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Bibliografias temáticas / Photographic criticism

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Literatura científica selecionada sobre o tema "Photographic criticism"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 30 de julho de 2024

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Artigos de revistas sobre o assunto "Photographic criticism"

1

Humm, Maggie. "Virginia Woolf and photography." Comunicação e Sociedade 32 (December 29, 2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.

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From 2000, criticism on Woolf and the visual has quadrupled in volume. The research work about a photographic Woolf – which include other photographers’ interaction with Woolf such as Gisèle Freund or my own analysis of Woolf and Bell’s personal photo albums – shows how these newer issues of Woolf and photography are now absolutely central in any consideration of Virginia Woolf studies, gaining a noticeable importance when we consider the interdisciplinary issue of photography and gender.

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2

Yurchuk, Olena. "PHOTOGRAPHY AS A FORM OF STATEMENT AND MEANS OF FIXING PRESENCE IN A. PEREZ REVERTE’S BATALIST." CONTEMPORARY LITERARY STUDIES, no. 19 (March 15, 2023): 63–68. http://dx.doi.org/10.32589/2411-3883.19.2022.274082.

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Modern literary criticism pays much attention to the theme of photography in fiction. R. Barth and his followers emphasize the active interpenetration of the two arts, which results in a play with imprint, blur, and image. Photography turns out to be a point of reference for reconstructing the past. The photographic image claims to be an archival document necessary for reconstructing the past, and the photograph claims to be completely objective, though limited by a subjective position. In the plot of A Perez Revert’s novel «The Battler» the camera, as well as photography itself, occupies a sp

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3

Foa, Michelle. "Textual Inhibitions: Photographic Criticism in Late Victorian Britain." History of Photography 36, no. 1 (February 2012): 33–43. http://dx.doi.org/10.1080/03087298.2011.606724.

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4

Van der Vlies, Andrew. "Constellated in a flash: on the dialectics of seeing (beyond stasis) in Zoë Wicomb’s work." English in Africa 49, no. 2 (November 4, 2022): 7–25. http://dx.doi.org/10.4314/eia.v49i2.1.

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This essay considers the photograph as representation and metaphor in select work by Zoë Wicomb (b. 1948). It asks how the photograph functions in her prose fiction and criticism in service of a recuperation of late- and postapartheid stasis in potentially affirmative vein. Many of Wicomb’s most illuminating essays and many of her fictions – from her debut, You Can’t Get Lost in Cape Town (1987), to the most recent, Still Life (2020) – engage with photographs, drawing in highly suggestive ways on vivid descriptions of acts of seeing that are indebted to photographic theory. What, I ask, is con

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Widi Nugroho, Yulius. "Still-life Photography as Visual Poetry Media for Social Criticism of Lumpur Lapindo." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, no. 2 (October 28, 2022): 93–111. http://dx.doi.org/10.31091/lekesan.v5i2.2083.

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Visual media photography is prioritized to present actual and factual information as news media and art media, and Visual Poetry is a work of art that combines two visual and verbal media as one work. The purpose of this research is to make still life photography works and the meaning of photo works as a medium for Visual Poetry. The object of the photo is about the condition of the Lapindo Mud on Porong Sidoarjo Indonesia, which has been neglected for years without serious handling. This creation method uses a photographic method of photographing natural objects. Methods of collecting data by

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Graziano, Maítha Elena Tosta, and Maria Leandra Bizello. "Os documentos fotográficos na perspectiva Teórico-metodológica da Diplomática um estudo da Fundação Fernando Henrique Cardoso." Páginas a&b Arquivos & Bibliotecas 17 (2022): 116–30. http://dx.doi.org/10.21747/21836671/pag17a7.

