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Artículos de revistas sobre el tema "Photography, Artistic"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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1

Dondero, Maria Giulia. "Photography as a Witness of Theatre." Recherches sémiotiques 28, no. 1-2 (October 7, 2010): 43–57. http://dx.doi.org/10.7202/044587ar.

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My paper investigates the meeting of theatre and photography in ‘theatre photography’. Recognizing that both art forms can determine theoretical and philosophical views on representation and self-representation, I aim to compare their visual strategies and the way they construct point of view. In the process several questions are raised: do qualities of photographs belong to objects photographed or to photographs themselves? How important is the object that ‘triggers’ the view? Should the theatre photographer place his camera anywhere? What of framing? In the second section I offer an analysis

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Stamenković, Miloš. "Sports photography and its artistic dimensionality." Fizicko vaspitanje i sport kroz vekove 8, no. 2 (2021): 119–33. http://dx.doi.org/10.5937/spes2102119s.

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Sports photography is a powerful visual tool that can be used to promote sports, athletes and recreational physical activities. Her main role is to present sport as an art. In that respect, good sports photography also implies the recorded moment of the athlete in a specific movement position, which is unusual and which cannot be seen on television. When it comes to the promotion of professional sports, sports photography occupies a significant place in the sports press and sports magazines. On the other hand, sports photography also promotes recreational sports, which is intended for all thos

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3

Vellanki, Vivek. "Shifting the Frame: Theoretical and Methodological Explorations of Photography in Educational Research." Cultural Studies ↔ Critical Methodologies 22, no. 2 (December 28, 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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4

Colner, Miha, and Ivan Petrović. "Ivan Petrović, Photographer, Archivist and Artist: Interview with Ivan Petrović." Cabinet, Vol. 2, no. 2 (2017): 4–9. http://dx.doi.org/10.47659/m3.004.int.

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Ivan Petrović (1973) has been working in the fields of photography and art for twenty years as a researcher, creator and collector. Since 1997, he has been creating and publishing photographic projects that reflect the spirit of space and time in which they are created, while in his works he uses both documentary approaches as well as research principles. In 2011, together with photographer Mihail Vasiljević, he founded a para-institution, the Centre for Photography (CEF). Despite lacking its own premises, infrastructure or funds for performing its activities, the institution deals with the se

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Viditz-Ward, Vera. "Photography in Sierra Leone, 1850–1918." Africa 57, no. 4 (October 1987): 510–18. http://dx.doi.org/10.2307/1159896.

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Opening ParagraphIn recent years scholars have shown considerable interest in the early use of photography by non-Western peoples. Research on nineteenth-century Indian, Japanese and Chinese photography has revealed a rich synthesis of European and Asian imagery. These early photographs show how non-Western peoples created new forms of artistic expression by adapting European technology and visual idioms for their own purposes. Because of the long history of contact between Sierra Leoneans and Europeans, Freetown seemed a logical starting point for similar photographic research in West Africa.

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Choi, Jeongho, and Dukhwan Kim. "A Study on the Reality and Artistic Value of Realistic Photography." Asia Europe Perspective Association 21, no. 2 (June 30, 2024): 135–49. http://dx.doi.org/10.31203/aepa.2024.21.2.135.

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This study explores the essence and evolution of photographic art, focusing on the debate surrounding the reality and artistic value of realistic photography. It examines the progression of photography from a mere recording tool to an independent art form and analyzes how the advent of the digital age has expanded the modes of expression and artistic value of photography. The study systematically reviews the technological advancements and artistic expressions from the invention of early photography to modern digital photography. The study emphasizes that the reality of photography is not a sim

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Mukhin, Andrei Sergeevich. "Transformation of images in the context of constructing photographic reality." Vestnik of Saint Petersburg State University of Culture, no. 1 (54) (2023): 24–30. http://dx.doi.org/10.30725/2619-0303-2023-1-24-30.

