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What’s Wrong with the (White) Female Nude?

Author(s): Zoey Lavallee / Language(s): English Issue: 2/2016

In “What’s Wrong with the (Female) Nude?” A. W. Eaton argues that the female nude in Western art promotes sexually objectifying, heteronormative erotic taste, and thereby has insidious effects on gender equality. In this response, I reject the claim that sexual objectification is a phenomenon that can be generalized across the experiences of all women. In particular, I argue that Eaton’s thesis is based on the experiences of women who are white, and does not pay adequate attention to the lives of nonwhite women. This act of exclusion undermines the generality of Eaton’s thesis, and exposes a more general bias in discussions of female representations in art. Different kinds of bodies have been subjected to different kinds of objectifying construal, and the ethics of nudity in art must be extended to take such variation into account.

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Fotografija kao sredstvo vizuelne komunikacije

Author(s): Danka Ninković Slavnić / Language(s): Serbian Issue: 1/2006

In modern world media images are everywhere: we look at them at billboards, newspapers, on TV, Internet... But how do we understand what we have seen? This article tried to explain photography - as a medium and a message by analyzing the relation between photography and presented reality. Barthes’ thoughts about photography are used here to show the creation of meaning in a photographic message. Although perception is usually very brief, message is not simple and literal one but it has two levels of meaning – denotative and connotative. It is a common expression that ‘pictures don’t lie’. Belief in trustworthiness of photographic record (photography as a witness) was supported by state use of photography (for ID, in police and juridical practice). In this text some answers on questions why do we trust photography and what are the changes in period of digitization are given. Light motif in this paper is the idea that the photographic expression is caused by reality, technical possibilities and culture. Its single-meaning and superficial look makes a picture powerful. Covered with the reflection of reality, there is a picture determined by culture. It’s no longer that only art historians, curators or media experts are dealing with pictures. They are part of everyday life and that is why there is a need for common people to understand their meanings, or, to use a term well known in western literature, to gain ‘visual literacy’.

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Zaproszenie do działania. Kulturoznawcza współpraca (z obrazami)

Author(s): Agata Skórzyńska / Language(s): Polish Issue: 3/2016

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Neophodne slike: Masmediji i carstvo prolaznog

Author(s): Davor Džalto / Language(s): Croatian Issue: 1/2012

My primary thesis in this essay is that contemporary multimedia image represents the culmination of the modernist idea of “image” and its aesthetics. The “image” in this context is composed of three features essential to the formation of the early modern aesthetics: 1) mimetic character of the image, 2) particular sensuous experience, which has the power to seduce the viewer and 3) autonomy of the aesthetic experience.The appearance of the dynamic, interactive and multimedia “image” (e.g. television or internet) brings these early modernist ideas to its climax, turning them into a powerful instrument of manipulation. Mass-media become the generators of the “reality,” whose persuasiveness still relies on their supposed mimetic character. On the other hand, based precisely on this possibility to generate new realities, the media realize one of the very basic ideas of the modern art – the idea of autonomy of the aesthetic experience. The central means in this quest is again the seductive power of the sensuous representation. This way, the mass-media transfer the logic of the mass-consumption into the sphere of information and multimedia stimuli, which results in the viewer’s addiction to the “new” sensations. The thirst for the “new,” which means for the consummation of “new” sensations, leads us to the time of aposteriority, and to the “kingdom of perishable” in which nothing lasts more than a post on facebook or twitter.This way, the contemporary media manifest themselves as the culmination of the aesthetical idea of the sensuous representation as a seductive phenomenon and an “autonomous” experience, which can create and change the reality, not only represent it. Looking at the way which the so called social networks (especially facebook) function, one can conclude that this culmination of the manipulative sensuous experience lead not only to the addiction to multimedia stimuli, but also to the pasivization of individuals and, paradoxically, lack of their social life. This, in return, gives much broader opportunities to social and political elites to reinforce and spread their power.

