery journey. A series of artefac

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Vanover, Charles. "The Magic of Theater: Photographing a Performative Academic Career." Cultural Studies ↔ Critical Methodologies 21, no. 1 (2020): 41–55. http://dx.doi.org/10.1177/1532708620931136.

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I discuss my efforts as a “good enough” photographer and describe the role photographs play communicating important moments from a series of ethnodramas I built about the Chicago Public Schools. I discuss my early efforts to use photography to legitimize my arts-based research practice, describe how my goals changed, and explain how I created images to communicate the energy of live theater. Building on Eisner’s theoretical work, I discuss three tensions of my photographic practice: intention versus improvisation, action versus artifice, and safety versus possibility. These tensions emphasize

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Afanaseva, I. A. "The linguistic generation: Logocentric practices in the works of contemporary Russian artists (2010–2022)." Shagi / Steps 9, no. 3 (2023): 218–38. http://dx.doi.org/10.22394/2412-9410-2023-9-3-218-238.

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The article is devoted to a study of the artistic phenomenon of textuality in contemporary Russian art from 2010 to 2022. The works of contemporary artists (Ivan Simonov, Timofey Radya, Vladimir Abikh, Vladimir Logutov, Semyon Motolyants, Mayana Nasybullova), whose creative practices give the text, phrases, words, statements a lead role, are analyzed here. The works of these artists have not yet been studied in detail by art historians, art critics, and culturologists, but nowadays their creations are widely featured at Russian and foreign exhibition halls, auctions, museums and private collec

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Bailey, Michael. "Down and Out in Birmingham and Leeds: Thinking the Lumpenproletariat in the Films of Penny Woolcock." Journal of British Cinema and Television 22, no. 3 (2025): 311–41. https://doi.org/10.3366/jbctv.2025.0775.

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Portrayals of working-class people have long been part of British culture, be it in art, literature, music, theatre, photography, film or television. Perhaps the most notable shift in terms of how the working class are depicted in British film and television in recent years has been the increasing attention paid to what is variously known as the ‘impoverished underclass’, the ‘undeserving poor’, the ‘social residuum’ or the ‘lumpenproletariat’. Drawing on the current resurgence of working-class studies in the social sciences and humanities, this article rethinks these social categories in and

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Lee, A. Robert. "Shooting America: “ American Images: Photography 1945–1980 ” Barbican Art Gallery, 10 May to 30 June 1985." Journal of American Studies 20, no. 2 (1986): 294–98. http://dx.doi.org/10.1017/s0021875800015085.

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Jerrentrup, Maja Tabea. "I’m bad: The fascination of embodying the evil in a virtual world." Virtual Creativity 12, no. 2 (2023): 155–79. http://dx.doi.org/10.1386/vcr_00066_1.

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Drawing on in-depth interviews, as well as digital and real-life participant observation, this article deals with the question of why many people are eager to embody something evil in the context of staged, digital photography – that is, to depict evil creatures and/or evil deeds. After looking at the general fascination for the evil and the way it is staged, the moment of embodiment is considered, a process of specific importance in times of digitalization: during the embodiment, the model can try out the evil quasi as a test without consequence and is able to physically express negative or s

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Lavrenova, Olga A. "VISUAL IMAGES OF SPACE. REVIEW OF THE GEOGRAPHY OF ART VII INTERNATIONAL CONFERENCE." Art and Science of Television 17, no. 3 (2021): 211–29. http://dx.doi.org/10.30628/1994-9529-17.3-211-229.

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The Geography of Art International Scientific Conference has a long history. Geography of Art began in 1994 and was originally conceived as a purely publishing project. In 2009, the first conference was held under the auspices of the Likhachev Russian Research Institute for Cultural and Natural Heritage and its director Yuri A. Vedenin. The topics at the conferences are traditionally very diverse, but the “protagonist” of all discussions, debates, and subsequent collections is invariably space, in all its guises, and its interaction with culture. The original subjects such as the geography of

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Siemens, Elena. "Death in Vienna." Space and Culture 17, no. 4 (2014): 336–45. http://dx.doi.org/10.1177/1206331214543865.

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“Death in Vienna” is intended as an introduction to this themed issue on The Dark Spectacle: Landscapes of Devastation in Film and Photography. Drawing on Susan Sontag’s Regarding the Pain of Others, the articles gathered here address the representation of unsettling subject matter (war, ecological catastrophe, destructive urbanization) in a variety of visual media. The collection’s specific focus is on the important role played by space in the depiction of disturbing events. Do images portraying death and destruction generate documents, or do they create works of art? Does their beauty drain

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LAVRENOVA, OLGA A. "Digital and Analog Spaces: the Geography of Art VIII International Conference." Art and Science of Television 18, no. 4 (2022): 173–85. http://dx.doi.org/10.30628/1994-9529-2022-18.4-173-185.

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The VIII International Scientific Conference Geography of Art was held in May 2022. This is a new step in a long-term project devoted to the issues of “mastering” geographical space through art, including the semiotics of spaces created by artists, sculptors, and architects. Among other aspects, the conference examined how art creates geographical images and fantasy worlds, which always have a trace of the real world’s spatial regularities. Since 1994, the project has existed in the form of collections of scientific articles, and since 2009—in the form of conferences as well. The project was c

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Njirić, Diana, and Ivica Miloslavić. "Semiotic Effect in Visual Communication." European Journal of Multidisciplinary Studies 1, no. 2 (2016): 308. http://dx.doi.org/10.26417/ejms.v1i2.p308-316.