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Observing the statusused for photographs in archives today, since the recognition of their character as an archival document, their differencesin organization, packaging and availability for access, it is evident the need to deepen the discussions about these documents in the archival scope. For this reason, it is proposed to discuss photography and its nuances, envisioning its documentary and, consequently, archival nature, from its production context and the theoretical-methodological perspective that diplomatic analysis offers as a valid tool to understand it while result of an action regis

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7

Geurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'." Aesthetic Investigations 1, no. 1 (July 16, 2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.

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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's phot

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Novianti, Erlina, Silviana Amanda Tahalea, and Asih Retno Dewanti. "Kajian Estetika Fotografi Urban “#JakartaBelumHabis” Karya Chris Tuarisa." Rekam 19, no. 1 (April 26, 2023): 47–58. http://dx.doi.org/10.24821/rekam.v19i1.7582.

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ABSTRAKFotografi urban adalah fotografi yang dilakukan dengan pendekatan urban life. Fotografi urban mengacu pada kehidupan dalam lingkup perkotaan. Salah satu fotografer yang menghasilkan karya fotografi urban adalah Chris Tuarisa. Karya-karya yang dihasilkan merupakan visualisasi masyarakat urban, tetapi juga memperlihatkan kawasan perkotaan dari sisi masyarakat menengah kebawah yang tidak dapat dipungkiri juga merupakan bagian dari masyarakat urban. Fotografer dapat menceritakan sisi lain dari isu perkotaan yang belum pernah dilihat oleh sebagian masyarakat Jakarta sendiri, karya foto Chris

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Kovach, Jodi. "Architectural Ruins and Urban Imaginaries: Carlos Garaicoa’s Images of Havana." Contemporaneity: Historical Presence in Visual Culture 5 (November 30, 2016): 72–84. http://dx.doi.org/10.5195/contemp.2016.130.

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Contemporary Cuban artist Carlos Garaicoa juxtaposes photographic images of Havana’s architectural ruins with timidly articulated drawings that trace the outlines of the dilapidated buildings in empty urbanscapes. Each of these fragile drawings, often composed of delicate threads adhered to a photograph of a site after demolition, serves as a vestige of the sagging structure that the artist photographed prior to destruction. The dialogue that emerges from these photograph/drawing diptychs implies the unmooring of the radical utopian underpinnings of revolutionary ideology that persisted in the

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Cocker, Alan. "Photographers Hart, Campbell and Company: The role of photography in exploration, tourism and national promotion in nineteenth century New Zealand." Back Story Journal of New Zealand Art, Media & Design History, no. 2 (July 1, 2017): 93–103. http://dx.doi.org/10.24135/backstory.vi2.24.

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It has been argued that “the history of New Zealand is unique because the period of pioneer colonization closely coincided with the invention and development of photography”1. However, as the first successfully recorded photograph in the country was not made until the late 1840s, the widespread use of photography came after the initial European settlement and its influence coincided more closely with the development of early tourism and with the exploration and later promotion of the country’s wild and remote places. The photographic partnership of William Hart and Charles Campbell followed th

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Teses / dissertações sobre o assunto "Photographic criticism"

1

Alexander, Stuart. "THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS"." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/277059.

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2

Pettibone, John M. "Deconstructing the deconstructors : the politics of anti-photographic criticism (a metacritical analysis) /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487325740719321.

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3

Maree, Christine Fae. "That-has-been a discussion on the body cast as that which fixes a subject in time, in relation to notions surrounding the photograph." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002208.

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Much like a photograph, a casts creates a replica of its referent, thereby immobilising the subject in time. While the subject continues in time and hence ages and inevitably dies the replica does not. With this basic notion of fixing a subject, I have built an argument to contextualise my sculptures, which are made using casts of elderly people. In this discussion I have looked at my works through the ideas of different theorists. The main theorist I have cited is Roland Barthes, specifically with regards to his notion of the photograph as discussed in his book Camera Lucida. I have also refe

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4

Bradley, Alex Cilla. "The photographic other: Paradox in the cathexis of longing." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2054.