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The article is devoted to the analysis of image morphology in photography. The figurative structure is considered as three-part: an optical image (image), an aesthetic image (impression) and an artistic image (understanding). The author argues the need for an artistic image in order for photography to become art. Excessive desire for spectacular visual forms, which are achieved through the technical tools of the photographer and thanks to computer processing, is criticized. Affecting expressive means of photography are not an unconditional value, they can create an aesthetically attractive pro

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Virkki, Susanna. "Finnish Theatre Photography and the Influence of Technology." Nordic Theatre Studies 26, no. 2 (September 9, 2014): 60. http://dx.doi.org/10.7146/nts.v26i2.24310.

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This article is mainly based on interviews with three Finnish photographers’, Kari Hakli, Jalo Porkkala, and Petri Nuutinen’s as well as on the theatre photographs they have taken. The criterion for selecting these three photographers has been that their work spans a number of decades; therefore, the development of Finnish theatre photography can be studied from this perspective. The theatre photograph is a photo of the stage image, which is often based on the dramaturgy of the play script. The subjects and points of view of the photographer are not generally agreed on in advance with the dire

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9

Kvietkauskas, Mindaugas. "From Shulhoyf to Montparnasse: Cultural Collage in Moshé Vorobeichic's Photography Book The Ghetto Lane in Wilna (1931)." Colloquia 48 (December 30, 2021): 170–93. http://dx.doi.org/10.51554/coll.21.48.11.

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This article discusses the artistic genesis of the first avantgarde photography book in Lithuanian art history, The Ghetto Lane in Wilna (1931) by Moshé Vorobeichic-Moï Ver (Moshe Raviv, 1904–1995), and aims to conduct the first in-depth reconstruction of Vorobeichic’s early biographical and creative period in Vilnius in the 1920s in the local Jewish and multicultural milieu. The research is based on archival materials from Lithuanian state archives and the Raviv family archives in Israel. Vorobeichic, who was born in 1904 in Zaskavichy (currently in Belarus), made his artistic debut in Vilniu

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Aziz, Abdul, John Felix, and Candy Reggi Sonia. "EKSPLORASI VISUAL SITU CANGKUANG DALAM FOTOGRAFI SENI." Capture : Jurnal Seni Media Rekam 9, no. 1 (March 8, 2018): 1–11. http://dx.doi.org/10.33153/capture.v9i1.2052.

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The facilities and services provided by photographic technology have made it easier for people to photograph. So photography is no longer a strange thing in the society. Photography has been able to replace manual illustrations, with its many advantages, such as the similarities and details of the objects it records. Photography is also necessary as a means of communication and photographic messages can also be a means of expression. When photography enters the arts, photography can provide dimensions that touch technical aesthetic aspects, as well as conceptual and thematic discourses. Explor

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11

Colner, Miha. "Miroslav Zdovc: Contextualising the Archive." Život umjetnosti, no. 111 (July 2023): 132–45. http://dx.doi.org/10.31664/zu.2022.111.10.

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In this paper a case study of constructing a photographic archive in a museum context, and the ways of contextualising seemingly marginal and insignificant photographic material, is being showcased and analysed. The focal point of the paper is the personal photographic archive of Miroslav Zdovc (1929–2009), a prominent Slovenian professional photographer as well as an artist using photography who, however, did not receive a deserved place in local and regional history of photography and art. Therefore, his extensive body of work that has nearly disappeared from the public eye is now in the pro

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Arana, Almudena, María Dolores Rodriguez Laso, María Ángeles Olazábal, and Maite Pérez-Alonso. "CONTEMPORARY ARTISTIC PHOTOGRAPHY." Studies in Conservation 49, sup2 (September 1, 2004): 215–44. http://dx.doi.org/10.1179/sic.2004.49.s2.046.

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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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14

Rusli, Edial. "IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI." REKAM: Jurnal Fotografi, Televisi, dan Animasi 12, no. 2 (January 20, 2017): 91. http://dx.doi.org/10.24821/rekam.v12i2.1426.

