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Book review: Bogusław Szybkowski, Historia fotografii w Brzegu 1843-1944 [The history of Photography in Brzeg 1843-1944], Opole, B. Szybkowski, 2013, pp. 79.
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Povodom izložbe Feđe Klarića Splitske 70-e u Galeriji umjetnina u Splitu i Fotogaleriji Lang u Samoboru
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Carl Louis Max Steckel was born on May 26, 1870 in Frankfurt (Oder) in an evangelical family. His parents were the tailor master, Carl August Steckel, and Louise Wilhelmine Steckel née Schüler. Carl Louis Max Steckel urodził się 26 maja 1870 roku we Frankfurcie nad Odrą, w rodzinie ewangelickiej. Jego rodzicami byli mistrz krawiecki Carl August Steckel i Louise Wilhelmine Steckel z domu Schüler.
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The advent of photography was one of the most important discoveries in the culture and the society of 19th century. At the end of the 20th and begining of the 21st century this role belong to digital technology. One of the consequences this transformation of the analog to digital photography are new discussion and theories about the nature of the media. While one group of contemporary theorists argues that this technical-technological change means nothing elese but the death of photography as we know, the other one claim opposite. In this paper, I will try to pinpoint at two views and considerations on digital photography, of Martha Rosler and Fred Ritchin.
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Born in, 1946 (Szekszárd, Hungary). Over 200 exhibitions (Paris, London, Roma etc.). Assoc. Prof. – Pázmány Péter Catholic University (Hungary), Visiting professor – Sapientia University (Romania
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The volume includes a visual essay curated by Viviana Iacob, explained at the end of the journal. The image selection (Visual Archeologies) captures the multiple ways in which changes are recorded in the documentary visual archives of heritage institutions, taking the National Museum of the Romanian Peasant as its case study. The ethnographic archive of the National Museum of the Romanian Peasant is a multimedia repository replete with artefacts that document this institution’s avatars for more than a century. In this sense the archive does not only record the work, carried out by the National Museum of Art, the Folk Art Museum, The History Museum of the Communist Party or the Romanian Peasant Museum, and therefore “the what”, but also “the how,” the technologies that made possible this work of documentation.
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(Веле)градски призори Зорислава Паунковић делују као срећан спој случајности документарог приступа на ивици хиперреализма и концептуализације саме уметничке визуелности. Ту естетичку противречност (документаризам нас приближава предмету, чини да се његов садржај перципира превасходно ван форме коју му медиј неминовно намеће, док концептуалност тежи осамостаљивању оних аспеката предмета који га такорећи укидају на рачун оних његових формалних квалитета који су сродни језику искоришћеног медија) Паунковић наглашава неуређеним, слободним низом сличица уловљених, онако уз пут, најједноставнијим и свима доступним објективом јефтиног мобилног телефона.
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Starting from Roland Barthes’s theory according to which the image is a system on two levels, that of denotation and that of connotation, this essay takes into account several semiotic models useful in the analysis of the photographic perception process. The iconic signs being culturally codified, even the photography, that doesn’t seem to raise interpretation problems, offer a series of information that make up the channel and the context of the perception process. The image in the mirror cannot be defined as an image, but as a reflection, a thing face to face with that other thing. In exchange, the mirroring of the emotional situation triggers off esthetic impulses at the level of the message understanding and acceptance.
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In this article the Author presents the project of the illustration of this review with the various pictures, collected frompersonal and institutional archives. It also makes a theoretical analysis of the phenomena of the photography and characterizesthe “light-captured moments” by this ever-changing art.
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It’s not enough to know photography technique if you fi nd yourself behind a camera – Cluj Napoca’s photo-veteran TamásSzabó says – you also need great attention for details. As an artist and offi cial photographer of the Ethnography Museum inCluj for nearly four decades, Szabó has an impressive portfolio: he is the author of several thousands of photographs and over150 albums in aerial, ethnographical and nude photography. This paper is a journey through the universe of Tamás Szabó, anartist who believes to have been born in a photographic darkroom.
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