Relevant bibliographies by topics / Photomontage Photomontage Photography Postmodernism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Photomontage Photomontage Photography Postmodernism'

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Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Photomontage Photomontage Photography Postmodernism"

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Zervigón, Andrés Mario. "The Photomontage Activity of Postmodernism." History of Photography 43, no. 2 (April 3, 2019): 130–43. http://dx.doi.org/10.1080/03087298.2019.1676982.

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Tanyushina, Alexandra Alexandrovna. "German Dada photomontage as art of the “real”: on the path towards “new realism”." Культура и искусство, no. 6 (June 2020): 47–59. http://dx.doi.org/10.7256/2454-0625.2020.6.31742.

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The subject of this research is such artistic practiced of German Dadaism as photography and photomontage. Relevance of this topic is associated not just with the growing interest of art historians, cultural critics and writers to the culture of Weimar Germany, but also active study by modern scholars of the peculiarities of functioning of the various visual practices, which emergence is substantiated by constant shift and mutual integration of different artistic mediums, among which special place belongs to photography and related photo techniques. Research methodology is of complex nature and suggests the uniformity of cultural-analytical, philosophical-anthropological and historiographical methods through studying primary sources, which include literary texts, essays and manifests of the key representative of German Dadaism. The author concludes on substantial role of the category of “real” in ideological-semantic component of the movement in question, appeal to which justified usage of photomontage technique by the Dadaists. The result of this research lies in determination of the fundamental philosophical-methodological and ideological-semantic aspect of photomontage practices of German Dadaists. The article briefly indicates the vectors of further development of Dada photomontage in Weimar Germany. The acquired results may serve as a pivotal point for future research in the area of Dada art, German art of “new realism” presented in the works of artists of the “new corporeity” and “magic realism”, as well as subsequent art movements of the XX century, characterized by the use of photographic and photomontage techniques.
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Arslan, Doğan. "John Heartfield’s Photomontages as a Political Tool." European Journal of Multidisciplinary Studies 3, no. 4 (November 29, 2018): 75. http://dx.doi.org/10.26417/ejms.v3i4.p75-84.

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It is the fact that art often involves with politics. It can work both of sides, either with a political ideology or against of it. The strong relationship between art and politic was occurred during the World War I and World War II. As a member of Berlin Dadaist Art Movement, John Heartfield made sharp opposition with his photomontage works against the Hitler regime in Germany. Since photomontage became anti-art technique against traditional painting in Dada Movement, Heartfield used this technique to criticize his opponents, Adolph Hitler and Mussolini. This research will focus on how Heartfield attacked and disrupted with his photomontages to his opponents. Later on, I will analyze photomontages of Peter Kennard and Klaus Staeck, contemporary artists and designers, who were inspired by Heartfield’s photomontage methodology and his artistic activism. The qualitative research and comparative methodology were used in this research. The findings of the research showed that Heartfield became the pioneer of using photomontage technique in his time. He realized that he could use photography to express his politic thoughts and ideas in collage making. He used photomontage as a political weapon against his political oppositions. Kennard and Staeck, like Heartfield, used photomontage to support and defend their political issues in their time, too. Finannly, this research shows that Dada artist, John Heartfield as well as contemporaray designer and artist Peter Kennard and Klaus Staeck used the photomontage to make a social criticism through their conceptual and powerful works. Their initial approaches were not making design for a client or gallery to sell their works, but they wanted to be, as “artists-activists”, part of social changes in their time.
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Kodatenko, A. D. ""USSR IN CONSTRUCTION": CONSTRUCTIVIST PHOTOGRAPHY AND PROPAGANDA PHOTOMONTAGE." Vestnik Sankt-Peterburgskogo gosudarstvennogo universiteta tekhnologii i dizaina. Seriya 2: Iskusstvovedenie. Filologicheskie nauki, no. 1 (2020): 67–76. http://dx.doi.org/10.46418/2079-8202_2020_1_11.

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Rogucka, Maria Anna. "Teresa Żarnower’s Mnemonic Desire for Defense of Warsaw: De-Montaging Photography." Arts 9, no. 3 (July 28, 2020): 84. http://dx.doi.org/10.3390/arts9030084.