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A photographic and written examination of paradox in relation to the photograph This research aims to illuminate the relationship between paradox and photography, elaborated via Julia Kristeva’s notion of the abject. Paradox is considered in relation to photography in terms of repeated and unresolved debates about the status of the photograph as either an ‘index of reality’ (Bate, 2004, p. 1) or as a sign. The significance of this research lies in its re-motivation of abjection in terms of paradox, not in order to resolve such debates but, rather, to illuminate the importance of such unresolve

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5

Cooper, Julie A. "Changing the Traditional High School Photography Curriculum: Integrating Traditional and Digital Technologies." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/art_design_theses/68.

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This thesis presents a photography curriculum for a beginning high school level photography class. It is designed as a teaching guide to structure a photography class that incorporates both film photography and digital photographic technology. One of the biggest challenges for teachers of photography is how to structure a curriculum with a limited number of enlargers and space in the darkroom, while incorporating digital technology with limited computer access for students. The curriculum presented here includes three major parts: a traditional photographic film component, a digital photogr

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Schoenwandt, Jeanne Marie. "Toward a feminist 'third space' : photographic 'sites' of cultural transformation." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37725.

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This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third spac

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7

Wong, Ka-fai. "The problems of visual discourse : a study of the politics of representation with special reference to the photographic image /." [Hong Kong : University of Hong Kong], 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12380519.

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8

Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.

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The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities t

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9

Mendes, Talita 1985. "Rosângela Rennó = fotografia, deslocamentos e desaparição na arte contemporânea brasileira = Rosângela Rennó: photography, displacements and disappearance in brazilian contemporary art." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285257.

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Orientador: Maria de Fátima Morethy Couto<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-24T11:13:41Z (GMT). No. of bitstreams: 1 Mendes_Talita_M.pdf: 6181643 bytes, checksum: 13de2f327820836fe396de02355bc780 (MD5) Previous issue date: 2014<br>Resumo: Esta pesquisa tem por objeto a análise de três instalações realizadas pela artista brasileira Rosângela Rennó ¿ a saber: Imemorial (1994-1995), In Oblivionem (1994-1995) e Hipocampo (1995) ¿ com o propósito de compreender as investigações da artista em torno da imagem fot

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10

Rowe, Michelle. "A hermeneutical approach to creative perception as an element in photography." Thesis, [Bloemfontein?] : Central University of Technology, Free State, 2011. http://hdl.handle.net/11462/150.

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Thesis (M. Tech.) - Central University of Technology, Free State, 2011<br>The purpose of the study is to mitigate the restrictions of ocularcentrism by employing an interactive hermeneutical approach to the creation and interpretation of the implied meanings in a photograph. The principles of hermeneutic phenomenology are applied to outline the putative strengths and weaknesses associated with ocularcentrism as applied to photography and to attempt to illustrate how the proposed model of aesthetic participation may overcome these weaknesses. The literature review shows that ocularcentrism is a

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Mais fontes

Livros sobre o assunto "Photographic criticism"

1

Bill, Jay, and Allen Dana, eds. Critics, 1840-1880. [Phoenix?]: Arizona Board of Regents, 1985.

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2

Alka, Pande, ed. Dancescapes: A photographic journey. New Delhi, India: Showcase, 2013.

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3

Luc, Sante, Muniz Vik, and Independent Curators Incorporated, eds. Making it real: A traveling exhibition. New York, N.Y: Independent Curators Incorporated, 1997.

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4

Hugunin, James Richard. Understanding the effect that photographs have on us: Case studies in photographic criticism. Lewiston, N.Y: Edwin Mellen Press, 2012.

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5

Hugunin, James Richard. Understanding the effect that photographs have on us: Case studies in photographic criticism. Lewiston, N.Y: Edwin Mellen Press, 2012.

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6

Sin, Hye-yŏng. Changch'i e matsŏda: Han'guk tongsidae sajin pip'yŏng. Sŏul-si: IANN, 2021.

