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Photo File: Mihaela MARIN
Daniela Silindean selected photos made by Mihaela Marin who mediates the meeting betwwen two arts: theatre and photography.
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Andres Serrano is one of the controversial artists of the contemporary stage. His outrageous style of creating art became extremely disputed, allowing him to denounce social hypocrisy. From morgue photos to iconic items submerged in human fluids, Serrano pushes the limits of understanding by forcing the viewer to step out of the comfort zone. The American artist gained international recognition after the NEA government financed a show in which his work Piss Christ was exhibited. Far from being a blasphemous act, the photo of a crucifix drowned in urine, became a way of questioning as the interest of the artist goes beyond the shocking effect and extends to the awakening of the critical mind. The German playwright Marius von Mayenburg is also known for his sharp point of view regarding limits and prefabricated patterns. His writings criticize today’s social morals in a satirical, almost surrealistic way that brought him worldwide appreciation - UK, Germany, Romania, Australia. The Ugly One (Der Häßliche), a sardonic drama which presents the fatal consequences of the obsession for physical perfection, brings up one of the most important questions of the contemporary world - how do we define ourselves?The paper intends to focus on both artists and their controversial works.
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This analytical type article is focused on discussion of the subject of pre-project researches of photo and video designers versus the subject of photographers’ observation. The attempt is made to classify procedural objects as the subject of project-oriented researches.
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Wim Wenders’s report is devoted to the output of the world-renowned photographer Sebastião Salgado. The presentation of his works in the documentary employed the text within a text composition, or rather photography within a documentary. The director emphasised the photographs and the statements by the photographer in such a way that the viewers could learn about Salgado as the author of his works and as a human, a humanist concerned about the fate of contemporary human beings. The analysis and the interpretation of the report enabled me to reflect theoretically on the definition and the specificity of photography.
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The article analyses identified photographs (as well as other images made using other techniques) of Vilnius Bishop Karol Hryniewicki (Hryniewiecki, resided in Vilnius in 1883–1885, in January of 1885 was exiled to Yaroslavl), attempts are made to find out their meanings in different socio-cultural contexts of Lithuania by the end of the 19th c. While exploring the Bishop’s photographs, the context of the Roman Catholic Church in the 19th century’s Russian Empire was evaluated. The diocese of Vilnius was an object of special policy of the secular authorities in the so-called Northwestern Krai, as it was not homogenous in the national as well as confessional aspect. In this diocese, the government attempted to change (and actually changed) the confessional and political-cultural orientation of Belarussian Catholics. Under such circumstances, being a spiritual authority, the Catholic Bishop was a clear competitor to the authority and power of the secular governance, therefore attempts were made to regulate and control his activities. The Bishop’s exile created additional meanings to his photographs in respect of believers and secular government, especially by the end of the 19th c. with strengthening nationalistic moods among Russians and others (Poles, Lithuanians). Therefore, the Bishop’s photographs also became a long-term and successful objet of commerce.
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“Bir şeyleri idare edebilme ve seti kontrol altında tutma hissiydi beni çeken.”Özgür Eken
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The article is devoted to the peculiarities of the image of the horses in the iconographic plots. The author outlined the main ways to classify these animals in the Eastern European tradition of icon painting. The division of horses depends on the relationship and environment (transcendent or immanent) in which they have been depicted on the icons. Conducted a series of semantic parallels that demonstrate mapping latent connections (orthodox religion and national perception) in the iconography XII-XVIII centuries.
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This article presents some results of the photographic analysis project, that we accomplish on the basis of 17,000 photos shot during the anthropological fieldwork between October 2008 and November 2009 among Evenki living in East Buryatia, in the Eastern part of Siberia. The aim of the project is to study the non-verbal patterns of culture. Some activities are significant due to the natural environment and the peripheral position of the Evenki land. Modern and old instruments can be seen together in the taiga, they relate to each other and form pairs. The existence of these pairs show the necessity of the co-presence of modern and old technologies and the importance of the categories – activities – tasks connected with them. An old instrument can remain among the Evenki only if an adaptable new instrument can find its place in the everyday life. Sometimes old practical skills also need to be reinvented for the accomplishment of a particular task. The things which have no modern existing pair, step by step lose their place and extinguish.