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Teresa Żarnower (1897, Warsaw, Poland–1949, New York, United States), a Polish Constructivist artist of Jewish descent who was forced to emigrate abroad during World War II, became a dominant figure working for the Polish government in exile. She produced a series of photomontages for a book titled The Defense of Warsaw, which was published in 1942 by a “Polish Labor Group” in New York. Żarnower used her technical expertise in photomontage to create new configurations of war photographs documenting Nazi Germany’s attack on Poland in 1939. She chose this shocking and politically loaded content to gain credibility and global attention for her work. Drawing on Benjamin Buchloh’s essay From Faktura to Factography, the aim of this study is to analyze the factographic paradigm in the usage of war photography and in the context of the esthetics of constructivist photomontage. The focus will lie on its mnemonic and archival functions, further highlighting the montage’s function as a key form of social memory model.
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Toman, Jindřich. "From Carnival to Satire: Photomontage as a Commentary on Photography." History of Photography 43, no. 2 (April 3, 2019): 144–55. http://dx.doi.org/10.1080/03087298.2019.1688993.

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Kriebel, Sabine T., and Andrés Mario Zervigón. "Is Photomontage Over? A Special Issue of History of Photography." History of Photography 43, no. 2 (April 3, 2019): 119–21. http://dx.doi.org/10.1080/03087298.2019.1696043.

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Asiaban, Alireza, and Ahmad Ebrahimipour. "Narrative and philosophical photography focusing on Gilbert Garcin’s works." LAPLAGE EM REVISTA 7, Extra-D (July 22, 2021): 593–99. http://dx.doi.org/10.24115/s2446-622020217extra-d1142p.593-599.

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Narrative in photography deals with a subject in which a still image can express a narrative or not. According to the theories expressed by the theorists in this regard, stage photography has emerged, but what is discussed in this research is the narrative style. Now in photography, too, is the expression of the narrator with the philosophical look and idea that manifests itself in the works of Gilbert Garcin. Works that are theoretically close to staged photography but operate in a different form and structure. In his work, Garcin creates a world full of question with photomontage techniques, and by placing himself as the human subject in the photograph, he offers a personal definition that is, of course, Shareable. A world devoid of meaning and a human being trapped in this world, which, like the characters in absurd plays, has a surreal form. Garcin narrates the world with three basic principles: the philosophical spirit, emotions, and meaning - the loss of meaning.
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Lewer, Debbie. "John Heartfield and the Agitated Image: Photography, Persuasion, and the Rise of the Avant-Garde Photomontage." History of Photography 38, no. 4 (October 2, 2014): 435–37. http://dx.doi.org/10.1080/03087298.2014.967941.

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Segovia-Aguilar, Blas. "Approaching magazine adverts for primary school students." Comunicar 12, no. 23 (October 1, 2004): 101–7. http://dx.doi.org/10.3916/c23-2004-17.

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This experience offers a methodological approach and a set of activities which help to understand the language of advertising by analysing adverts shown in magazines. We started revising aspects related to photography, then we moved to study texts in advertising and we ended up with offering some proposals to make adverts using photomontage techniques. Our main objective was to get Primary students in touch with educommunication. La presente experiencia ofrece una línea metodológica y una propuesta de actividades para el conocimiento de aspectos relevantes de la publicidad tomando como base los anuncios que nos ofrecen las revistas. Se inicia con el conocimiento de aspectos relacionados con la fotografía para continuar con el conocimiento del texto publicitario y finaliza con propuestas para la realización de anuncios a través del fotomontaje. Su finalidad principal es introducir la edu-comunicación en la escuela primaria.
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Dissertations / Theses on the topic "Photomontage Photomontage Photography Postmodernism"

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Mineck, Edward. "Astronauts and Xingu : an exhibition of cultural ideograms /." Online version of thesis, 1991. http://hdl.handle.net/1850/11625.

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Akinsha, Konstantin. "Second life of Soviet photomontage, 1935-1980s." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7871.

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This dissertation explores the development of Soviet photomontage from the second half of the 1930s to the end of the 1970s. Until now, the transformation of the modernist medium and its incorporation into the everyday practice of Soviet visual propaganda during and after the Second World War has not attracted much scholarly attention. The firm association of photomontage with the Russian Avant-garde in general, and with Constructivism in particular, has led art historians to disregard the fact that the medium was practised in the USSR until the final days of the Soviet system. The conservative government organisations in control of propaganda preserved satirical photomontage in its post-Dadaist phase and Heartfield-like form, finding it useful in the production of negative propaganda.
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Cohen, Hagit. "Hovering at a low altitude /." Online version of thesis, 1990. http://hdl.handle.net/1850/10903.