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AbstrakImaji visual fotografi merupakan media rekam visual yang objektif dan representatifkebenarannya dalam merekam suatu realitas. Revolusi teknologi menyebabkan perubahandari teknologi fotografi analog sebagai salah satu media yang menyatakan kebenaran ataubukti dan sebagai media yang representatif kebenarannya ke teknologi digital yang dapatmemungkinkan untuk merekayasa gambar digital melalui perangkat lunak. Teknologi digitaltelah menjadikan kebenaran dalam sebuah foto tidak lagi absolut. Akhirnya fotografi sebagaialat perekam imaji yang representatif kebenarannya semakin diragukan. Karen

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Laroche, Hervé. "Observation as photography: A metaphor." M@n@gement 23, no. 3 (September 30, 2020): 79–99. http://dx.doi.org/10.37725/mgmt.v23i3.5513.

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From its invention in the middle of the 19th century to the present date, photography has generally been considered as a highly reliable means for capturing data about a wide range of objects and for a huge variety of purposes. Though debated, photography’s relationship with reality is specific and powerful. Because of its long and rich history, photography has encountered many problems and challenges observation methods and practices in management studies. Taking photography as a metaphor for observation in general, this article explores the successive steps of a research project relying on o

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Simanjuntak, Mardohar Batu Bornok. "The Concept of Emergence in Non-Temporal Photography: A Non-Dualistic Approach." MELINTAS 39, no. 3 (March 22, 2024): 263–81. http://dx.doi.org/10.26593/mel.v39i3.7823.

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The problem of temporality in photography has invoked a continuous debate concerning the artistic nature of this medium. Previously taken as a different way of seeing, the time signature in a photograph became debatable along with the development of digital photography. Photography’s status as the undisputed evidence of the truth is then no longer relevant. This changes the flow of discourse to a more philosophical one. However, the debate does not provide adequate defence concerning the role of photography in the digital era. The Platonic dualistic approach, especially the Cartesian one, is r

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17

Susanto, Andreas Arie. "Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto." Journal of Urban Society's Arts 4, no. 1 (April 30, 2017): 49–60. http://dx.doi.org/10.24821/jousa.v4i1.1484.

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Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terha

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Soyref, Polina G. "The Test of Photography." Koinon 3, no. 2 (2022): 86–105. http://dx.doi.org/10.15826/koinon.2022.03.2.018.

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This article aims to substantiate the interpretation of photography as a tool, artifact, and practice using the concept of test. The concept of test is chosen due to its complex semantic and functional meanings: to test is to check for durability, to find the truth; to be tested is to gain experience. In line with the double meaning o the genitive — we test the photograph, and the photograph tests us — (mutual, bidirectional testing), the article introduces the following headings: “The Test of Strength”, “The Test of the Viewer”, “The Test of the Gaze”, “Body Experience: Tested by the Gaze”, “

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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.

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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, wit

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20

Yaman, Hakan. "The Perception and Views of Photographers on Artistic Photography in Turkey." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 77–84. http://dx.doi.org/10.15294/harmonia.v18i1.14667.

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The purposes of this study are to know generally the perception and view of photographers on artistic photography in a purposeful sample in Turkey. Participants were purposefully selected (purposive sample) from the community of photographers because it would represent diverse photographers in Turkey. The survey included 19 questions and divided into three parts. Findings of our study revealed that most of the participants were at their middle-age, male, married, university graduates, private sector employed, DSLR users, amateur/ traveling-landscape-portrait photographers, and they shoot their

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Guk, Alexey A. "Cultural and Aesthetic Dynamics of Photography as a Form of Contemporary Art." Observatory of Culture 21, no. 2 (April 19, 2024): 149–57. http://dx.doi.org/10.25281/2072-3156-2024-21-2-149-157.

