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Wystawy (15 października 2004 - październik 2005)
Photographic exhibitions in Poland in 2005
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Photographic exhibitions in Poland in 2005
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Brancusi is so well known that everybody seems to know everything about him. But how many people know the passion he put into making photographies by himself? He is the one that gave the world an original technique, and he used photography to objectivate his material creation.
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Equipped with advanced digital technologies, museum visitors take more photos in art exhibitions than ever before. Photography policies in many art museums are open to visitor photography for private use. This research is examining how photographs made by museum visitors circulate within networked technological environment and can be visible globally via shared electronic databanks.
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Wiosłowanie przez stulecia było domeną ludzi z niższych stanów – galerników, piaskarzy, przewoźników, którzy wykonywali tę pracę pod przymusem lub zarobkowo. Z czasem ci zawodowi wioślarze zaczęli urządzać popisy swoich umiejętności. Od końca XVIII wieku wyścigi przewoźników w Anglii zaczęły gromadzić tłumy widzów. Organizowano zakłady, fundowano nagrody dla zwycięzców. Wkrótce również szlachetnie urodzeni młodzieńcy z elitarnych brytyjskich uczelni zaczęli uprawiać wioślarstwo. 10 czerwca 1829 odbyły się pierwsze regaty na ośmiowiosłowych łodziach pomiędzy drużynami Oxfordu i Cambridge. Od tego czasu wioślarstwo stało się w Anglii sportem modnym i uznawanym za zajęcie godne dżentelmena.
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Pejzaži na fotografijama iz serije »Neplodna tla« obilježeni su traumom, povijesnim događajima i ljudskim iskustvom. Mjesta odabrana za fotografiranje nisu samo lijepi krajolici, već mjesta koja su zbog svog povijesnog konteksta dobila snažnu simboliku i na ovaj ili onaj način kreirala nacionalni identitet.
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Discovery of the photography, then internet and digital photography, left a very deep trace in history, culture, society and art. During first few decades of her history, photography was just the one of the technical instrument very useful for scientists or artists. But at the end of 20 th century rules have changed. Thanks to her specific nature in the age of the internet, IPods, digital cameras or cell phones with cameras, photography became one of the major medium. Avangard movements between two world wars first started to use photography, at the time, in untypical ways (photograms, montage, solarization). She was also used in conceptual and postmodern art and ability of this medium was never as big as now. In the time so called post photography, we are faceing so many different ways of artistic use of photography. Internet, digital cameras, new types of computer softwares and scanners not only became a new instruments for protagonists of art, but they made much better and easier production or realization of art projects and ideas .
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The representate examples of erotic in the collage assemblies of HANA HEH redefine concept of woman within social and cultural matrix. Resorting to literal and loose meaning and sense Hana Heh creates real and fictional world of the existing representative roles imposed on woman. The inverting narrative positions the female in multiple implicit and explicit situations. The discontinuity and heterogenity of the work, moving from context to context facilitate production of meaning and transfiguration. Her synthesis of political, documentary, lyric and erotic, enables Hana Heh to transpone her own vision of woman to a critical projection juxtaposed to modern society.
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Baudrillard’s theory of seduction represents the basis for constituting postmodern iconography, i.e. the matrix for the production of images within the framework of visual culture. If we understand the media seduction in the post-Lacanian sense of acting, doing and behaving in the area of desire for the Other, that is in the area of subconcsiousness, then the reasons for creating visual contents as instruments for provoking human desires and fantasies are understandable. The game between subject and object of the gaze has lasted uninterruptedly in the epoch of images, even though certain interventions are necessary in the traditional definitions of the right to observe considering that in the visual contents in our surrounding sexual characteristics of both genders are being simultaneously manipulated. The manner in which the content of the fashion photography is being made makes it an instrument for production and mediation of certain meanings. The area of the subject of photography as an object of the spectator’s gaze is determined as an area of seduction, destiny, of being fatal… In that way, the purpose of eroticism in contemporary fashion photography is to seduce the audience, and in this way it only distances itself from its former/avant-garde functions of provoking the public. Each media presentation is based on a simulation of fetish presented as an object of both individual and group desire, and each visual use of a media image represents a fetish-like indulgence. Eroticism, sexuality and beauty of human body that in the post-modern-visual culture depict the symbols of fatal, cynical and parody-like seduction get irretrievably immersed into the totalizing mass culture. Has assimilation of the erotic and sexual into the field of popular culture, the trend of image production, lifted all the restrictions of censure and auto-censure in exhibiting their characteristics, or are the limits of good taste in visual representation of fashion still being respected?
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Full list of photographic ateliers in Cieszyn from ca. 1838 to present (1994). Digitalized and reedited material.
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Events related to an old photography, by Polish Society of Photography Historians in 1993. Digitalized and reedited material
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Digitalized and reedited material
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Illustrated with magnificent photos the adventure of the letterbox in Moldavia is present in this article, from the boite de lettres of French inspiration to the blue metal box of the communist time with its' Russian newspapers spreading the communist propaganda directly from Moscow and later to the forsaken sad useless tin box .
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In this study I intend to highlight the advantages and disadvantages of amateurism and professionalism in photojournalism. To pull the alarm and to make people understand how important is photography, and I’m not referring to the common people, but to those handy way of information, a newspaper, a television, there where images can be posted. Alarm as warning of invasion captured images of people everywhere, anytime and anywhere. Not that I have anything against this, but this option can be considered as one method of information in terms of images. This invasion should not compel photojournalists to retire from their jobs and opt for something else. A good photo will always make the difference, but we must realize that not everyone can make quality photos.
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Wbrew pozorom prezentowane w Galerii WIĘZI prace (s. 23, 47, 67, 189, 211, 232), należące do cyklu Świdermajer — zatrzymać czas, nie pochodzą — chociaż wskazywałyby na to stroje osób znajdujących się na nich — z lat 20. i 30. ubiegłego wieku. Zostały wykonane współcześnie. Ich autorkę zainspirowały stare fotografie, wykonane przez jej dziadka. „Podobnie jak dziadek — mówi artystka — zachwyciłam się niepowtarzalnym nastrojem stylu świdermajer. Chciałam pobudzić wyobraźnię i przywołać oraz utrwalić historyczne już klimaty Otwocka, z ich architekturą i ludźmi”.
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The author describes this year’s Photomonth in Krakow (13 May-12 June 2011). She points out the distinctiveness of this edition from those previous, which were, above all, “traditional” photography exhibitions. This time round, the curators decided upon a conceptual approach to the event, asking twenty-two writers to invent biographies of fictional artists, and twenty-three photography artists to execute the fictional works from the texts. This idea not only gave a breath of fresh air to the festival, but also served as a basis for considering issues of post-modern identity, the free movement between creation and authenticity, and the fluid boundaries between staging and reality.
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