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Agarwala, Aseem. "Authoring effective depictions of reality by combining multiple samples of the plenoptic function /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/6957.

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Augustin, Babette Gabriele. "Mysterium tremendum et fascinans /." Online version of thesis, 1989. http://hdl.handle.net/1850/11518.

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Dellaposta, Jo-Ann J. "Homonymous projections /." Online version of thesis, 1989. http://hdl.handle.net/1850/11376.

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Ractliffe, Jo. "Nadir : a graphic interpretation of dispossession and aspects of conflict." Master's thesis, University of Cape Town, 1988. http://hdl.handle.net/11427/17181.

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Bibliography: pages 109-111.
Dispossession, aspects of conflict and the breakdown of the relationship between people and their environment is the subject of this thesis. The body of work presented consists of twenty-four photographs and sixteen screen-printed off-set lithographs (referred to as the prints). The photographs are largely intended to introduce and contextualize the prints which act as the main body and conclusion of the thesis. In the series of prints I have manipulated certain photographic imagery in order to explore the ways in which meaning can shift with changes in context, and reveal associations not apparent in the original photographs. This book is divided into four sections: 1. Sources and context: This section contains a brief outline of the historical tradition of apocalyptic literature and its relevance to our times, as well as a discussion of some of the literary texts to which I have referred. All the visual source material for my prints was derived from my own photographs. As a result, I have not looked to other artist's works for reference, or for the development of my theme. Of great importance, however, were the texts I read during the course of my study, which included a wide and diverse range of literature and poetry. I have also looked to film as a source, including popular cinema such as George Miller's "Mad Max" series, as well as the more serious aspects of cinema, for example, the films of Francis Ford Coppola, Werner Herzog and Wim Wenders. While my prints do not necessarily fall within the mainstream of apocalyptic, they have in common with it, a particular attitude towards the present. It is the vision of imminent chaos and the desire for a return to a restored natural order that has informed my work. 2. My working methods and their implications: This section contains an explication of the processes involved in the making of the prints, and the manner in which these processes contributed to the meaning of the images. Also included is a discussion of the relationship between my photography and my printmaking. 3. Introduction to the work: This section introduces my theme. In my photographs I have documented those aspects of southern African urban and rural landscape which reveal evidence of the erosion of the natural environment, as well as the physical manifestations of displacement. In my prints, I have disintegrated, translated and recontextualised these images. While the theme of my work lies within the broad context of apocalyptic, it is the individual's conflicts and sense of displacement within that context that has been of particular interest to me. As the apocalypticist expressed the tensions and conflicts of his time in a language of symbols, so I have similarly presented a response to my environment. It is not my intention in this section to present an interpretation of my work, but rather to highlight those aspects important to an understanding of the motives I had in making the images. In addition, this book includes documentation of the photographs and prints, preparatory sketches and collages, reproductions of source photographs, and a selection of literary texts which informed the work.
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Knight, Jonathan E. "Ghost ecologies: storytelling and futures in the Athabasca oil sands." Kansas State University, 2017. http://hdl.handle.net/2097/35572.