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Art-photography is a form of contemporary art that marked itself in the early 1960s. Its historical evolution has not been sufficiently studied. At the same time, it provides an opportunity to identify and understand the logic of the internal development of art-photography and its relationship with the external cultural context. The cultural and aesthetic dynamics of art-photography is associated with three historical stages: early, mature and late postmodernism (meta modernism) and the corresponding forms of contemporary art. The first stage (1960—1970) saw the realization by contemporary art

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YURGENEVA, ALEXANDRA L. "Replicability in Art Photography: From Pictorialism to NFT Art." Art and Science of Television 18, no. 2 (2022): 13–38. http://dx.doi.org/10.30628/1994-9529-2022-18.2-13-38.

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The article deals with the idea of uniqueness as an obligatory feature of a work of art in relation to artistic photography. The work is of an overview nature, it notes the methods of giving photographs the features of originality, which emerged at different stages during the century-long history of artistic photography. Earlier studies never focused on the fact that photographers were constantly artificially limiting the technical reproducibility of their works. Addressing this issue defines the novelty of this work. Such a limitation was demanded by an approach in which photographic images h

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Botar, Oliver A. I. "László Moholy-Nagy's New Vision and the Aestheticization of Scientific Photography in Weimar Germany." Science in Context 17, no. 4 (December 2004): 525–56. http://dx.doi.org/10.1017/s0269889704000250.

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ArgumentI propose that both Moholy-Nagy's suggestions that products of applied, particularly scientific, photography be employed as exemplars for art photography, and his practice of integrating such applied photographs with art photographs in his publications and exhibitions, laid the groundwork for an aestheticization of scientific photography within the twentieth-century artistic avant-garde. This photographic “New Vision,” formulated in the 1920s, also effected a kind of “scientization” of art photography. Rather than Positivist mechanism, however, I argue that the science at play was “bio

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Хиневич, Р. В., В. О. Скляренко, and О. О. Слітюк. "PERSPECTIVE AS A MEANS OF COMPOSITIONAL EXPRESSIVENESS IN ARTISTIC PHOTOGRAPHY." Art and Design, no. 3 (February 3, 2023): 9–18. http://dx.doi.org/10.30857/2617-0272.2022.3.1.

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The aim: determination of the features of the use of perspective in artistic photography as a means of compositional expressiveness. Analysis of geometric and optical aspects of the visual characteristics of different types of perspective in photographic art. Methodology. A comparative analysis of compositional methods of conveying volume and depth of space in artistic photography is applied. Methods of systematization and generalization were used to determine the specific features of different types of perspective in photo art. Results. The peculiarities of the concept of perspect

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Vissers, Nathalie, Pieter Moors, Dominique Genin, and Johan Wagemans. "Exploring the Role of Complexity, Content and Individual Differences in Aesthetic Reactions to Semi-Abstract Art Photographs." Art and Perception 8, no. 1 (March 4, 2020): 89–119. http://dx.doi.org/10.1163/22134913-20191139.

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Artistic photography is an interesting, but often overlooked, medium within the field of empirical aesthetics. Grounded in an art–science collaboration with art photographer Dominique Genin, this project focused on the relationship between the complexity of a photograph and its aesthetic appeal (beauty, pleasantness, interest). An artistic series of 24 semi-abstract photographs that play with multiple layers, recognisability vs unrecognizability and complexity was specifically created and selected for the project. A large-scale online study with a broad range of individuals (n = 453, varying i

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Kazakevych, Gennadii. "Ethnographic photography by Jozef Kordysz (1824-1896)." Text and Image: Essential Problems in Art History, no. 2 (2023): 133–62. http://dx.doi.org/10.17721/2519-4801.2023.2.10.

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The paper explores the personality and artistic endeavours of Jozef Kordysz, a professional photographer of Polish-Ukrainian background who worked in Kamianets-Podilskyi and Kyiv during the late nineteenth century. Kordysz is renowned for his photographic expeditions in Podolia and Kyiv regions, as well as his trip to the zone of the Russo-Turkish war (1877-1878). Despite belonging to the Polish nobility and having close ties to the nationally conscious Ukrainian intelligentsia in Kyiv, Kordysz hardly identified himself with either Polish or Ukrainian national projects. His interest in ethnogr

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Foster, David William. "The antarctica photography of Adriana Lestido." INTERIN 25, no. 1 (December 6, 2019): 187–97. http://dx.doi.org/10.35168/1980-5276.utp.interin.2020.vol25.n1.pp187-197.

