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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In memoriam: - Bogdan C. Novak (1919–2011) - Edi Šelhaus (15. avgust 1919–6. marec 2011)
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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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In memoriam: -Sonja Reisp (1931-2008) -Miran Pavlin fotografski kronist in dokumentalist (1920-2008)
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The aim of this study is to emphasize the importance of Dada movement by breaking down many traditional patterns and influencing the art movements. In this sense, firstly, the reason for the emergence of the Dada movement was explained and then the point of view of the movement to art was emphasized. Then, the transition to conceptual art has been made and the image of woman has been mentioned. Finally, the research was finalized by analyzing the original series of photographs.
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The name of Károly Feleki became known in Transylvania due to his numerous posters, caricatures, photos and book covers which he began working on in the 1970’s. From 1991 on, his name was associated w
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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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Painter, photographer and journalist Fikret Otyam has a special place in Anatolian Anatolian culture symbols and motifs in his paintings. The influence of the geography and society that an artist has grown up and grew up is great. Especially in childhood, beautiful remembrances and resting tales turn into creative imagery and illustrations in the next years. The aim of this work is to examine the figures and symbols that reflect the Anatolian culinary artifacts found in the painter Fikret Otyam's paintings and try to solve the meanings and deep meanings of the concepts and values they contain with a formal style. Some examples of figures and symbols belonging to Anatolian cultures in Fikret Oyam 's paintings will be analyzed with the diagram of opposite meanings from the methods of analysis of the semiotics, the diagram of semiotic and semantics.
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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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Bilješke na marginama monografije Apology Of Eros Almina Zrne.
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