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This paper deals with the analysis of two communication stages of ‘dialogue’ and discourse, set by the philosopher Vilém Flusser, on the examples of two photographic series that focus on war traumas: Infertile Grounds by croatian photographer Sandra Vitaljić and Srebrenica series by bosnian photographer Tarik Samarah. The ways, forms, reasons and purpose of presenting art works on war crimes are examined. The communication possibilities of the photographic image and the text at the exhibition, in the gallery, that is, the memorial center, in the publication and on the website are compared.
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This article concentrates on the photographic mediation practices by Malvina Jelinskaitė. The characteristic feature of the artist’s creative process is her personal deeply intuitive outlook, her focus on the hidden semantics of the structure of the image. At some point, Jelinskaitė’s photographic practices could be treated as photographic mediation practices, (relatively) based on some mystical dogmas of Pseudo-Dionysius the Areopagite, as well as, some ideas of British philosophical realism, such as the ideas of Alfred North Whitehead, and French intuitivism, such as the ideas of Henri Bergson, and some other philosophical and/or aesthetical concepts. I is assumed that some rudiments of these ideas could be found in Jelisnakitė’s performative photography. To summarize, it could be said that all these concepts as well as Jelinskaitė`s photographic practices, are united by the leitmotif of the Neoplatonist philosophical thinking tradition.
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Review of: Die Farben des Krieges. Die Belagerung Warschaus in den Farbfotografien von Julien Bryan/The Colors of War. The Siege of Warsaw in Julien Bryan’s Color Photographs. Hrsg. von Aleksandra Janiszewska . Dt. Kunstverl. Berlin – München 2011. 159 S., 141 farb. Ill. ISBN 978-3-422-07098-1. (€ 24,–.). Reviewed by Miriam Y. Arani.
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The article illustrates the way in which it is necessary to use technology in exhibitions from art museums. I shall analyze the means through which the institution, respectively the public is mediating the artistic act through digitalization, virtual medium and social media. When the public is emotionally involved and is distributing information regarding the works of art in the online medium, the showcase of the cultural object is done efficiently and rapidly, but out of the museum’s control. In order to reach this goal, I shall be taking three exponential parts into consideration. Firstly, I shall present the types of art museum collections existing internationally and nationally, which already are using technology in their curatorial style. The preliminary conclusion shall investigate whether this approach was able to bring an improvement to the museum experience or to the level of participation. In the second argument I shall focus on the impact that the new manner of museum exhibition has towards fulfilling its basic functions, stipulated in the legislative act that institutionally authorizes it. The art museums that already make use of technological ways of distributing information shall be taken into consideration. The preliminary conclusion shall encase a hypothesis regarding the long-term advantages existing for the art museums that are going to utilize information technology in the future. Lastly, I shall argument the necessity of this approach in the visual art’s museum exhibition, for maintaining the institution at contemporary expectation standards. Finally, I shall conclude with deciding upon the attractiveness criteria that a museum acquires when using new media of broadcasting information.
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The photographs taken by the German army’s propaganda units have long been used in the visual presentation of World War II. What is frequently ignored, however, is that these photos were intended as part of a psychological war. They not only served as war propaganda and to glorify the German army, but also as a visual discreditation of alleged or real “enemies”. A number of researchers have been able to demonstrate how the photos taken by the propaganda units were manipulated by both the Ministry of Propaganda and the army high command, thus rebutting the previously widely held view that they constituted “objective” war reporting. The propaganda units were deployed on all war fronts, in the German occupied territories, and partly on the “home front” as well. As a record of the course of the war, following the military activities of the German armies, the photographs taken in the East Central European theater of war deserve greater attention, as it was here that the greatest number of soldiers and civilians – including those murdered in the holocaust – met their deaths. With its focus on the production of the propaganda units’ photographs and their contemporary context in German-occupied Poland between 1939 and 1945, the article aims to present for discussion the ambivalent character of these mass visual sources, with their “intentional iconography” on the one hand, and their elements of objective information on the other.
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The picture in our Found Image column was made by Zsuzsa Ozsvát after the performance A lány, aki hozott lélekből dolgozott. The picture presents an empty scene with two chairs. Ozsváth’s miniessay related to this photo is a monologue of a lonely character, who is wondering about his fate.
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In 1955, Helmut and Alison Gernsheim publish, in English, The History of Photography. The second edition, dated 1969, heavily revised and augmented with longer chapters, becomes a fundamental reference in the genesis of the discipline. However, although the opus presents with multiple references within the body of the text, its footnotes remain sparse. Helmut Gernsheim fails to mention his borrowings from other authors, whether from published books or old press articles. A comparative research between previous histories of photography and Gernsheim’s text underlines his great intellectual debt to pioneers such as Lucia Moholy or Erich Stenger. Integrated within the text, the quotes are neutralized by a complete absence of any distinctive sign. Helmut Gernsheim appropriates others’words up to the point of giving them brand new meanings. His book, co-written with his wife Alison Gernsheim, articulates a precise vision of the photographic practice, which should remain, in their opinion, pure – meaning devoid of retouching or any manipulation. The analysis of periodicals from the 19th century, specialized in Photography, allow us to re-connect to their original sources the quotes, borrowings and misrepresentations made by Helmut Gernsheim, in this apparently scientific publication.