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Iz starih albuma bjelovarskih fotografa – fotografski put Hinka Anhalzera

Author(s): Petra Kupsjak / Language(s): Croatian Issue: 10/2016

The history of photography in Croatia began concurrently with other parts of European locally. During the first couple of decades after its inception, changes and discoveries in this field contributed to the increase in the interest in photography, as well as to the growing popularity and rapid spreading thereof among citizens. The so-called travelling or itinerant photographers, who never permanently settled locally, but travelled from place to place, staying for a few days or weeks – as necessary, contributed significantly to the popularisation of photography in the very beginning. However, soon the need for permanent photographers was born, and photography thus entered its golden age. Bjelovar was no exception in this regard. So far, data on fifteen photographers – both travelling and permanent – have been recorded. Some of them left a lasting trace and marked a particular period of the city of Bjelovar. One of them was definitely Hinko Anhalzer. During his many years as photographer, Anhalzer actively participated in all major local social and cultural events. Through the analysis of periodicals and available photos, as well as interviews held with Hinko’s daughter Lea and his photographic assistant Jelka, the author of this paper tried to stress the importance of the impact and the opus of one of the longest-active photographers in Bjelovar – for more than four decades.

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Basic dimensions of experience of architectural objects’ expressiveness: Effect of expertise

Author(s): Slobodan Marković,Đorđe Alfirević / Language(s): English Issue: 1/2015

The purpose of the present study was to compare the structure of experience of architectural expressiveness of architects and non-architects. Twenty architects and twenty non-architects rated twenty photographs of architectural objects on thirty expressiveness scales. Principal components analysis revealed four factors for both groups of participants: Aggressiveness, Regularity, Color and Aesthetics. In a cluster analysis two clusters of architectural objects were obtained: Choleric (high Aggressiveness and Color) and Phlegmatic (low Aggressiveness and Color, and high Regularity). All objects were highly rated on Aesthetics. Analysis of variance has shown that architects rated both clusters as less aggressive than non-architects. Also, experts rated the Phlegmatic cluster as more aesthetic, while non-experts rated the Choleric cluster as more aesthetic. These results supported the Processing Fluency model: compared to non-architects, architects processed the expressive information of minimalistic objects (Phlegmatic cluster) with ease, which led towards positive hedonic reactions and higher.

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Retrospective and Reinterpretation. Ethnographic Photographs from the Turn of the 19th and 20th Century

Author(s): Helena Beránková / Language(s): English Issue: 2/2018

The text deals with ethnographic photographs from Moravia and Slovakia, from 1880 and later, and is based on the photographs´ collection of the Ethnographic Institute of Moravian Museum, Brno (Czech Republic). This rich database contents visual documentation of many aspects of material and spiritual folk life. Through icons of ethnographic photographs, the paper tries: to unite at first sight fragmented effort of photographers, to find paths to synthesis, and to show possibilities and potential of these images for present and future ethnologic studies.

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Zbiory fotograficzne przechowywane w Bibliotece i Archiwum Akademii Sztuk Pięknych w Gdańsku – historia przypadków związanych z ochroną i opracowaniem cyfrowych kopii oraz udostępnianiem ich w internecie

Author(s): Anna Polańska / Language(s): Polish Issue: 4/2018

The collections of the Library and the Archive of the Academy of Fine Arts in Gdańsk feature inter alia the collections of photography, both in the digital and in the analogue forms. Due to the nature of the collections which refer to the history of the school, including the most recent history, we may classify them as a part of cultural heritage. These valuable resources require protection accompanied by the respect of the right of making them accessible. One of the forms of the protection of analogue collections has to do with the making of digital archives of photographs, due to which databases are established, and these in turn also require security, management and the development of appropriate descriptions. The activities of the employees of the Library and the Archive of the Academy of Fine Arts in Gdańsk for the protection of the photographical collections which are presented in the article are supposed to demonstrate how the results of the process of the digitalisation of photographs may be used and how to reach a wider group of recipients by means of the internet.