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Master of Landscape Architecture
Department of Landscape Architecture/Regional and Community Planning
Jessica Canfield
The contemporary globalized world is full of wicked problems. A wicked problem is difficult to resolve, complex, and solving one aspect of a problem may create other problems. Wicked problems are shaped by invisible forces and flows. Landscape architects are uniquely poised to address wicked problems with their skills and capacity to think across systems and scales in spatio-temporal, ecological, and cultural dimensions. Landscape architects also communicate through visually-accessible methods which tell a story. Storytelling in landscape architecture seeks to reveal, connect, and tie together relationships and processes of the past and present to inform future possibilities of a place. Methods of storytelling can be used to address wicked problems because of their utility in inquiry and ideation. Developed through an original methodology using maps, diagrams, photomontage, and photographs, this project creates a storytelling framework which iteratively uses inquiry and representation to identify dilemmas, pose questions, and address issues as a means to reveal the impacts of forces on a wicked problem. The site selected to test this proposed methodology is the Athabasca oil sands in northern Alberta, Canada. Visible from space, the potential minable area of the oil sands spans an area the size of New York State. The world’s quest for oil has placed this landscape and its people on center stage. Billions of dollars’ worth of industry investment has put the landscape and people under siege through ever-shifting visible and invisible forces and flows. Dilemmas created by the region’s mining industry not only directly impact local people and landscape, but the greater world as well. Hampered with environmental, social, political, and economic issues, the future of this region is largely unknown, as there are few formal plans and regulations to ensure landscape reclamation and guide urban development. To tell the story of the oil sands, four themes—oil, infrastructure, environment, and people were analyzed. These themes—referred to as "ghost ecologies" because of their inconspicuous nature—when considered together, reveal key regional dilemmas and highlight new opportunities for future directions. Analysis inspired thinking toward future scenarios that imagine a series of new, highly productive and programmatically-integrated futures for the oil sands and its people. The unique process of inquiry and discovery led to a final project framework that identified methods for landscape architects to use in addressing wicked problems. A variety of audiences can consume this work to address the challenges of the Athabasca oil sands and other wicked problems in the world. To the public, the work serves as an evocative display of critical dilemmas worthy of future consideration. For professional and student landscape architects, the work reveals methods of inquiry to address wicked problems through the discipline.
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Nogueira, Ana Silvia Mazzei. "Paisagem à vista = imagens e reflexões." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283955.

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Orientador: Regina Helena Pereira Johas
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T17:58:27Z (GMT). No. of bitstreams: 1 Nogueira_AnaSilviaMazzei_M.pdf: 18630886 bytes, checksum: 241b1387d6041b89951e482ae6f81f72 (MD5) Previous issue date: 2010
Resumo: Este estudo apresenta a minha produção artística entre 2008 e 2010, bem como as questões poéticas e reflexivas envolvidas nas séries: Paisagem Salgada I, II, III, IV, V e Paisagem Presente I, II, III, IV. A leitura do trabalho é determinada pelo reconhecimento da paisagem como elemento poético e fruto de uma construção permanente. No contexto reflexivo a presente dissertação se sustenta a partir das articulações no âmbito das questões da imagem hoje e de aproximações com a montagem cinematográfica. Para tanto apresento uma dissertação dividida em Primeira Parte, "Caderno I: livro de imagens" e Segunda Parte, "Caderno II: reflexões"; sendo a leitura das imagens o ponto de partida para a reflexão que se segue.
Abstract: This study presents my artistic production between 2008 and 2010, and the issues involved in reflective and poetic series: Paisagem Salgada I, II, III, IV, V and Paisagem Presente I, II, III and IV. The reading of the work is determined by the recognition of landscape as a poetic element and the result of a permanent construction. Within a reflective point of view the present dissertation is based on the issues of contemporary image and its approach to film editing. In this context I present a dissertation shared in two peaces, the first part, "Caderno I: book of images" and "Caderno II: reflections", so the read of the images is a start for the reflections that follow.
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Fantin, Sandra Jacqueline 1980. "Confabulações entre memórias e imagens de Maringá : a fotomontagem como exploração da narrativa verbo-visual." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284513.