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During early 2012, the Argentine photographer Adriana Lestido spent two months undertaking photography on the Argentine Peninsula of Antartica. Hers is the first systematic photography of the region, and it demonstrates the attempt to capture visually the fully range of that landscape. Our customary imaginary of the Antarctic landscape is very impoverished, one of ice and white snow, with some scattered fauna. Lestido’s systematic project reveals, by contrast, complex patterns of shifting climatic process and how shadow and light are far more complex than the conventional imaginary holds. A Gu

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Bajraghosa, Terra, Budi Irawanto, and Seno Gumira Ajidarma. "Family Photography as Object and Practice in Independent Comics in Indonesia." International Journal of Creative and Arts Studies 10, no. 2 (December 5, 2023): 133–48. http://dx.doi.org/10.24821/ijcas.v10i2.11166.

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One small element that is rarely put in the comics’ scene setting is photographic imagery, commonly a portrait of a person or a family photograph. It is assumed that once a family photograph is presented in a comic, it definitely has a particular function. This study will examine how the family photograph as an object and practice is depicted and present the signification of the story meaning in independent comics. The research object is a drawing that represents a family photograph in a panel, or series of panels – consecutive or non-consecutive -in the independent comic "Pupus Putus Sekolah"

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Smith, Timothy. "The (Un)Capture of Cappanawalla: Vital Materiality and Collaborative Artistic Emergence." Research in Arts and Education 2024, no. 2 (June 19, 2024): 64–75. http://dx.doi.org/10.54916/rae.141657.

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This visual essay recounts a photography excursion that unexpectedly evolved into a transformative artistic encounter on Cappanawalla mountain in rural Ireland. What started as a systematic and detached approach of photographic framing and capture, took on a dramatic shift toward an exertion of unknown forces disrupting the human role as artist-photographer. Various nonhuman actants exerted their vital materiality as thing-power forces and collaborators in the creation of images along Cappanawalla. This experience provoked a radical reframing of artistic creation as a distributive agency of au

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Xue, Xinyi. "Photography in the Late Qing Dynasty: A Comparative Study." Journal of Education, Humanities and Social Sciences 8 (February 7, 2023): 1–15. http://dx.doi.org/10.54097/ehss.v8i.4218.

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Photography was introduced to China in the early 1840s. The early Western photographers in China were mainly driven by artistic pursuit or curiosity of the Orient. This paper argues that the artistic value of photography was higher and the purpose of photography was simpler during the first years of its introduction to China than the late nineteenth century when photography was increasingly associated with colonialism. The situation of Western photography in China changed profoundly in the latter decades of the nineteenth century: photography began to serve colonialism, and photographers becam

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Bayu Pramana, I. Made. "Photography As A Bridge To Intercultural Interaction In Bali During The Netherland Indies Colonial Period Of The 1920-1930S." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 2, no. 2 (November 19, 2019): 54–58. http://dx.doi.org/10.31091/lekesan.v2i2.888.

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This article presents the process of commencing inter-cultural interactions and artistic collaboration between Balinese and western photographers through photography. In the beginning, the photography project only showed visual record of the Kings, the royal family along with the royal government apparatus in Bali. Beginning with Gregor Krause, a colonial doctor who practiced photography, the others photographers then began exploring nature, culture, art and Balinese society into recording their photographic works. The activity then continued to be an artistic collaboration between westerners

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Damarjati, FX. "RELASI SUBJEK, OBJEK, DAN NILAI PADA PENCIPTAAN KARYA FOTOGRAFI SENI NICO DHARMAJUNGEN." Jurnal Dimensi Seni Rupa dan Desain 19, no. 2 (February 28, 2023): 235–52. http://dx.doi.org/10.25105/dim.v19i2.16454.

