Relevant bibliographies by topics / Photography and contemporary art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Photography and contemporary art'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Photography and contemporary art"

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Molloy, Caroline. "The Studio Photograph as a Conceptual Framework." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 38–47. http://dx.doi.org/10.47659/m5.038.art.

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In her essay, Caroline’s draws from her PhD thesis that looks the visual habitus of transcultural photography. She concentrates her writing on the genre of studio photography, specifically early English studio photography and argues that the conceptual framework established in early photographic studio practices still has its legacy in contemporary digital photographic studio practices. To illustrate this argument, she draws from a contemporary case-study in her local, digital photographic studio in North London and discusses a selection of photographs in relation to early photographic studio
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Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.

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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photog
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Vogelsang, Helena. "A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 56–61. http://dx.doi.org/10.47659/m5.056.art.

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Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabl
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Neumaier, Diane. "Contemporary Russian Art Photography." Art Journal 53, no. 2 (1994): 18. http://dx.doi.org/10.2307/777477.

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Neumaier, Diane. "Contemporary Russian Art Photography." Art Journal 53, no. 2 (1994): 18–21. http://dx.doi.org/10.1080/00043249.1994.10791619.

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Pabedinskas, Tomas. "Personal Photo Album and Collective Memory: The Case of Romualdas Požerskis’ Photographs and Diary." Art History & Criticism 16, no. 1 (2020): 115–24. http://dx.doi.org/10.2478/mik-2020-0008.

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SummaryHistory and memory have been the conceptual core of many Lithuanian photography based contemporary art works as well as international curatorial art projects, including authors from different Baltic countries. On the one hand, this indicates the relevance of the subject related to photography and memory; on the other hand, it also shows the overexploitation of personal and historical memory in contemporary photography and in contemporary art in general.In this context the article analyses Romualdas Požerskis’ personal album photographs from the years 1971–1975 and his written diaries fr
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Čeferin, Hana. "Who’s Afraid of Photography?" Magic, Vol. 5, no. 1 (2020): 94–98. http://dx.doi.org/10.47659/m8.094.art.

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In contemporary horror, the photographic image is often used as the object of horror or even represents the main antagonist of the story. We can trace the origin of such depictions to the very invention of the technique of photography in the 19th century, which was also the heyday of spiritualist theories about photography making the soul of the deceased visible to the human eye using chemical compounds. A notorious example is the case of photographer William Mumler who offered well-off relatives of recently deceased people in the States to make portraits with the ghosts of their loved ones. T
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Jernejšek, Jasna, Emina Djukić, and Joan Fontcuberta. "Homo Photographicus: Interview with Joan Fontcuberta." Instinct, Vol. 4, no. 1 (2019): 4–11. http://dx.doi.org/10.47659/m6.004.int.

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In the interview Spanish photographer Joan Fontcuberta reflects upon his diverse photographic practise and his constant playing on the idea of different spaces which photography inhabits. He claims that “Photography by itself doesn’t mean anything,” what makes a difference is managing its uses. He discusses the topics of reformulation of the concept of authorship, notion of the fake as a methodology of art and of political activism, parody and humour as long traditions of Mediterranean thought and a rejection of pleasure as a hegemonic current in contemporary art. He also speaks of his explora
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Morse, Rebecca. "Photography/Sculpture in Contemporary Art." American Art 24, no. 1 (2010): 31–34. http://dx.doi.org/10.1086/652741.

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Koureas, Gabriel. "Parallelotopia: Ottoman transcultural memory assemblages in contemporary art practices from the Middle East." Memory Studies 12, no. 5 (2019): 493–513. http://dx.doi.org/10.1177/1750698019870689.

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This article engages with the conversations taking place in the photographic space between then and now, memory and photography, and with the symbiosis and ethnic violence between different ethnic communities in the ex-Ottoman Empire. It questions the role of photography and contemporary art in creating possibilities for coexistence within the mosaic formed by the various groups that made up the Ottoman Empire. The essay aims to create parallelotopia, spaces in the present that work in parallel with the past and which enable the dynamic exchange of transcultural memories. Drawing on memory the
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Dissertations / Theses on the topic "Photography and contemporary art"

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Parcollet, Remi. "La photographie de vue d'exposition." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040222.

