IRENEUSZ WITOLD DUNAJSKI, FOTOGRAFIA W GDAŃSKU PHOTOGRAPHY IN DANZIG, 1839-1862, GDAŃSK 2013, SS. 247 + 1
Book review: IRENEUSZ WITOLD DUNAJSKI, FOTOGRAFIA W GDAŃSKU PHOTOGRAPHY IN DANZIG, 1839-1862, GDAŃSK 2013, SS. 247, NLB. 1.
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Book review: IRENEUSZ WITOLD DUNAJSKI, FOTOGRAFIA W GDAŃSKU PHOTOGRAPHY IN DANZIG, 1839-1862, GDAŃSK 2013, SS. 247, NLB. 1.
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We are all familiar with the ongoing conflicts in the Middle East – the Syrian war being perhaps the most tragic event – the refugee crisis and the terrorist threat. But from the Western point of view, it seems that the turmoil is somehow connected to the area. And this sometimes leaves us too indifferent to the real suffering of people just because these people are from an alien and doomed land. It seems like the violence happening in this area cannot be understood in its full extent and this becomes clear when we parallel the reactions to the conflicts happening there and the terrorist attacks in the West. This paper argues that photography can alter our perspectives and make realities that seem far out of reach look closer to us. We are examining the work of five artists that try to cope with their own traumatic experiences and open for us new perspectives on a crisis that has already last for too long.
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The paper touches upon the development of amateur photography in Kyiv in turn of the 19- 20 cc. It is stated that the photography enthusiasts from Kyiv played an important role in making the visual image of Ukraine and therefore strongly contributed to the development of Ukrainian national identity in the late 19 – early 20 cc. The author admits that commercial photography emerged in Kyiv soon after the daggerro typy invention, but until the late 19 c. there were only a few persons in the city who may be considered as amateur photographers. The expansiveness of photographic equipment as well as obligation to get a special permission of local authorities to take pictures acted as a brake on the amateur photography development. Nevertheless, the quantity of persons who were not involved in the professional photography, but owned cameras in Kyiv, increased from 6 in 1890 to 44 in 1907. Kyiv was the first city in the Russian empire where the teaching of photography was launched on a regular basis. In 1901 Kyiv photographic society “Daguerre”was founded with the aim to promote the artistic and scientific photography development. A year after its foundation the society included 79 members. In 1906 Mykola Petrov headed the Daguerre society. He was an amateur photographer whose artistic works were well known throughout the Eastern and Central Europe. In 1908 the Daguerre society in cooperation with Kyiv branch of the Russian Imperial Technical society held the First international photographic exhibition in Kyiv. The author concludes that Petrov and others photography enthusiast in Kyiv who shared a pictorealistic approach to photography, contributed significantly to the theory and practice of the artistic photography in the early 20 c.
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Tuzlanska kulturna i umjetnička produkcija uglavnom ima ustaljenu, ali malobrojnu publiku. To se posebno ističe kada govorimo o specifičnim umjetnostima kao što je fotografska. Po ponovnom osnutku Foto kino kluba Tuzla i kasnijem formiranju galerije fotografija, inače prve galerije te vrste u Bosni i Hercegovini, jedini način za privlačenje šire publike je bio konstantna kvaliteta izloženih fotografija, ali i korištenje utjecaja drugih medija, kompatibilnih sa fotografijom. S tim na umu, postepeno je uvođen veći broj medija u evente FKK te je praćen broj posjetitelja tih multimedijalnih evenata. Cilj ovog istraživanja je kroz analizu broja posjetitelja dokazati je li uvođenje novog medija u event doprinijelo popularizaciji i izgrađivanju nove publike kulturne institucije. Multimedijske izložbe su spajanjem teksta, slike, fotografije, videa, animacije, interaktivnih sadržaja i zvuka ali i korištenjem televizije i radija, privukle mnogo veći broj posjetitelja koji su sada činili vrlo raznoliku publiku po svim parametrima, ali je najočitija promjena svakako bila u dobnom rasponu publike, zapravo u pomlađivanju publike izložaba fotografije.
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Starting with the appearance of Deep Dream's hallucinogenic aesthetic in 2015, the recent wave of art made with AI has been steadily gathering momentum. Initially an outlet for experimentation based on the latest technical developments unveiled by the AI research community, the AI art movement grew, becoming an art world trend with multiple museum exhibitions, gallery shows and media art festivals dedicated to the topic worldwide. Additionally, it had some commercial success with the memorable sale of Obvious• AI-generated artwork for $432,500 at Christie's auction.