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In the discourse of fine arts, photography is a medium for expressing the expression of its artists whose practice has been similar to other processes of art creation. Expressive photography has become more subjective than other genres such as journalistic and commercial. It is this difference that makes expression photography an interesting discourse to research from the creation process, the embodiment of the work to the presentation technique. An important element in the process of embodiment of expressive photography is the relationship between the subject, object and the value of the arti

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Xiong, Xiao Jie. "Research on the Application of Computer Virtual Image Technology in Artistic Photography." Advanced Materials Research 846-847 (November 2013): 1355–58. http://dx.doi.org/10.4028/www.scientific.net/amr.846-847.1355.

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The principles of using computer parallel calculation method carries out in-depth analysis and research for computer art photography virtual imaging technology, and carries out image processing experiments for the artistic image rendering, we can get better art photography image processing effect. Combined with photography image virtual image mathematical model, this paper designs a computer program of photography image art rendering, and carries out art rendering for a landscape painting, we can get ideal art modification effect. Finally, this paper begins to calculated results for the parall

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Kusuma, Sigit Setya. "Colour Splash untuk Model Perempuan dalam Fotografi Ekspresi." REKAM: Jurnal Fotografi, Televisi, dan Animasi 12, no. 1 (November 21, 2016): 43. http://dx.doi.org/10.24821/rekam.v12i1.1383.

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AbstrakPenciptaan karya fotografi ini berjudul “Colour Splash untuk Model Perempuan dalam Fotografi Ekspresi”. Tujuan penciptaan karya fotografi ini untuk: (1) mendeskripsikan visualisasi respons colour splash dengan percikan air dan ledakan holi powder untuk objek model perempuan dalam karya fotografi ekspresi; (2) menjelaskan faktor yang mendukung sehingga karya colour splash dan objek perempuan menarik jika divisualisasikan menjadi karya fotografi ekspresi; dan (3) menjelaskan alasan colour splash dengan percikan air dan ledakan holi powder untuk objek perempuan menjadi daya tarik apabila d

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París Romia, Gemma. "Arte como Simulacro de una Realidad Lejana en la Obra de Gerhard Richter." Barcelona Investigación Arte Creación 8, no. 2 (June 3, 2020): 101. http://dx.doi.org/10.17583/brac.2020.3580.

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This paper investigates the links that the artist Gerhard Richter establishes between photography and painting throughout his artistic career, initiated on 60ths. Since then, Richter's goal has been to build images, whether pictorial or photographic, whether blurry or sharp, geometric, abstract or figurative. The world that Richter paints is made up of banal situations, by anonymous people, by familiar landscapes, and that makes us feel comfortable as spectators, because it seems that Richter is creating a file of known places, moments with which we can connect from our subjectivity. Most part

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Polańska, Anna. "Działania artystyczne w gdańskim środowisku fotograficznym promujące fotografię marynistyczną w latach 1948-1981." Porta Aurea, no. 17 (November 27, 2018): 179–217. http://dx.doi.org/10.26881/porta.2018.17.08.

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With Gdansk artists an approach to the subject of the marine photography, was marked on several levels – artistic, documentary, journalistic and usable. Since 1945 to the first half of the 80s, we notice the popularization of maritime theme in the environment throughout artistic exhibition activities, and the program objectives. Maritime photography or maritime themes in photography? An analysis of the photographic medium in terms of belonging to the art can give the answer to this question. It is also worth considering whether there was „Gdansk School of the Maritime Photography”? The phenome

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Olamide Seriki, Aisha. "Embodied Creative Practice as a method for cultural recovery." Arts, Culture & Development 1, no. 1 (June 22, 2024): 38–61. http://dx.doi.org/10.59236/artsculturedev.v1i1.15.