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L'Exposition a fait l'objet de nombreuses analyses et pourtant son rapport à la photographie est rarement évoqué. Considérée comme un procédé, elle développe de nombreux liens avec celui de la Photographie. Toutes les deux consistent à "montrer". Au-delà de leurs analogies, la Photographie et l'Exposition sont interdépendantes. L'étude de l'Exposition passe désormais inévitablement par la photographie. Les artistes et les commissaires utilisent aujourd'hui la photographie non pas comme une finalité mais comme un outil permettant de penser la mise en espace. Une photographie de vue d'exposition
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Higgins, Josephine. "Seeing death : portraiture in contemporary postmortem photography." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/14152.

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This thesis focuses on the aesthetics of the photographic representation of the actual dead body in Elizabeth Heyert's The Travelers (2004), Pieter Hugo's The Bereaved (2005) and Walter Schels and Beate Lakotta's Life Before Death: Portraits of the Dying (2004). The use of portraiture in each of these artist's series is crucial as it suggests an interest in the 'subjectness' of the corpse. Katarzyna Majak's (2011) theory of socialization as an attempt to lessen the scandal of the corpse through representation is central throughout this thesis. Majak argues that for the viewer the corpse is a s
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McCrea, Ronan. "Celluloid materiality : experimental film, photography and contemporary art." Thesis, University of Ulster, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535137.

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Magagnoli, P. "Reclaiming the past : historical representation in contemporary photography and video art." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1355956/.

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Since the late 1990s a new tendency has emerged in contemporary art whereby artists deploy archival research to explore the mechanics of historical representation and evoke the past. This thesis examines the works of some of the most relevant practitioners of the new tendency who are working with video, photography and film and explores the reasons for the return of historical representation in art. In the introduction the study sets the tendency against the background of modernist, postmodernist theories and the historiographic debates of the last thirty years. The first chapter attempts a cr
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Ford, Ivey C. "Mythologies: Sarah Charlesworth’s Photography, 1977-1988." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1242859054.

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Baker, Sarah Lindsey, and Sarah Lindsey Baker. "Constructing the Contemporary Nostalgic Image." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621843.

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This thesis focuses on the intrinsic relationship between nostalgia and vernacular photography, with specific attention to the networked vernacular photograph. Through an examination of early Kodak advertising and current in-phone digital editing and smartphone photography-sharing apps, this paper demonstrates the role of constructed aesthetic nostalgia in contemporary vernacular photography. This research argues that contemporary vernacular photography is a product of contemporary nostalgia, as evidenced through photographs born digital and shared publicly via social media sites such as Insta
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Hujar, Brittany A. "Kozo Miyoshi: An Interpretation of Water Through Photography." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1563967017677073.

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Yip, Wai-ka Olivia. "The ritual staging of the self comparing Post-1980s contemporary photography from China and the photographic imagery of Cindy Sherman /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B43209877.

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Neutre, Lila. "Sculpter le soi : le corps social comme dispositif de résistance, l'apparence comme poétique de survie." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0418.

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Dans nos sociétés occidentales contemporaines, esthétiques et spectaculaires, le corps est un objet de fétichisme social de même qu'un écran sur lequel il est possible de projeter une identité maniable et changeante. Considéré comme le support de l’individualité, il est l'objet de toutes les métamorphoses. De simple parti pris vestimentaire, le style peut parfois se faire l’expression d’un véritable mode de vie, d’une existence qui s'établit à l'encontre des normes imposées par une société. L’apparence devenant la manifestation ostentatoire (parfois caricaturale) d’une prise de position politi
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Ingham, Mark. "Afterimages : photographs as an external autobiographical memory system and a contemporary art practice." Thesis, Goldsmiths College (University of London), 2005. http://ualresearchonline.arts.ac.uk/7465/.