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The “representation” corresponds to different forms and contents in visual arts. For example, in the art of photography, elements such as; light, shade, costume, makeup are considered to be representative. In the art of cinema; in addition to these features, motion and assembly are the primary formal characteristics of representation. In terms of content, representation is shaped according to the subject and context expressed by the work of art. For example, female characters in various genres of films such as horror, science fiction, western, and gangster, generally with low budgets, have both the form and content characteristics of cinematographic representation. According to this, some of the similar appearances and characters of women in these films belonging to the late 1950s have become parts of a stereotyped representation.
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Our column is based on an image and the text related to it. The image is that of the author of the text with his daughter, playfully „fighting” in the kitchen. The author’s philosophical/poetic text related to this is about the double nature of theatre/role-play. He expresses his strong option in favour of life instead of theatre.
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Czarno białe fotografie Elżbiety Lempp niezależnie, czy są to pej zaże, czy portrety – najbardziej znane są jej portrety ludzi kultury, w szczególności pisarzy – to zamknięta w kadrze wielowątkowa opo wieść. Sama artystka swoje prace określa mianem fotografii narracyjnej. „Na zdjęciach pejzażach, na zdjęciach scenkach, ale też na zdjęciach portretach – pisał Marek Bieńczyk w posłowiu do albumu Krajobrazy literackie. Fotografia 1985–2007 – wzrok ma wiele do zrobienia, dużo do przebiegnięcia...”. Prezentowane na stronach 75, 97, 119, 143, 201 zdjęcia zostały wy konane w latach 2001–2017 i pochodzą z następujących cykli: Biały dom, Azja w porę, Słowa, Słownik fotograficzny.
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This article considers the ways in which visual landscape imagery is a result of nonvisual social, cultural and technological processes. In particular, it focuses on the way in which landscape aesthetic has traditionally hidden its non-visual foundations by examining a series of images taken near the town of Longyearbyen, Svalbard, during the polar night in January 2017 and January 2019. During the winter months, between November and February, the sun remains below the horizon in this far-Arctic location, which means that in early January there isn’t enough light for the naked human eye to discern the exact contours of the wider surrounding terrain, even at midday. The images through which the invisible foundations of visual landscape aesthetics are explored are approached with the help of applications and devices that render visible, or highlight, the technologies and conventions of machine-enhanced visual perception: Snapchat filters, Theodolite app images, and digital night mode photography. The resulting pictures are examined to raise questions on the role of human agency in situations where we are entirely reliant on machinic forms of perception to make sense of our material environment.
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2018 sees the 20th anniversary of the signing of a Peace Agreement that brought with it a promise of ‘lasting peace’ in Northern Ireland. However, the past has continued to haunt large sections of the population whose lives have been scarred by the violence they experienced. The article examines how contemporary photographers have attempted to come to terms with the effects of political violence over the years. It does so in relation to how they approach the question of ‘showing’ that violence. Some, like Paul Seawright or David Farrell, for example, prefer an allusive, lateral approach that focuses on the sometimes invisible traces of violence. In contrast, the Belfast-based photographer, Malcolm Craig Gilbert takes a more frontal approach that insists on presenting the viewer with images of trauma, sometimes at the risk of appearing over-explicit.
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Review of: Justyna Weronika Łabądź - Teoria i estetyka fotografi i cyfrowej. Antologia. Wybór, wprowadzenie i redakcja naukowa: Piotr Zawojski, seria Biblioteka „Kultury Współczesnej”, Narodowe Centrum Kultury, Warszawa 2017, ss. 352.
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With the fieldwork and the promotion of the point of view "of the native", scientific ethnology introduces new practices linked to the photo. First Boas and Malinowski, then Bateson and Mead, Griaule and Leiris, but also Verger, Tillion and Lévi-Strauss practise a new glance which is translated in a new photographic style. This article analyzes the ambivalent relationship that Lévi-Strauss has had with photography. The analysis of some pictures realized by Lévi-Strauss during the expeditions in Mato Grosso and in Amazonia between 1935 and 1939, then published in Saudades do Brasil (1994), reveals some tensions which are implicit in all the work of the author: the oscillation between scientific rigorous concern and passion for the artistic creation, the report of the rational and the sensitive as means of knowledge, the imperative of the distance and the implicitly reflexive dimension of certain Lévi-Strauss productions.