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7

Coleman, A. D. Light readings: A photography critic's writings, 1968-1978. 2nd ed. Albuquerque: University of New Mexico Press, 1998.

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8

Durand, Régis. Habiter l'image: Essais sur la photographie, 1990-1994. Paris: Marval, 1994.

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9

Scianna, Ferdinando. Obiettivo ambiguo. Milano: Rizzoli, 2001.

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10

Tamisier, Marc. Texte, art et photographie: La théorisation de la photographie. Paris: L'Harmattan, 2009.

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Capítulos de livros sobre o assunto "Photographic criticism"

1

Wells, Liz. "Photography, Curation, Criticism." In Photography, Curation, Criticism, 3–17. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-2.

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2

Barrett, Terry. "About art criticism." In Criticizing Photographs, 1–13. Sixth edition. | New York, NY: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003085126-1.

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3

Wells, Liz. "Photography, Nation, Nature." In Photography, Curation, Criticism, 132–46. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-15.

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4

Wells, Liz. "Silent Witness." In Photography, Curation, Criticism, 185–89. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-19.

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5

Wells, Liz. "Hidden Histories and Landscape Enigmas." In Photography, Curation, Criticism, 158–71. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-17.

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6

Wells, Liz. "No Man's Land." In Photography, Curation, Criticism, 95–104. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-11.

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Wells, Liz. "Histories and Imagination." In Photography, Curation, Criticism, 172–84. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-18.

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8

Wells, Liz. "Icy Prospects." In Photography, Curation, Criticism, 71–84. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-9.

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9

Wells, Liz. "The Critical Forum." In Photography, Curation, Criticism, 226–31. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-22.

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Wells, Liz. "Then and Now." In Photography, Curation, Criticism, 232–36. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003354680-23.

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Trabalhos de conferências sobre o assunto "Photographic criticism"

1

Simonsen, Talette. "The Photo book as Symphony – Ronchamp as Sculpture: Re-composing Architectural Photography." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.935.

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Abstract: This paper suggests that Le Corbusier’s editorial composition of the book Ronchamp: Les Carnets de la recherche patiente 2 can be regarded as an artisticmanner ofre-composing architectural photography that partly contrasts LeCorbusier’s otherwise conservative concept of the synthesis of the arts,which so far had excluded themediumof photography. The paper proposesthat the book,which was published at a time when The Chapel of Ronchamp (1950-1955) had become controversial among architectural critics, aspired to communicate the architectural project as a work of art by creating links to

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2

Briandana, Rizki, and Dini Ari Mukti. "Understanding Photography Representation: Humanism and Social Criticism in Social Media." In Proceedings of the International Conference on Psychology and Communication 2018 (ICPC 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icpc-18.2019.13.

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3

Wienert, Ross. "Actual Reality: An Alternative Approach to Post-Digital Representation." In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.115.

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In his essay “Architecture Enters the Age of Post-Digital Drawing”, Sam Jacob advocates for a new method of representation that eschews the digital technology used to create photo-realistic renderings in favor of an approach that utilizes digital collage in order to embrace drawing as a work of fiction. While his criticism of photo-realism is valid, it is also arguable that a post-digital age in architecture should more heavily concerned with reality. An alternative method of representation is investigated that utilizes photographs of physical models that are digitally modified in order to emp

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4

Laurentiz, Silvia. "Realities Research Group: 10 years of studies in art-technology." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.130.

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The Research Group Realidades - from tangible realities to ontological realities - was created in 2010 and is based at the School of Communications and Arts, University of São Paulo, accredited by the Institution and CNPq, Brazil. It already has a huge production, from artistic works, texts, interviews, events organization, and other technical productions, which can be found at http://www2.eca.usp.br/realidades. In its initial research, the Realidades Group investigated how to coherently treat certain terms and categories while maintaining a dialogue between different areas of knowledge, in ad

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