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Journal articles on the topic 'Photography and contemporary art'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

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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Morris-Reich, Amos. "Two Modes of Political Engagement in Contemporary Israeli Art Photography." IMAGES 11, no. 1 (2018): 85–108. http://dx.doi.org/10.1163/18718000-12340085.

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AbstractRanging from photojournalism to landscape photography from the late 1980s to the present, this article studies the ways in which Israeli still art photography has engaged politically with the Israeli-Palestinian conflict. Following historical contextualization of the emergence of critical engagement in the late 1980s and the iconography of the conflict during the first Intifada, and after introducing notions from the sociology of critique, the article uses distinctions made by art photographers in classifying themselves and their peers and identifies two contrasting poles that mark the

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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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Stahel, Urs. "Aspects of contemporary Swiss art photography." History of Photography 22, no. 3 (1998): 254–60. http://dx.doi.org/10.1080/03087298.1998.10443886.

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Blaney, Aileen. "Photographic art and technology in contemporary India." Philosophy of Photography 10, no. 1 (2019): 23–40. http://dx.doi.org/10.1386/pop_00004_1.

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Abstract The algorithmic turn in photography raises the question of whether an algorithmically generated image is even a photograph at all. This paradox is abundant on India's urban streets, where the pedestrian or road user is met with giant photo saturated flex hoardings printed with political and community messages and photo-shopped portraits of gods, chief ministers and party workers. In this article, attention to photo-based political posters alongside art practices sharing common elements of digital capture and postproduction contextualizes a reading of technologically produced visual la

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Gizzi, Ferdinando. "Photographing a miraculous apparition in fin-de-siècle France." Magic, Vol. 5, no. 1 (2020): 28–35. http://dx.doi.org/10.47659/m8.028.art.

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This paper is dedicated to the photographic coverage of the alleged miraculous apparitions, which occurred in the small French village of Tilly-sur-Seulles between 1896 and 1897. These photos, circulated as postcards and appearing in popular magazines of the time such as L’Illustration and Le Monde illustré, were presented – by virtue of the authority of the photographic as an indexical trace – as “authentic” testimonials of the supernatural events, though in fact neither recognized nor approved by the Catholic Church. These photographs used the already-known double exposure process of spirit

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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.

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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.

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Michałowska, Marianna. "Invisible Presence of the Past: Hauntology of Photography." Magic, Vol. 5, no. 1 (2020): 80–85. http://dx.doi.org/10.47659/m8.080.art.

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Photography has been associated with the specter, spirit, and the apparition ever since the theory of photography first emerged. André Bazin and Edgar Morin saw the spectral features of photography as the basis for phenomenological interpretation. However, the most creative exposition of ghosts in photography is linked to Jacques Derrida’s concept of hauntology. Nowadays, hauntology is often cited in relation to nostalgia – longing for “the lost futures”. However, when Derrida wrote Specters of Marx in 1993, he was interested in the ontological repetition of ideas through history. Photographs

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Ledezma, Deanna. "Regarding Family Photography in Contemporary Latinx Art." Art Journal 79, no. 3 (2020): 80–89. http://dx.doi.org/10.1080/00043249.2020.1747805.

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19

Kelly, M. "Reparative Aesthetics: Witnessing in Contemporary Art Photography." Australian and New Zealand Journal of Art 18, no. 2 (2018): 282–85. http://dx.doi.org/10.1080/14434318.2018.1519872.

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Van Gelder, Hilde. "Photography Today: Between Tableau and Document." Recherches sémiotiques 28, no. 1-2 (2010): 69–86. http://dx.doi.org/10.7202/044589ar.

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This essay seeks to examine the position of photography in contemporary art or, more specifically, the way photography now hovers between tableau and the ‘document’ Three methodological levels are considered: first, a co-textual reading of select images by Jeff Wall and Allan Sekula in relation to their titles; secondly, an examination of their various treatment of pictorial elements, remnants of a long-standing artistic tradition; thirdly, at the level of the meta-text, the same images are confronted with a much broader contextual relationship. Here, the differences between two modes of worki

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Kondratiev, E. A. "Punctum and Reinterpretation in Photography." Art & Culture Studies, no. 2 (June 2021): 38–59. http://dx.doi.org/10.51678/2226-0072-2021-2-38-59.