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My proposition developed in this thesis is that photographs have changed the way the past is conceived and therefore the way the past is remembered. Just as the inventions of the telescope and microscope radically changed our understanding of distance and space on a macro and micro level, the invention of the photograph has radically altered our concepts of the past, memory and time. My starting point is a collection of photographs taken by my grandfather, Albert Edward Ingham, which is used both in my studio work and as a basis for my theoretical writing. My concerns as an artist are with the
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Books on the topic "Photography and contemporary art"

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The photograph as contemporary art. 2nd ed. Thames & Hudson, 2009.

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Spanish Institute (New York, N.Y.), Spain Ministerio de Cultura, Grupo Iberia, and Robert Mapplethorpe Foundation, eds. The Spanish vision: Contemporary art photography. Spanish Institute, 1992.

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Museum, Solomon R. Guggenheim, and Museo Guggenheim Bilbao, eds. Haunted: Contemporary photography, video, performance. Guggenheim Museum Publications, 2010.

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The photograph as contemporary art. Thames & Hudson, 2004.

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Anne, Tucker, Ku Pon-chʻang 1953-, Museum of Fine Arts, Houston., and Santa Barbara Museum of Art., eds. Chaotic harmony: Contemporary Korean photography. Museum of Fine Arts, 2009.

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Unfixed: Photography and postcolonial perspectives in contemporary art. JAPSAM Books, 2012.

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International Photo-Triennial Esslingen (5th 2001). Moving pictures: Photography and film in contemporary art. Hatje Cantz Publishers, 2001.

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Garrels, Gary. Photography in contemporary German art: 1960 to the present. Walker Art Center, 1992.

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The male nude in contemporary photography. Temple University Press, 1991.

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Scissors, paper, stone: Expressions of memory in contemporary photographic art. McGill-Queen's University Press, 2007.

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Book chapters on the topic "Photography and contemporary art"

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Collective, Raqs Media. "In the Theatre of Memory: The Work of Contemporary Art in the Photographic Archive." In Photography in India. Routledge, 2020. http://dx.doi.org/10.4324/9781003103790-3.

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Maimon, Vered. "Introduction." In Contemporary Art, Photography, and the Politics of Citizenship. Routledge, 2020. http://dx.doi.org/10.4324/9780367368388-1.

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Maimon, Vered. "The Third Citizen." In Contemporary Art, Photography, and the Politics of Citizenship. Routledge, 2020. http://dx.doi.org/10.4324/9780367368388-2.

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Maimon, Vered. "Medium, (Re)Mediation, and the Circulation of Affect." In Contemporary Art, Photography, and the Politics of Citizenship. Routledge, 2020. http://dx.doi.org/10.4324/9780367368388-3.

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Maimon, Vered. "The Pulse of the Archive." In Contemporary Art, Photography, and the Politics of Citizenship. Routledge, 2020. http://dx.doi.org/10.4324/9780367368388-4.

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Maschner, Herbert D. G., Víctor Manuel López-Menchero Bendicho, Miguel Ángel Hervás Herrera, Jeffrey Du Vernay, Aurelia Lureau, and James Bart McLeod. "At the Intersection of Art, Architecture and Archaeology: 3D Virtualization and Contemporary Heritage." In Proceedings e report. Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.08.

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We are at a global transition where disciplines from art to computer engineering intersect in the realm of global digital heritage. This has been facilitated by the development of desktop high-speed computing, inexpensive photogrammetry software, and digital photography. These technologies, and the tools to make them useful both in the lab and on the web, require the appropriate integration of technical skill, artistic license, archaeological background knowledge, and architectural realities.
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Tsitsovits, Ioannis. "Reproduction as Literary Production: Self-Expression and the Index in Kenneth Goldsmith’s Uncreative Writing." In New Directions in Book History. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_12.