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This article investigates aesthetic and cultural ideas of the American writer Susan Sontag. It is shown that in theory Kemp Sontag model represents a new sensibility. А new susceptibility acts as a sensory characteristics of culture today. Sontag’s ability to act as a diagnostic culture respond to important cultural events and conceptually subtle and at the same time to speak about them, led to the elaboration of a fundamentally new topics and introducing new terminology that actively included in the arsenal of cultural, philosophical, art studios. It is to this category terms include the concept of "camp", the essence of which is disclosed in the "Notes on Camp". The phenomenon emp sensuality actively interpreted in the context of research work O. Valda (O. Vanshteyn, Y. Stepanov). Understanding kempovoho taste as the characteristics of modern mass culture can be found in the works of S. Boym, U. Eco. A separate group of cinema critics are updated theory Kemp S. Sontag respect to the analysis of cinema (V. Padunov, A. Muhmedzhanova, N. Samutina). Camp as a continuous characteristic of modern culture and sensitive method aestheticization of life, according to Sontag, subjected to theoretical elaboration is difficult due to the fact that the classical discourse of beauty in relation to it does not work. Camp begins actualized in a situation where art is harder to win the right not only to the sublime, but at least beautiful. Second, the camp as a certain model of modern technology is responsive feeling of sensuality to the seriousness of the ideals of "high" classical and avant-garde culture, with appropriate choice of sensible models. The high seriousness of classical ideals in its essence is moralistic. The avant-garde sensibility characterized by an exaggerated affectation and ultimate stress, which resolved the conflict between moral and aesthetic passion. A Camp – a purely aesthetic sensibility. And the seriousness of the Camp is not opposed flippancy (or its various artistic incarnations such as humor, irony, etc.). The new sensibility does not fit into the framework of high culture and high style with their tragic seriousness. Consequently, alternative "bankrupt" seriousness and camp can be considered. And art practice today confirms the relevance Kemp aesthetics, which is embodied attempts to express feelings (severe and profound) and not be trivial or vulgar. About the same difficulty in expressing feelings and U. Eco wrote a "paradox Lial". U. Eco Camp style seen in "deliberate ugliness",, which dominates contemporary art. Unlike kitsch that was cheating in the name of high art camp creates deliberately awful. And this monstrosity is an alternative of mass culture – sensuality Kemp seemed to play a proactive. Another option to study on a new sensibility presented in the Sontag "The only new culture and sensitivity," which just need to be considered in tandem with the "Notes ...". The theme of the new sensation she felt, in resolving the contrast between culture literature, art and culture of science. The first – the culture of literature and speech, which was formed as a single unchanging pattern of European education and training. Another culture – a culture that is based on the latest technologies, thus avoiding or distancing itself from the classical hierarchy of sciences and arts. For Sontag was important not to compare them and introduce own vision of the new situation in the sciences and arts by outlining the trajectory of art toward understanding its importance. Artists today be accounted for aesthetics with powerful vector of consciousness that violated all conventional divisions between form and content, frivolous and serious, between high and low culture. Sontag, herself gravitated to the new industrial arts (photography, cinema), clearly expresses their aesthetic priorities that are often contradict with the established aesthetics and art criticism discursive practices of its analysis and evaluation.
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In the second half of the XX – beginning of the XXI centuries the fashion photo got the status not only as a beauty source, but became as a phenomenon of the material culture, capable to create new cultural remarks by means of mass communications. Communication implementation in the fashion photo occurs as coding, as dispersion, as dialogue of approximate images and contents by means of connotation receptions.
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This article deals with possibility of using Photoshop layers to store additional data in graphical documents. Data can be in form of text, or graphic form, they can be added manually or automatically with another environments serving for batch processing (e.g. Matlab). Such modified data can be used for long term archive, or in time additional information, which are needed for description of the technical facilities, utilities or geographic highlights. Data can be stored in heterogeneous data sources in different structures and each other “mixed”. Matlab environment addresses the method of data extraction, transformation and alignments records, and then store the data in electronic form in unstructured environment of Photoshop tool. Records are transformed into graphic form and then, using layers, saved in the Photoshop tool. Final form (PSD file) is virus resistant and commonly known.