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The article describes photography as one of the genres of journalistic statements. Scientific objective: To build the theory of press photography as a journalistic statement. An integral part of the concept is the distinction of species varieties of photographic journalistic statements. An intermediate goal is to propose a taxonomy of genres of press photography based on the criterion of the purpose and function of the image, the place and manner of publication, the topic and the criteria of workshop and species. Research methods: Media content analysis. Results and conclusion: The classifi cation of photographic species varieties with a comparison of the image function and the headline function of the press material, part of which is a photograph, is proposed. Cognitive value: The proposed typology can be one of the media tools for analysing journalistic photographic contents.
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The paper presents basic assumptions concerning ethical dilemmas in biographical research using photography. The starting point is the indication of tradition of using photography in biographical research and the specification of features of visual culture in the context of biographical research. Then the main ethical dilemmas of visual research are described – informed consent and anonymisation processes. They are confronted with dilemmas based on empirical research results that arise from the users of photography as a medium for preserving and communicating biography.
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What are the necessary conditions for a photograph to surpass its status as document and to become an art object? What is more important: its aesthetic qualities or the context in which it is displayed? Does the perception of the same photograph change in time? Are there any ethical rigors that we should consider when using in our creations photos belonging to people whom we do not know and/or are no longer alive? These are some of the questions that I have asked (or had to ask) myself over the years as I often used appropriated photographic images in my work.
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Bilješke na marginama monografije Apology Of Eros Almina Zrne.
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Japan’s art history is one of the richest in the world. Contemporary Japanese floral fine art photography has gained increasing global attention in the past decade and is acclaimed for its diversity. Nonetheless, at the same time Japanese artworks in a photographic medium tend to be more closely connected with spirituality than in the Western traditions. The objective is to discern what artifacts are used to communicate fine art floral photography in the postmodern period of time and what contemporary floral fine art photography has contributed to the expression of the artists’ emotions and their perceptions. According to David Bate: “The question to ask – in art, at least – is not so much ‘is it true?’ as ‘what does it do?’
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The portfolio of the russian artist- photographer and a teacher- psychologist at the Moscow University for Humanities, Viacheslav Kabanov, titled Metaphor and the project is accompanied by text from the very famous russian curator and artist Oleg Arnautov, who described Viacheslav ́s artwork as: “a set of thought forms. The spaces he creates are connected more with his thoughts, conclusions; they are the result of his observations, and not the process of studying the object. And that is why theatre is organically present in his creative laboratory. People and things play in this theatre. He creates metaphors one by one, and then formally combines them into a series or a project. With all the emotionality of the final print we can observe the extraordinary organization and rational sequence of the author. Everything is verified, all stages of work are subordinated to his concept, his idea. And this feature is visible even in the works where an object or light can’t be controlled; they can be just “properly shot”. Viacheslav Kabanov works subordinating all visual possibilities to his idea. And here his directing is, of course, project-based. The author for me in this sense is a modern artist, contemporary artist.” Working on specific projects, focusing on a specific topic, looking for new opportunities that photography can offer, never stop at a once understood and accessible solution, search, luck, failure and analysis are most interesting and important for Viacheslav Kabanov as an artist. He uses different techniques and technologies: analogue, digital and their combination. The main theme for him is the human, the inner experiences, fears and conflicts. His inner world, its collision with the outside world generates conflicts and dramas, which become the basis for his projects. He believes that it is impossible to solve any problems at the level of humanity without dealing with inner demons. Photography for him is like psychotherapy. Tarkovsky and Bergman are the two directors who are closest to him in visual level as an inspiration, mainly the psychologism of their characters and the depth of penetration into a person. Photography and psychology are closely linked, of course due to the fact, that he saw the collapse of an empire, the fall of values, the collapse of human destinies, pain, suffering and the birth of a new empire. This all is reflected in his artwork.
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Portrait is a very sought out and popular genre of photography, and not only at the present time. This was the case even in the times of photographers that could be described as pioneers in portrait photography as such. Nadar, Disdéri, and others popularized this medium and predestined its dominant role in society when the celebrities of that time came to gather in their ateliers. Over time, an artist’s approach towards photographed subjects has also changed. Besides physical traits, a photographer also tries to capture something “behind” all this. In this paper, we address not only an analysis of interpretation points of view during the process of portrayal or its social function, but also a clarification of what an identity in portrait photography means and how it is reflected. We also enter the context of media, where human identity adjusts itself to a universal model, the so-called beauty myth, is abused and presented in the form of artificial icons and sex symbols. On the basis of theoretical grounds and the content analysis of selected authors and their works of art related to the topic of identity in a portrait, we have created a series of self-portraits, which are aimed at analysing the identity of an individual in comparison to the identity of their closest family members.
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