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The article discusses various theoretical approaches that develop the concepts of punctum and formless in relation to the photographic image. Their connection with the concept of “visual turn” in aesthetics and art theory is examined. Using examples from contemporary artistic and photographic practice, the author demonstrates the change in ideas about the boundaries of representation and ways of reinterpreting modern photography.

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김경희 and LeeEunjeok. "Development of Contemporary Art Education Program with Photography." Korean Journal of Culture and Arts Education Studies 10, no. 5 (2015): 51–74. http://dx.doi.org/10.15815/kjcaes.2015.10.5.51.

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23

Becker, Karin, and Geska Helena Brečević. "More Than a Portrait: Framing the Photograph as Sculpture and Video Animation." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 48–55. http://dx.doi.org/10.47659/m5.048.art.

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This essay traces the resurrection of the fotoescultura, a three-dimensional photographic portrait popular in rural Mexico in the early 20th century, as interpreted in recent works by Performing Pictures, a contemporary Swedish artist duo. The early fotoesculturas were an augmented form of portraiture, commissioned by family members who supplied photographs that artisans in Mexico City converted into framed sculptural portraits for display on family altars. We compare these »traditional« photographic objects with “new” digital forms of video animation on screen and in the public space that cha

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Freire, Mela Dávila, and Pamela Sepúlveda Arancibia. "Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)." Art Libraries Journal 37, no. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.

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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well a

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25

Nair, Janaki. "Seeing like the Missionary: An Iconography of Education in Mysore, 1840–1920." Studies in History 35, no. 2 (2019): 178–217. http://dx.doi.org/10.1177/0257643019865233.

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Missionaries working in Mysore, as elsewhere in India, took enthusiastically to the new art of photography from the 1840s, to record their ‘views’ of the society they undertook to transform. Evangelising was, however, early on, allied with education as a way for missionaries to make their way into a complex, hierarchical society with learning traditions of its own. How did the missionary ‘see’ the Indian classroom, and invite the viewer of their photographs to participate in its narrative of ‘improvement’? What was the place of the photograph at a time when meticulous written records were kept

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McHugh, Susan. "Video Dog Star: William Wegman, Aesthetic Agency, and the Animal in Experimental Video Art." Society & Animals 9, no. 3 (2001): 229–51. http://dx.doi.org/10.1163/156853001753644390.

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AbstractThe canine photographs, videos, and photographic narratives of artist William Wegman frame questions of animal aesthetic agency. Over the past 30 years, Wegman's dog images shift in form and content in ways that reflect the artist's increasing anxiety over his control of the art-making process once he becomes identified, in his own words, as "the dog photographer". Wegman's dog images claim unique cultural prominence, appearing regularly in fine art museums as well as on broadcast television. But, as Wegman comes to use these images to document his own transition from dog photographer

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Palmer, Daniel. "Icons of colonial injustice: From photographs to public art." Art & the Public Sphere 8, no. 2 (2019): 201–15. http://dx.doi.org/10.1386/aps_00021_1.

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In the archive of Australian photography, few images point to the gross injustices experienced by Indigenous Australians more forcefully than a 1906 photograph depicting a group of Aboriginal people in neck chains. More recently, few images point to Indigenous self-empowerment more powerfully than a 1993 press photograph of footballer Nicky Winmar lifting his jumper to point proudly to his dark skin. This article explores the extraordinary legacy of these two images and specifically their translation into prominent contemporary public artworks ‐ respectively, a street mural in inner Melbourne

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Schneider, Catherine, Sydney Hoffmann, and Graham D. Rowles. "Photographic manipulation in the health, clinical and biomedical sciences." Philosophy of Photography 10, no. 1 (2019): 59–71. http://dx.doi.org/10.1386/pop_00006_7.

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Abstract Photography has become a pervasive component of contemporary communication. Recent technological advances in creating and manipulating images have provided renewed impetus to decades-long debates on use of photographs in science. With increase in the potential for inappropriate image manipulation, fears about misrepresentation have heightened concern among journal editors and scholars about the 'accuracy' of published images. We discuss how science has responded to growing concerns surrounding falsification and inaccuracy of photography. We document progress in implementing a variety

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Sharma, Yam Prasad. "Contemporary Nepali Arts: Blurring the Boundaries among Art Genres." Curriculum Development Journal, no. 42 (December 4, 2020): 48–56. http://dx.doi.org/10.3126/cdj.v0i42.33212.