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We exist in the marriage of physical and spiritual remembrance. It is in these spaces that we identify with our physical and imagined bodies.’” (Saye, 2017, p. 42).” This paper weaves through my artistic journey, and my adoption of an embodied practice, as a methodology of recovering my voice and self, as a creative practitioner. This paper examines the photograph as an immortal object that transcends time and space, and highlights its capabilities in producing non-linear narratives, challenging fixed notions of time which underpinned the western colonial project. Through my analysis of works

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Kirby, Alun. "No maps for these territories: exploring philosophy of memory through photography." Estudios de Filosofía, no. 64 (July 30, 2021): 47–71. http://dx.doi.org/10.17533/udea.ef.n64a03.

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I begin by examining perception of photographs from two directions: what we think photographs are, and the aspects of mind involved when viewing photographs. Traditional photographs are shown to be mnemonic tools, and memory identified as a key part of the process by which photographs are fully perceived. Second, I describe the metamorphogram; a non-traditional photograph which fits specific, author-defined criteria for being memory. The metamorphogram is shown to be analogous to a composite of all an individual’s episodic memories. Finally, using the metamorphogram in artistic works suggests

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Prodanik, Nadezhda V. "Semantics and function of photography in the literary world of the novel “Idiot” by F.M. Dostoevsky." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2022): 74–80. http://dx.doi.org/10.20339/phs.4-22.074.

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The article examines the semantics and function of the photographic portrait of Nastasya Filippovna in the novel “The Idiot” by F.M. Dostoevsky’s; the symbolic nature and role of photography in the polyphonic world of the novel are determined. In the middle of the 19th century, this type of visual art was in the zone of increased attention and controversy; the reason for this was the possibility of replicating photographs and, accordingly, their non-unique nature. The purpose of the article is to understand how F.M. Dostoevsky responded to discussion about photography; to determine what meanin

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Zhu, Yuwen. "PHOTOGRAPHY FESTIVALS AND FAIRS: SHOWCASING NEW IDEAS IN PHOTOGRAPHY." Scientific and analytical journal Burganov House. The space of culture 19, no. 4 (September 10, 2023): 68–78. http://dx.doi.org/10.36340/2071-6818-2023-19-4-68-78.

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This article assumes that photographic festivals and fairs can play a role in articulating and promoting new ideas in photography. As exhibition spaces, these public events guide and showcase new trends, perspectives and practices in the art of photography. They not only permit exhibiting the variety of photographic art forms, innovative ideas and the most cutting-edge practices, but also serve as a catalyst that stimulates the ongoing evolution of photography in a socio-cultural setting. Firstly, using specific examples of photo festivals and photo fairs, the article examines how they can sho

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Moctezuma Moreno, Nayeli Fabiola. "PHOTOGRAPHY AND MEMORY." Design/Arts/Culture 3, no. 1 (January 23, 2023): 26–32. http://dx.doi.org/10.12681/dac.31214.

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This paper intends to analyze the relationship between memory, aesthetics, and politics in Gustavo Germano Ausencias’s (Absences) series. The text will consist of three parts. In the first section, it is presented a brief journey from photography as a “mirror with memory” to photography as art. The second section reviews the political power of the image during the post-dictatorship. The third section makes a brief analysis of photography as artistic creation and memory builder, as well as its political function, through Gustavo Germano’s photographic essay Ausencias (Absences).

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Andrey S., Mukhin. "The synthesis of socio-cultural and technical-technological causality of realism in photography." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 66–74. http://dx.doi.org/10.30725/2619-0303-2022-1-66-74.

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The article presents the analysis of realistic images in photography as a concept and phenomenon. The author considers realism as a method that allows creating recognition of the surrounding world in photographic images. Reality is understood as reality, which is technically possible to record with photographic equipment. Much attention is paid to the development of photographic technology and its influence on the idea of realism in photography. The point of view is given, according to which the realism of the photographic image is conditioned by the liberal-democratic progress of society: the

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Pang, Wei. "Analysis of the Artistic Concept of Contemporary Photography." Highlights in Art and Design 2, no. 3 (May 3, 2023): 74–76. http://dx.doi.org/10.54097/hiaad.v2i3.8003.