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Influence of Marlene Dietrich’s of image is analysed on distribution of fashion tendencies. The signs, characteristic for actresses style , are followed up in creations of fashion designers and photographers.
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In our Found Image column we publish Eszter Nagy’s commentary about a theatrical poster showing nudity. Eszter Nagy is an actor at M Studio in Sf. Gheorghe.
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In the Ready-Made Image series you can see Hungarian playwright István Örkény and his wife, Zsuzsa Radnóti after the premiere of The Tóth Family (Tóték) at Tg-Mureș, on the 8th of March 1968. The photo shot by József Marx is the property of the archive of the Tg-Mureș National Theatre. In the caption you can read a fragment from an interview with István Örkény, published in March 1968 in the literary magazine Utunk.
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Digitalization is one of the most common topics, discussed by different authors the past decade. Since the beginning, the digital process came across a specific problem of transfer, from analogue to digital form, which is common for all arts. At first it looked as the digital is the ultimate future, and all we have to do is to digitalize all old masterpieces and art works in general. Slowly, as the technology improved, we understood that there are several major problems. The first is that there is no ideal way of digitalizing an art work, in a way that it is fully and a hundred percent transferred and preserved the same – all kinds of digitalization inevitably influence the original work of art. Secondary the technology changes rapidly and every time the analogue source must be digitalized again. The following paper is concentrated mainly on photography and cinema, and occasionally in other arts. It looks and analyses the different kind of digitalization processes, mainly through my own photography experience, but also mentioning and giving the results of other researches like Guy Burns and his “The Art and Science of Reproducing Kodachrome”. All the results are compared and carefully analysed – the classical flatbed scanners, specialized film scanners, the photo lab machines and the duplicating principle of DSLR. As photography deals with quite many techniques and variety of forms, not all digitalizing ways are applicable for every source. Despite that, they all show without any doubt that the art works change when digitalized. Even more – there are certain art works that particularly could not be digitalized, at least with satisfying results. That is the reason to call it impossible digitalization. Although it is more accurate to say that digitalization has infinite options possible. And when distributing the result, there are even more variety of reproducing the image, which are totally out of control of the author. The digitalization today is unavoidable, but still we have to have in mind that relativity.
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The paper draws attention to the ideological and aesthetical prerequisites for a new line of development of industrial photography in this country: images free from pathos, narrativity and emotionality. Bulgarian photography as presented in the 1950s images, where the question ‘what’ that has inherently accompanied artistic tools, has been replaced with the more vital to the authorities ‘why’ and ‘how’. Arts, including photography, ought first and foremost to have ideological nature. A decade later, in the 1960s, the reality has changed, which called for changes in the photographic imagery. The authors and author’s own interpretations of the subjects were increasingly featured. Impressive construction sites and enthusiastic workers still occurred in the pictures but along with industrial buildings presented as metal monsters or lonely creatures, isolated in the wilderness of lunar landscapes without any evidence of human presence. Geometricity, pure forms and emphasised lines in the pictures were seen as an expression of this country’s technological revolution and industrial progress.
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Der Beitrag verortet die aktuelle Debatte um das Verhältnis der Literatur zu deren Bildlichkeit als Rhetorizität und Materialität als Schrift historisch durch eine Lektüre von den Romanen Kaddisch für ein nicht geborenes Kind, Fiasko und Ich – ein anderer von Imre Kertész. Dabei wird von dem paradigmatischen Modernitätskonzept Walter Benjamins und der Mimesis- und Körperauffassung Adornos ausgegangen. Auf deren anthropologischer Basis werden mögliche Zugänge zum Holocaust als geschichtliches und ästhetisches Ereignis ermessen. In Kertész’ Romanen wird das Verhältnis vom Gedächtnis und implizitem Mediendiskurs der Literatur im Zusammenspiel vom Gedächtnisbild, rhetorischem Bild und schriftlicher Materialität umrissen.
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