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Some contemporary Nepali artworks have blurred the boundaries among different art genres like sculpture, painting, music, drama, photography and literature. In a single artwork, we can view the elements of two or more art forms. Three dimensional real objects are put on the two dimensional surface like canvas. Three dimensions are the special characteristics of sculpture whereas there are only two dimensions in painting. Three dimensions in the painting are illusions created by the use of light and shade, and gradation of colors. Artists use photographs and paintings simultaneously in the same

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Uysal, Tuna. "Contemporary Art Photography In The Context Of Urban Symbols." Idil Journal of Art and Language 6, no. 28 (2016): 151–66. http://dx.doi.org/10.7816/idil-05-28-10.

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Jung, Hyun-Mok. "The Influence of Vanitas Paintings in Contemporary Art Photography." Journal of Aesthetics & Science of Art 52 (October 30, 2017): 377–413. http://dx.doi.org/10.17527/jasa.52.0.11.

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Somerville, Kristine. "Living Pictures: The Art of Staging in Contemporary Photography." Missouri Review 40, no. 2 (2017): 33–49. http://dx.doi.org/10.1353/mis.2017.0025.

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Stojkovic, Jelena. "Found sculpture and photography from surrealism to contemporary art." Visual Studies 29, no. 2 (2014): 228–30. http://dx.doi.org/10.1080/1472586x.2014.887294.

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Greetham, Robert. "Landscape photography: from art to now — artists' contemporary concerns." Landscape Research 17, no. 1 (1992): 10–19. http://dx.doi.org/10.1080/01426399208706352.

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Kelly, Marjorie, and Sara Essa Al-Ajmi. "From Invisible to Actualized: Imagery and Identity in Photos of Women in the Gulf." Hawwa 19, no. 1 (2021): 51–75. http://dx.doi.org/10.1163/15692086-bja10017.

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Abstract After reviewing how Middle Eastern women have been photographed historically, the paper explores how contemporary Gulf women represent themselves, both behind and in front of the camera. Initially, women were invisible, then eroticized or exoticized in Orientalist photography, only to appear in early twentieth-century family portraits as both the repository of cultural values and as the new, modern woman. The reaction of contemporary Gulf female photographers to perceptions of themselves as jobless, nameless, faceless, and voiceless is presented in examples of art photography-cum-poli

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Briggs, Peter S. "Leigh Merrill: The Manner of Desires." Afterimage 46, no. 1 (2019): 25–34. http://dx.doi.org/10.1525/aft.2019.461004.

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Contemporary photographer Leigh Merrill translates the methods and objectives of the New Topographics and the Picture Generation into digitally manipulated landscapes that feature the southwestern United States. This survey of Merrill’s creative efforts from the last fifteen years focuses on the artist’s distinctive contributions to demonstrate the intrinsic distortions of photography as a medium and photography’s service in advancing skewed desires of place and places.

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Lee, Phil. "Changes in Contemporary Art Photography and the Problem of Contemporaneity in Art Criticism." Journal of the Association of Western Art History 44 (February 29, 2016): 309. http://dx.doi.org/10.16901/jawah.2016.02.44.309.

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Klein, Uschi. "Photography reframed: new visions in contemporary photographic culture." Visual Studies 34, no. 4 (2019): 412–13. http://dx.doi.org/10.1080/1472586x.2019.1655275.

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Stroeva, Olesya Vitalyevna. "The Effect of Media Culture on Modern Art: Photography, Hyperrealism, Video Art." Journal of Flm Arts and Film Studies 7, no. 1 (2015): 82–91. http://dx.doi.org/10.17816/vgik7182-91.

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The article analyzes the problem of changing a perception of visual arts, as well as the transformation of art functioning mechanism emerged under the influence of media sphere evolution. The author treats the most popular genres of contemporary art: photography, hyperrealism and video art, analyzes a new type of media thinking, based on collective perception.

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Lee, Kyung-Ryul. "The ban, the taboo and the photography : The representation of ban in contemporary photograph art." Semiotic Inquiry 51 (June 30, 2017): 172–204. http://dx.doi.org/10.24825/si.51.7.

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Tyquiengco, Marina. "Source to Subject: Fiona Foley’s Evolving Use of Archives." Genealogy 4, no. 3 (2020): 76. http://dx.doi.org/10.3390/genealogy4030076.