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LORENZO LOTTO VS. GEORG LEMBERGER. UNA STORIA D’INVENZIONE

Author(s): Giulio Angelucci / Language(s): Italian Issue: 1/2018

Lorenzo Lotto vs. Georg Lemberger. The Story of Invention. This contribution is a new excerpt from the research Lotto vs. Lemberger. Due dipinti politici di soggetto religioso intorno al 1522. It is its second section published after the one which appeared in 2017 on issue no. 1 of «Historia Artium» with the title Lipsia 1522. L’Epitaffio Schmidburg di Georg Lemberger. Religione, Politica e Pittura. This work has started from a comparative analysis of the Lemberger’s Schmidburg Epitaph and the Crucifixion by Lorenzo Lotto at Monte San Giusto. It has deliberately ignored the fact that the two paintings belong to two very different socio-cultural environments, that they have always remained separated from each other by more than one thousand kilometers and that they appear antithetical if considered from a stylistic and religious perspective. Being aware of such differences, the singularity of the compositional structure shared by the two paintings has brought to a parallel analysis of the three different sections in which both of them are articulated. In this structure, the simultaneous presence in the same sequence of three different genres of visual representation has been identified. In both works and in the same vertical sequence, appear in fact: the Icon (the Crucifixion, in the upper part); the Illustration (the characters and actions on the Golgotha, in the middle part); the Narrative (in the lower part, where the image of the customer is presented in a context which offers the key for a political interpretation of the whole painting). Being analyzed independently from each other and in a comparison between the two works of art, the three sections of the image have revealed such analogies to allow an interpretation of the occurring variations based on rhetoric, as if Lotto had intentionally confuted the religious theses illustrated by Lemberger. This contribution contains two paragraphs which are specular to those published on the 2017 issue of «Historia Artium» and dealing with the lower section of the German work of art. They analyze the lower section of the Italian work of art: here, Narrative is identified under the fallacious appearance of the Lamentation at the Foot of the Cross, and the content to which this narration is functional is being interpreted.

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PROPAGANDA IMPERIALĂ ȘI MEDALISTICA. SECOLELE XVII-XVIII

Author(s): Claudia M. Bonţa / Language(s): Romanian Issue: 1/2018

The Imperial Propaganda and Medalistics. XVII-XVIII Centuries. The propaganda for official politics was an important issue. Literature and arts were used as propaganda means. Beyond the written word, the image succeeded in direct, strong transmission of the desired message. Thus art has become a very efficient propaganda tool. The propagandistic impact of the official painting caused the large numbers of medal issues dedicated to historical-celebrative themes by the House of Austria in the 17th – 18th Centuries.

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REPREZENTĂRI ICONOGRAFICE ALE MORȚII ȘI ECOURILE LOR ÎN IMAGINARUL CULTURII TRADIȚIONALE ROMÂNEȘTI

Author(s): Cosmina-Maria Berindei / Language(s): Romanian Issue: 1/2018

Iconographic Representations of Death and Their Echo in the Romanian Traditional Culture Imaginary. The present research focuses on a few elements that define the unrepresentable figure of Death, introduced in the Romanian cultural space by the traditional books and taken over by iconography; later, these elements had an echo in folklore adaptations or popular beliefs. We started from the conclusions of our research on the Romanian eschatological imaginary built on the idea of posthumous salvation. The travelling soul makes the posthumous journey – difficult and full of tests – successfully, almost without exception. It reaches a wealthy rest place, God’s Kingdom, due to the multiple salvation opportunities. We observed a few motifs present in the eschatological iconography, which are part of the images’ inventory of Death: the righteous’ death and the sinner’s death, the old man’s Aesopic dialogue with Death, Death’s arsenal, the deadly glass, the motif of Dance Macabre. Our research conclusion is that the iconography of Death was a privileged support of knowledge transmission toward the village world and the transmitted knowledge was interesting and available to anyone, without exception. That’s why, as an answer to a European cultural current, the representation of Death entered the iconography of the Romanian area from where it lent motifs to folklore (death’s glass, good death and bad death, scythe and the other instruments); at the same time, it left an equally strong belief in posthumous salvation or maybe it increased – through its unwanted and horrific presence – the more involved participation in the rituals of the deceased soul’s salvation.

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DIE KUNST – UND KULTURZEITSCHRIFTEN DAS ZIEL, DAS NEUE ZIEL UND OSTLAND – „FOREN EINER SCHAFFENSFREUDIGEN GENERATION”

Author(s): Gudrun-Liane Ittu / Language(s): German Issue: 1/2018

Revistele de cultură şi artă Das Ziel, Das neue Ziel şi Ostland –„platforme ale unei generaţii creative”. În atmosfera de entuziasm care se instalase după încheierea Primul Război Mondial, la Braşov au apărut revistele de artă şi cultură Das Ziel/Ţinta şi Das neue Ziel/Ţinta nouă, iar la Sibiu Ostland/Ţara de la răsărit, cu scopul de a oferi cititorilor posibilitatea familiarizării cu creaţiile modernismului şi ale avangardei. Aceste publicaţii îşi propuneau totodată să ofere tinerilor creatori platforme de exprimare. Dificultăţile economice precum şi conservatorismul publicului au dus la dispariţia rapidă a celor trei periodice, care în ziua de azi sunt rarităţi bibliofile. În ciuda scurtei lor apariţii, Das Ziel, Das neue Ziel şi Ostland au avut o contribuţie incontestabilă în dezvoltarea artei plastice a germanilor din Transilvania în perioada interbelică.