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AbstractThis chapter discusses Kenneth Goldsmith’s Uncreative Writing, a collection of essays that includes an account of his Uncreative Writing course at the University of Pennsylvania. Championing various forms of literary automatism and appropriation, which are often treated as a much-needed response to our contemporary digital environment, the book is offered as a counter-model to established notions of authentic, self-expressive writing. The article takes this position as a springboard into thinking about Goldsmith’s writing exercises in relation to a longer history of indexical artistic practices, most notably analog photography. Despite its own positioning vis-à-vis the digital, I claim, Goldsmith’s writing model can best be understood as an extension of a proto-photographic logic into the ambit of contemporary literature. At the same time, as I show, the use of textual reproduction central to his project has been a longstanding ingredient of self-expressive literary advice. I conclude by arguing that Goldsmith’s model is just as tied to a form of personal expression, albeit one following a less obviously self-expressive logic that resonates with online forms of indexical performativity.
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Soutter, Lucy. "Beyond photography." In Why Art Photography? Routledge, 2018. http://dx.doi.org/10.4324/9781315270630-7.

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Burbridge, Ben. "After Photography as Contemporary Art." In The Handbook of Photography Studies. Routledge, 2020. http://dx.doi.org/10.4324/9781003103974-12.

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BURBRIDGE, BEN. "After Photography as Contemporary Art." In THE HANDBOOK OF PHOTOGRAPHY STUDIES. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781474242233.ch-010.

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Conference papers on the topic "Photography and contemporary art"

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Zhang, BoChen. "Discussion of Extension and Mutation of Photography in Contemporary Art." In 2017 International Conference on Innovations in Economic Management and Social Science (IEMSS 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/iemss-17.2017.15.

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Zhao, Yahong. "Development Status of Classic Photographic Technology under the Background of Contemporary Photography." In 2nd International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.7.

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Wei, Chaojie. "Study on The Visual Construction of Chinese Contemporary Photography and Traditional Culture Elements." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.156.

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Li, Liping. "Discussion on Development Ideas of Henan Photography and Photography Service Industry." In 2015 International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.13.

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Wang, Qiming. "Research on the Artistic Feature Trend of Fashion Photography under the Influence of Conceptual Art." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.30.

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Li, Xiaozhou. "Subjective Involvement in Record Photography." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.47.

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Luo, Bin. "An Analysis of the Artistic Photography of Digital Technology Creation." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.8.

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Hao, Bing. "Narrative Style Centered on Humanitarian Spirit in Folk Narrative of China Contemporary Photography." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.43.

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Lasaosa, Virginia Espa, María José Gutiérrez Lera, María Cañas Aparicio, and María Adelaida Gutiérrez Martín. "Veinte años de docencia de la fotografía. Estudio de caso: Escuela de Arte de Huesca (España), Twenty years teaching photography. Case study: The Art School of Huesca (Spain)." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6741.

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ResumenEl Ciclo Formativo de Grado Superior en Fotografía pertenece a la familia profesional artística de Comunicación Gráfica y Audiovisual y forma parte del sistema educativo español público.Esta comunicación presenta un panorama de la evolución de los estudios sobre fotografía en las Escuelas de Artes Plásticas y Diseño, exponiendo, a través del ejemplo de la Escuela de Arte de Huesca, el caso de la Comunidad Autónoma de Aragón.La implantación del grado superior de fotografía en Huesca se incardinó en la estructura propicia que aportaba una ciudad acostumbrada a valorar este modo de expresi
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Zhou, Hu. "Humanistic Concept, Fusion Space and Dialogue Teaching Study on the Necessity and Strategy of Constructing the Photography Studio Teaching Mode." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.144.

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Reports on the topic "Photography and contemporary art"

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Van Eck, Steve. Neighborhood Economic Impacts of Contemporary Art Centers. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.6319.

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Fleming, Brian P. Hybrid Threat Concept: Contemporary War, Military Planning and the Advent of Unrestricted Operational Art. Defense Technical Information Center, 2011. http://dx.doi.org/10.21236/ada545789.

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Johnson, Joann. The treatment of the concept of impersonation within the art of oral interpretation : a contemporary perspective. Portland State University Library, 2000. http://dx.doi.org/10.15760/etd.5503.

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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There i
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