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Since the 1980s, multidisciplinary artist Fiona Foley has created compelling art referencing her history, Aboriginal art, and her Badtjala heritage. In this brief essay, the author discusses an early series of Foley’s work in relation to ethnographic photography. This series connects to the wider trend of Indigenous artists creating art out of 19th century photographs intended for distribution to non-Indigenous audiences. By considering this earlier series of her work, this text considers Foley’s growth as a truly contemporary artist who uses the past as inspiration, invoking complicated momen

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Pethes, Nicolas. "Psychicones: Visual Traces of the Soul in Late Nineteenth-Century Fluidic Photography." Medical History 60, no. 3 (2016): 325–41. http://dx.doi.org/10.1017/mdh.2016.26.

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The article discusses attempts to visualise the soul on photographic plates at the end of the nineteenth century, as conducted by the French physician Hippolyte Baraduc in Paris. Although Baraduc refers to earlier experiments on fluidic photography in his book onThe Human Soul(1896) and is usually mentioned as a precursor to parapsychological thought photography of the twentieth century, his work is presented as a genuine attempt at photographic soul-catching. Rather than producing mimetic representations of thoughts and imaginations, Baraduc claims to present the vital radiation of the psyche

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Wade, Nicholas J. "On Stereoscopic Art." i-Perception 12, no. 3 (2021): 204166952110071. http://dx.doi.org/10.1177/20416695211007146.

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Pictorial art is typically viewed with two eyes, but it is not binocular in the sense that it requires two eyes to appreciate the art. Two-dimensional representational art works allude to depth that they do not contain, and a variety of stratagems is enlisted to convey the impression that surfaces on the picture plane are at different distances from the viewer. With the invention of the stereoscope by Wheatstone in the 1830s, it was possible to produce two pictures with defined horizontal disparities between them to create a novel impression of depth. Stereoscopy and photography were made publ

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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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Rosen, Jochai. "ACTIVE BLOCK: THE BLOCKING PRACTICE IN CONTEMPORARY ISRAELI FINE ART PHOTOGRAPHY." Tarih Dergisi 69 (August 9, 2019): 195–219. http://dx.doi.org/10.26650/turkjhist.2019.18008.

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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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Stallabrass, Julian. "What's in a Face? Blankness and Significance in Contemporary Art Photography." October 122 (October 2007): 71–90. http://dx.doi.org/10.1162/octo.2007.122.1.71.

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48

Caraffa, Costanza. "The photo archive as laboratory. Art history, photography, and materiality." Art Libraries Journal 44, no. 1 (2019): 37–46. http://dx.doi.org/10.1017/alj.2018.39.

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Librarians, archivists, and curators today meet unique challenges when facing huge numbers of photographs accumulated in their institutions. Coming to terms with these masses in a responsible way means to reflect on cataloguing and digitization standards able to record their (material) complexity. It also means to constantly justify a series of investments: in cataloguing and digitization projects, but also in storage space, restoration, archival and conservation materials, not to speak of human resources. It means, ultimately, to reflect on the systems of value that one decides to apply while

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Juarranz, Angela. "Mundane beauty in art and architecture." Ge-conservacion 11 (July 2, 2017): 196–201. http://dx.doi.org/10.37558/gec.v11i0.476.

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In the twentieth century a specific kind of beauty emerged from art: the increased value of the mundane. Contemporary art shows that common situations have an aesthetic significance. But architecture does not pay any attention to this scope. What is more, it tries to deny it. Nor the design process nor the architectural photography show the presence of mundane things. Fortunately, we have some works to go in depth into this day-to-day issue. Let’s analyze the photograph Morning Cleaning, Mies van der Rohe Foundation, Barcelona, (Jeff Wall, 1999), the intervention Phantom, Mies as Rendered Soci

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Woźny, Jacek. "Archeology as a Metaphor in Contemporary Culture." Qualitative Sociology Review 17, no. 1 (2021): 28–38. http://dx.doi.org/10.18778/1733-8077.17.1.3.

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The scientific discipline of archeology has gone through various stages of its development and improvement of research methods. First, it was combined with ancient history and the history of art. In the mid-nineteenth century, the base of its chronology was on biblical events. Modernist archeology of the twentieth century focused on classifying monuments and reconstructing cultural processes. In the second half of the twentieth century, archeology inspired other disciplines of culture and science to “stratigraphically” look at their own history. In this way, the stratification of scientific th

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