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RECENZIE - INA ROȘU VĂDEANU, PROGRAMUL ARHITECTURAL AL BISERICII ROMÂNE UNITE CU ROMA. EPISCOPIA DIN GHERLA ȘI CLUJ-GHERLA (1853-1947) TENDINȚE STILISTICE ÎNTRE ORIENT ȘI OCCIDENT, EDITURA MEGA, CLUJ-NAPOCA 2018, 529 p. + 573 il

Author(s): Nicolae Sabău / Language(s): Romanian Issue: 1/2018

O scurtă Prolegomena la prezentarea volumului Programul arhitectural al Bisericii Române Unite cu Roma. Episcopia de Gherla și Cluj-Gherla (1853-1947). Tendințe stilistice între Orient și Occident, Editura Mega, Cluj-Napoca 2018, datorat istoricului și criticului de artă, Ina Roșu Vădeanu, face trimitere – plăcută realitate – la o programată și succesivă alegere tematică a disertațiilor întocmite sub generoasa cupolă a istoriei artelor din cadrul Facultății de Istorie și Filosofie a Universității Napocense, cercetări integrate unei tradiții, unui proiect generos mai vechi, început încă în urmă cu o jumătate de secol de istoricii de artă din „echipa” Academicianului Virgil Vătășianu, cercetători și cadre didactice care au definitivat Repertoriul / Topografia monumentelor istorice din 10 județe ale Transilvaniei, iar între anii 1991-1998, au inventariat edificiile patrimoniale din 121 de localități săsești – dintr-un ansamblu de 241 de localități săsești – aflate în jud. Bistrița-Năsăud, în zonele Reghin, Sebeș, Valea Hârtibaciului, Sibiu și regiunea Târnavelor, topografie concepută după modelul folosit de secția de evidență a Direcției Monumentelor Istorice din Renania, Brauweiler, sub îndrumarea științifică a instituției germane și a Comitetului Național German ICOMOS (Consiliul Internațional pentru Monumente și Situri al UNESCO) în parteneriat cu Direcția Monumentelor, Ansamblurilor și Siturilor Istorice (DMASI) din România, Centrul de Proiectare, Academia de Artă și Institutul de Arhitectură “Ion Mincu” din București, Institutul de Arheologie și Istoria Artei al Academiei Române, Filiala Cluj, Institutul de Studii Socio-Umane Sibiu al Academiei Române, Muzeul Etnografic Brașov, colaboratori ai Muzeului Brukenthal din Sibiu și Birouri de arhitectură pentru relevee.

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Screenshot as an Art: An Aesthetics of In-Game Photography

Author(s): Ivan Rokošný / Language(s): English Issue: 1/2/2018

Photography has become an integral part of daily life for a huge part of the population with rising phenomena such as digital photography and social networks. In many ways, it is widely considered as an art. Creating still images with the camera plays a key role in numerous digital games as part of the narrative. Apart from being implemented in the digital games as the key element of the gameplay, it has also become an opportunity for players to explore open-world environments and create unique compositions of still images from their own perspective. In this paper we argue, that in-game photography could be seen as mixed media art, or even as a specific genre of photography.

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FROM SWORDS TO PLOUGHSHARES: TIME FOR A CVE STEP-CHANGE?

Author(s): Paul Bell / Language(s): English Issue: 6/2019

Exhibition review: "Don McCullin photographic retrospective"; Tate Britain, London 2019

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Maksimilijan Zupančič – Milijan, partizanski fotograf in organizator fotoreporterske službe

Author(s): Dejan Vončina / Language(s): Slovenian Issue: 3/2011

Maksimilijan Zupančič - Milijan (1911–1968) was a professional photographer, partisan photojournalist (he joined the partisans in the autumn of 1943), a prominent organiser of photography equipment delivery and photojournalist service in the Liberation Front district of Novo mesto, until he was summoned to the head office of the photography section of the Slovenian People's Liberation Council in Črnomelj. Since the capitulation of Italy in September 1943 until the end of the war in May 1945 he made more than 1400 diverse Leica shots, showing the life and events in the partisan hinterlands. Many of these photographs transcend the documentary level. On the basis of documents from the Archives of the Republic of Slovenia we also get to know Zupančič as an important organiser of an important organiser of photography materials supply and organiser of the photojournalist service.