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The paper attempts to define the term semiotics of photography. Approach to the theme was started from the concept of semiotics. Since the 60s of the last century, "semiotics", which studies the characters, has begun to affect changes in the humanities and natural sciences. After Ferdinand de Saussure, the study of signs focused on humans need labeling, especially on the logic of "communication" and disclosure "codes" that form the background of diverse cultural phenomena. Semiotics provides to understand in a different way, by language and framework, the link between the image and society. It

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Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.

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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generat

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Jerrentrup, Maja Tabea. "A Liberating Experience. On Becoming a Work of Art." Creativity. Theories – Research - Applications 7, no. 2 (2020): 411–30. http://dx.doi.org/10.2478/ctra-2020-0020.

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Abstract The art of bodypainting that is fairly unknown to a wider public turns the body into a canvas - it is a frequently used phrase in the field of bodypainting that illustrates the challenge it faces: it uses a three-dimensional surface and has to cope with its irregularities, but also with the model’s abilities and characteristics. This paper looks at individuals who are turned into art by bodypainting. Although body painting can be very challenging for them - they have to expose their bodies and to stand still for a long time while getting transformed - models report that they enjoy bot

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Gil, Tali. "Meaningful Learning through Art: Nature Photography, Haiku Writing, Mobile Technologies and Social Media as a Path to Oneself." International Journal of Art & Design Education 38, no. 2 (2018): 360–75. http://dx.doi.org/10.1111/jade.12192.

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Balčus, Zane. "OF STILL AND MOVING IMAGES: STYLISTICS OF HERCS FRANKS’ EARLY DOCUMENTARIES." Culture Crossroads 23 (January 10, 2024): 216–25. http://dx.doi.org/10.55877/cc.vol23.377.

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Latvian documentary filmmaker Hercs Franks (1926–2013) directed his first films in 1965, the two short documentaries were produced at the Latvian television’s production unit Telefilma-Rīga: “Salty Bread” (Sāļā maize) and “At Noon” (Pusdienā). Both films reflect an intricate practice and aesthetic element of the director – the use of still photography, which for him is both a research tool and a stylistic device present throughout his career. “Salty Bread” includes photographs as a stylistic element allowing the viewer to prolong observation of particular images, whereas in “At Noon” still pho

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Olin, Margaret. "Touching Photographs: Roland Barthes's ''Mistaken'' Identification." Representations 80, no. 1 (2002): 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.

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IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identifi

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Sarkar, Asmita, and Aileen Blaney. "Material Metaphor and Reflexivity in Contemporary Painting: A Practice-based Investigation." Journal of Aesthetic Education 57, no. 1 (2023): 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.

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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodimen

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Agbo, George Emeka. "Challenging the frivolities of power: the ubiquitous camera and Nigerian political elites." Africa 89, no. 2 (2019): 286–302. http://dx.doi.org/10.1017/s0001972019000068.

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AbstractThe last decade has witnessed the ubiquitous presence of camera devices, from conventional cameras to communication gadgets (such as mobile phones, iPads and tablets), built with the capacity to produce, edit, disseminate and interact through photographs. In this article, I analyse visual materials circulated on Facebook, YouTube and Nairaland (a locally popular social-networking website used by Nigerians) to demonstrate how the ubiquity of the camera, its overt and surreptitious use, and the transformation and circulation of the resulting photographs constitute political acts in a pos

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Handler Spitz, Ellen. "Book Review: MIRRORS OF MEMORY: FREUD, PHOTOGRAPHY, AND THE HISTORY OF ART. By Mary Bergstein. Ithaca: Cornell University Press, 2010, 335 pp., $29.96." Journal of the American Psychoanalytic Association 58, no. 6 (2010): 1220–25. http://dx.doi.org/10.1177/0003065110392035.

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CURRELL, SUE. "You Haven't Seen Their Faces: Eugenic National Housekeeping and Documentary Photography in 1930s America." Journal of American Studies 51, no. 2 (2017): 481–511. http://dx.doi.org/10.1017/s0021875817000366.

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This essay explores the relationship between welfare, eugenics and documentary photography during the New Deal in order to explain how a set of government photographs taken by Arthur Rothstein in the Shenandoah became entwined in the rhetorical structure of eugenic ideology. The photographs discussed portray victims of forced sterilization before their incarceration, yet there is no evidence to show that the photographer was aware of, or complicit with, this fact. This essay responds to the questions this raises about the images: what historical and social contingencies were behind their produ

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Huerta, Ricard, and Ricardo Domínguez. "La educación artística de la era digital: investigar en escenarios tecnológicos." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 9. http://dx.doi.org/10.7203/eari.10.16111.

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Resumen: Los retos que impone el nuevo escenario digital nos animan a reflexionar sobre las posibilidades de la Educación Artística en un momento histórico en el que combinamos momentos educativos presenciales junto a desubicaciones online. Las tecnologías de la imagen, uno de nuestros mayores aliados como docentes, hace tiempo que irrumpieron en el aula de artes, y es por ello que en este número de EARI presentamos un dossier monográfico sobre “Cine y educación artística”. Pero tanto la fotografía como la imagen en movimiento han experimentado un increíble desarrollo tecnológico en manos de t

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