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Contemporary photography art is the range of visual thinking and face the objective life and works to convey the creative ideas and the range of performance, embodies the stage and order of photography, but also thinking of art development, transmission of ideas and trend of thinking constantly under observation. This article from the contemporary photography art concept, briefly analyzes the main ways of creation of contemporary photography, discusses the status of contemporary photography in the concept of art in the future, and on the basis of the concept of photography this paper provided

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Dzwonkowska, Paulina. "Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture." Journal of Education Culture and Society 1, no. 1 (January 17, 2020): 26–36. http://dx.doi.org/10.15503/jecs20101.26.36.

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The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptor

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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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Nestayko, Markiyan. "Photos of Julian Dorosh on the pages of Lviv periodicals on the example of a magazine “Literature and Art”." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 14(30) (December 2022): 346–59. http://dx.doi.org/10.37222/2524-0315-2022-14(30)-14.

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The article reveals to the peculiarities of photography as an artistic direction and a component of a periodical publication, highlights the characteristic features of photographs that are used as illustrations for journalistic texts. Special attention is focused on the development of photography in the first half of the last century. Illustrative photos of Julian Dorosh on the pages of Lviv periodicals, using the example of the “Literature and Art” publication, were analyzed on specific examples. On the basis of the analysis, the methods and forms of the transmission of color pictures with th

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Colner, Miha. "Bojan Salaj, photographer: The Ambivalent Eclecticism of Contemporary Photography." Membrana Journal of Photography, Vol. 1, no. 1 (2016): 14–19. http://dx.doi.org/10.47659/m1.014.rev.

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The article that aims to analyse the artistic production of photographer Bojan Salaj is based on conversations and reviews of his archive. Among Slovenian photographers, Salaj is the one who has been seen as an embodiment of the decisive shift in perception of the photographic medium that occurred in the late 1980s and early 1990s. He has never worked as documentary photographer or photojournalist; his authorial practice has always been primarily focused on the context of exhibition and against unconventional solutions. Salaj is one of those photographers who are characterized by the deep refl

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Pfautsch, Anne. "Documentary Photography from the German Democratic Republic as a Substitute Public." Humanities 7, no. 3 (September 10, 2018): 88. http://dx.doi.org/10.3390/h7030088.

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This paper discusses artistic documentary photography from the German Democratic Republic (GDR) from the mid-1970s until the fall of the Berlin Wall, and suggests that it functioned as a substitute public–Ersatzöffentlichkeit–in society. This concept of a substitute public sphere sometimes termed a counter-public sphere, relates to GDR literature that, in retrospect, has been allocated this role. On the whole, in critical discourse certain texts have been recognised as being distinct from GDR propaganda which sought to deliver alternative readings in their coded texts. I propose that photograp

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Lund, Katrín Anna. "Co-Creating Nature: Tourist Photography as a Creative Performance." Humanities 12, no. 6 (November 29, 2023): 141. http://dx.doi.org/10.3390/h12060141.

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This article examines tourism nature photography as a creative and sensual activity. Based on a collection of photographs gathered from tourists in the Strandir region in northwest Iceland, I demonstrate how photographing nature is a more-than-human practice in which nature has full agency. Much has been written about tourist photography since John Urry theorised about the tourist gaze in the early 1990s; this view has been criticised, especially in the light of the performance turn in tourism studies.It has, for example, been noted that tourist photography is not just about the gazing tourist

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Santo, Santo. "PERPADUAN SENI FOTOGRAFI DAN GAYA ART NOUVEAU." Jurnal Dimensi Seni Rupa dan Desain 15, no. 2 (February 1, 2019): 219. http://dx.doi.org/10.25105/dim.v15i2.5647.

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<strong>Abstract</strong><br />Feminine style inspiration in art media is built as one of the learning media in photography. The artistic concept of combining beauty / beauty with photography as one of the mediums of art. Photography is a medium that displays visual art, and artistic creation which are connected with the Art Nouveau style. Whereas, art nouveau is a design style featuring ornaments or decorations that embody a feminine impression. Through art nouveau photography, photography is displayed with digital techniques so that it can create a photography with a femini

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