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Orientador: Fabiana Bruno
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objetivo desta pesquisa é contribuir para uma composição metodológica acerca das memórias do município de Maringá, considerando sua condição de núcleo urbano projetado ao final da década de 1940, por iniciativa da Companhia Melhoramentos do Paraná. Os resultados deste estudo se fundamentam pela contribuição de uma rede de interlocutores, homens octogenários e sexagenários - aos quais denominamos de "confabuladores", reconhecidos pioneiros moradores da cidade paranaense - os quais por meio de suas histórias de vida, de um vivo fluxo de reminiscências em torno do viver e do lugar, da palavra e da imagem, nos revelaram, como sujeitos sociais, que reconhecem o entrelaçamento de seus destinos, com o destino da cidade em formação. Aliando às histórias de vida, uma sistematização para a leitura de antigas fotografias, o trabalho amplia o espectro de interpretações das narrativas, possibilitando experimentações para a recriação de representações de acontecimentos, lembranças do cotidiano e da fisionomia da cidade em seus primeiros anos de vida, o que identificamos como "fotomontagens". Memória, palavra e imagem se reúnem para a articulação de uma memória individual que conspira para uma possível memória coletiva, se permitindo novas visitações e projeções de sua natureza plural e infinita
Abstract: The objective of this research is to contribute to a composition methodological about of the memory of the city of Maringá, considering the condition of urban center planned at the end of the 1940s, at the initiative of the Companhia Melhoramentos do Paraná. The results of this study are based on contributions from a network of informers, men octogenarian and sexagenarian - which we call "the speculaters" recognized pioneer residents of the city of Paraná - which through their life stories, a live stream of reminiscences around the live and the place of word and image, we revealed, as social man, who recognize the intertwining of their fates, with the fate of the city in formation. Combining the stories of life, to a systematic reading of old photographs, the work broadens the spectrum of interpretations of the narratives, allowing trials for recreating representations of events, memories and everyday face of the city in their first years of life, which identified as "photomontage". Memory, word and image come together to articulate a personal memory that conspires for a possible collective memory, is enabling new visitations and projections of its pluralistic nature and infinite
Mestrado
Multimeios
Mestra em Multimeios
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Books on the topic "Photomontage Photomontage Photography Postmodernism"

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Dawn, Ades. Photomontage. New York, N. Y: Thames and Hudson, 1993.

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Wayne, Cynthia. Dreams, lies, and exaggerations: Photomontage inAmerica. College Park: The Art Gallery, University of Maryland at College Park, 1991.

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Wayne, Cynthia. Dreams, lies, and exaggerations: Photomontage in America. College Park: The Art Gallery, University of Maryland at College Park, 1991.

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Rozov, Mark. Mark Rozov: In der Mitte der Peripherie. Leipzig: Edition Erata, 2003.

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Alkazzi, Basil. Portraits: Strangers no longer strangers, now acquaintances, friends, lovers-- : photo-montages. Brooklyn, CT: New England Center for Contemporary Art, 1989.

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Alexander, Alberro, and Alter Nora M. 1962-, eds. Referencing art. Tucson: Nazraeli Press, 2003.

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1959-, Caso Angeles, ed. Pablo Genovés: Precipitados. Madrid: Exit Publicaciones, 2011.

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Kulik, Zofia. Od Syberii do Cyberii: From Siberia to Cyberia. Poznań: Muzeum Narodowe, 1999.

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Montagen des Realen: Photographie als Reflexionsmedium und Kulturtechnik. München: Fink, 2009.

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Kulik, Zofia. Od Syberii do Cyberii. Warszawa: Zachęta Narodowa Galeria Sztuki, 2005.

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Book chapters on the topic "Photomontage Photomontage Photography Postmodernism"

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"POLITICAL PHOTOMONTAGE." In Photography Foundations for Art and Design, 74–75. Routledge, 2004. http://dx.doi.org/10.4324/9780080473727-30.

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"Photomontage 66." In Photography Foundations for Art and Design, 86–97. Routledge, 2012. http://dx.doi.org/10.4324/9780080551340-12.

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"PHOTOMONTAGE IN ART." In Photography Foundations for Art and Design, 77–78. Routledge, 2004. http://dx.doi.org/10.4324/9780080473727-32.

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"PHOTOMONTAGE IN THE MEDIA." In Photography Foundations for Art and Design, 76. Routledge, 2004. http://dx.doi.org/10.4324/9780080473727-31.

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Thayer, Willy. "Referential Illusion." In Technologies of Critique, translated by John Kraniauskas, 75–76. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286744.003.0027.

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This chapter explains an illusion that is produced when a technology and a mode of production imitates and represents other modes of production in its own medium. It focuses on cinema as a specific technology that produces the illusion of subsuming pre- or a-cinematic technologies and temporalities into its own plane of immanence. In cinema, photography, digital publicity, photomontage, and electronic mixing, there is no clash of modes of production but rather the endogamy of the same medium's homogeneous productivity. The chapter also talks about the clash or anachronism that is nothing more than the reiteration of the same technology under the fetish of presenting another. When photography represents painting photographically, it does not clash with painting, it only exhibits itself, representing itself and its power to produce images.
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