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Painting arts contain numerous breaking points, starting from the early era human history as the first samples on cave walls, transforming to the modern painting arts. Despite its interaction with many art disciplines throughout its development process, it inhabits the most rooted and efficient relation with fine art photography and photographic imaging methods. The invention of photography origins in the beginning of 19th century, however the effect of photographic perspective upon painting arts consists in camera obscura and pinhole image formation methods. The perception limits of human eye, intrinsically defines the perception and explication limits for the artist. When it comes to particularly painting arts, universe perceived by eye, does not directly influence the emerging work, however the facilities of the photography techniques provide a different perspective. The artists, independent from his/her eye’s viewpoint, depth of field and resolution limits, obtains a perspective to develop the work. Our study examines the effects of the wide-angle photographic perspective, which anomalously provides an opportunity for ratio and proportion, to the figurative paintings about human body in the painting arts.
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The purpose of this study is to analyze semiotic aspects by comparing the visitor photos of the touristic spots in Kastamonu Province and the promotional photos of the provincial official institutions. 21 touristic spots determined in the research were scanned on Instagram. A total of 2008 photographs were analyzed by content analysis. The photos are divided into five groups among themselves for each point. Among the group with the highest value, one of the frequently preferred background photos was selected and compared with the photos on official institution sites. The most shared tourist spots, natural riches are pointing. These; Horma Canyon (17.8%), Ilgaz Mountain National Park (13.75%), İnebolu Beach (8.81%), Küre Mountains National Park (8.42%) and Cide Gideros Bay (7.82%) has been identified. In the photographs of public institutions, seven tourist spots that are similar to the photograph angles shared by the visitors were identified. Less similarities and fewer contrasts were detected at other tourist spots. In the research, it emphasized the prominent values in the Kastamonu destination, and which aspects of these touristic spots were highlighted by visitors, and suggestions were made for the use of photographs in the promotional activities of official institutions.
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Butterfly watching is an important wildlife watching and special interest tourism activity in recent years. Turkey has a rich fauna in butterfly species and host to the many endemic species but a comprehensive review of the literature research about the ties between the butterfly watching and tourism interests in Turkey is not yet complete. The purpose of this study is to reveal that there is another tourism type in point of alternative tourism activities of Turkey by considering the tourism potential of butterfly watching in Turkey. For this purpose, developments in butterfly watching and Turkey's butterfly diversity are investigated by literature review. In this research, it has been determined that butterflies also have an important potential in destination development and diversification such as other wildlife tourism values. However, it can also be contributed to rural development by determining important butterfly areas and organizing guided tours. Also, it is thought that nature-based alternative tourism types, away from crowded masses and made with small groups in natural areas such as butterfly watching and photography, will become more popular.
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Review of: Christopher Pinney, „Photography and Anthropology“, London: Reaktion Books 2011, ss. 174, ISBN: 978-1-86189-804-3. Review by: Filip Wróblewski
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Review of: Elżbieta Duszeńko - Król , przy współpracy Artura Sekundy, Kolekcja fotografi czna Institut für Deutsche Ostarbeit Krakau 1940-1945. Zdjęcia z Polski, Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego 2014, ss. 331, ISBN: 978-83-233-3713-3. Review by: Filip Wróblewski
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The text deals with one of the most important issues in visual anthropology which is the analysis of archival field photographs made by ethnographers. The first part of the paper provides an overview and critical assessment of major projects in this area, and the second – an analysis of the circulation of Bronisław Malinowski’s field photographs. This project is done in the theoretical frame of the studies of the materiality of photographs and social biographies of things. The text shows what happens with the anthropological field photos, how they „present” themselves in books, albums, exhibitions, documentaries, how they change their meanings according to the context of what is „next to” them, with what they interact in new assemblages, how they are „read” by various „audiences”, and how they provoke conflicts and disputes, or open up new spaces of analysis. The author also analyses the issue of moving from the private archives to public and vice versa, and the effects of digitisation.
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Book-Review: Junko Theresa Mikuriya. Historia światła. Idea fotografii. Tłum. Piotr Nowakowski. Kraków: Universitas, 2018, ss. 220. Reviewed by Iwona Alechnowicz-Skrzypek.
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W czerwcu 2019 roku gołębie uwiły sobie gniazdo pięć metrów od mojego balkonu. W zasadzie na wysokości moich oczu. Zamieszkiwała je gołębica z dwójką piskląt. Chciałem je sfotografować, aby wysłać zdjęcia córce. Niestety nawet z takiej odległości uchwycenie ich aparatem telefonu komórkowego okazało się trudne. Zoom w telefonie tylko pogarszał sprawę, dlatego postanowiłem spróbować zrobić zdjęcie przez leżącą w pobliżu lornetkę, która jako teleobiektyw sprawdziła się wystarczająco dobrze.
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Photography plays a special role in Chris Marker’s entire work, from the photo-novel La Jetée to the installation titled The Hollow Men. The author builds reflection on photography and image in reference to the concepts of movement/stillness and memory/forgetfulness. As a consequence, she emphasizes the autobiographical and self-reflective nature of Marker’s artistic realizations, in many cases realizing the features of an essay. The author of the text proposes an analysis of the practices that Marker applies to photography; she considers how he incorporates photography or an image with the characteristics of photography in his works – which are varied in technique or in used medium and which were arising at different periods of time. The purpose of the article is to outline a certain framework for analyzing the Marker’s creative strategies and to introduce theoretical assumptions that can be used to interpret particular works of the artist.
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