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Жените в българската фотография. Фокус върху 70-те години на ХХ век

Author(s): Katerina Gadjeva / Language(s): English,Bulgarian Issue: 1/2019

The paper reviews the lack of professional and amateur interest in photography by Bulgarian women during the first half of the 20th century and focuses the attention on the socialist period of the country’s development when photography became an important propaganda tool and gained great popularity. During the 1970s major political changes took place in Bulgaria – changes which aimed at “rising the role of women in the developed socialist society”. As a result, women begin to participate equally in the photographic life of the country and achieve serious professional success. Many solo expositions are open, female photographers take part in competitions, win prizes and publish their photographs in periodicals. These processes, however, occur not due to personal artistic experiments or new perceptions about the power and capabilities of the media itself. They are rather initiated “from outside”, caused by specific party decisions and ideological strategies. Thus, the boundary between the successes achieved as a result of the real qualities of women in the different professions and the successes – “gift” from the socialist power, gradually blurred and disappeared. And this will lead to insecurity, indecision, lack of faith in personal abilities and in general – to a pessimistic mood, that slowly will conquer the future generations.

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Diego de Henriquez - fotokronist in zapisovalec medvojnih dogodkov v času italijanske okupacije Slovenije

Author(s): Dejan Vončina,Nadja Adam / Language(s): Slovenian Issue: 2/2007

Diega de Henriquez (1909 -1974) (ram Trieste was a musealagist, bibliaphile, polyglot, photographer and a devoted chronicler of recent history. From 1941 to 1943, during his service in the army he documented the Italian occupation army, its weaponry and its arrangements in the occupied Slovenia. His photos and diary entries are important resources for the study of the Slovellian history during World War II.

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SOKAK SANATINDA YENI MODA: IŞIK GRAFFITI

Author(s): Nazik Çelik Yılmaz / Language(s): Turkish Issue: 54/2019

Street art has an important place in urban texture and life. It accepts public spaces as artistic surfaces and is defined as an anti-disciplinary movement influenced by many fields of art. Street art, which started in the 80s, is now accepted as a serious art by people who are interested in art. Although sometimes banned by governments, street art is now accepted as a worldwide phenomenon and continues to color our lives. Street art exhibitions are opened in many parts of the world, including Turkey. The most important feature of the street art is that it allows artists to display their works to countless people. The developments and changes in technology show their effect in the field of art. Along with these developments, a new performance art has attracted attention in the last decade. A part and the latest fashion of street art, the light graffiti (painting with light/light graffiti) is a performance art performed by the method of delaying the camera’s exposure time. Although as light sources, fireworks and torches can be used, led light sources are often preferred. Drawing can be produced on any medium and object. It is also defined as a photographic technique that adds the photographer’s imagination to the frame. It gained popularity in 2007 with Jan Wöllert and Jörg Miedza. Since 2007, it has become a phenomenon and the new fashion of streets. In the current research, the place of the light graffiti within graffiti and street art is discussed by examining the light graffiti works we have frequently encountered in recent years.

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JAK POCAŁOWAĆ NIEBO. PROGRAM ESTETYCZNY GYÖRGYA KEPESA W KONTEKŚCIE POWOJENNEGO KRYZYSU ZAUFANIA DO INSTYTUCJI NAUKOWYCH

Author(s): Arkadiusz Półtorak / Language(s): Polish Issue: 2/2018

The central aim of this article is to situate the curatorial and artistic practice, ecosophy and aesthetic thought of György Kepes within the political landscape of the cold war United States. Półtorak discusses multiple manifestations of Kepes’ ecological thinking in the 1960s in view of the artist’s pacifist turn, one responding to the complicity of his prior didactic and design-related activities with imperialist politics. György Kepes’ political position in the postwar years is compared to stances embraced by such scientists as Norbert Wiener or Lewis Mumford, who sustained an ambiguous attitude towards their host institutions – embedded within the military-industrial complex – in the cold war years. In the last part of the article Półtorak points at contemporary continuations of Kepes’ ecosophy and the model of cultural practice he proffered in the 1960s.

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