Search results

1

La Poésie des souvenirs. Album fotografii z Podróży Wschodniej Adama Potockiego i Katarzyny z Branickich Potockiej z lat 1852-1853 w zbiorach Biblioteki Narodowej (AFF.II-31)

100%

Maria Grabczewska M.

Rocznik Biblioteki Narodowej

|

2012

|

vol. 43

113-166

EN

The article refers to a photo album from a journey to Egypt, the Holy Land and Istanbul, made during the years 1852-1853 by Adam and Katarzyna Potoccy, Kazimierz Potulicki, the journalist Maurycy Mann, and the painter Franciszek Tepa. The task of these last two was to describe their journey, which resulted in Mann’s three-volume work and a series of drawings and paintings by Tepa, a precursor of orientalism in Polish art. Numerous editions describing this journey were mainly based on printed sources, which led to misunderstandings and false interpretations. They were corrected in accordance with previously overlooked sources taken from the Potoccy family archive from Krzeszowice. The article discusses the preparations, the course of the journey and souvenirs brought back from it. The photo album, transferred with Adam Potocki’s gift in 1932 from Wilanów to the National Library of Poland, is exceptionally important. The album, labeled by Katarzyna Branicka, consists of 33 prints made in 1852, mounted on cards and framed. Twenty-two of them are boards from a publication considered to be the first travel book illustrated with original photographs, published in 1852 in Paris. This is a description of a journey to Egypt, Nubia, Palestine and Syria, taken by Maxime du Camp and Gustave Flaubert in the years 1849-51. Seven photographs were made by Theodore de Leeuw, the owner of the first photo studio in the Near East (1840-1858), the last three were made by Ernest Edouard de Carranza, a French engineer and amateur photographer who was working temporarily in Turkey. All prints were made on a salted paper from paper negatives produced through an analogue process. The article presents the prints in the form of catalogue notes, and describes the processes by which they were made in detail, pointing out differences in implementation of the calotype method by each of the three photographers, and the consequences of these differences for the esthetic values of the photographs. The landscapes by du Camp are examples of a method devised by Louis Desiré Blanquart-Evrard, and are part of a wide-ranging search for an ideal method for multiplicable photographs, as were Ernest Eduardo Carranza’s photographs made in a process devised by Gustav Le Gray and improved by Carranza. Theodore de Leeuw’s prints were similarly so, but he used du Camp’s technique of making wax negatives. The last part of the article describes the working methods of each of the three photographers, and in this way shows three different methods of photographing the Near East in the first decade of the development of photography. From the youthful desire for adventure and exploration of the neophyte journalist du Camp, to the effort of Carranza to satisfy a scientific curiosity, and Leeuw’s attempt to make photography a way of living, we can see three different approaches, connected by the passion, curiosity and courage of the world’s explorers and by the newest feats of technology. The album itself is a world-class treasure. It contains unique, early photographs of the Holy Land and Istanbul, and is also a record of the early beginnings of photograph collecting – a subject which nowadays concerns photographers all over the world.

2

SATURDAY TO SUNDAY - DOCUMENTARY PHOTOGRAPHY AND PORTRAITS OF CITY LIFE

100%

Michalowska M.

Kultura i Społeczeństwo

|

2005

|

vol. 49

|

issue 1

79-93

EN

The authoress follows the transformation of documentary photography from the beginning of the 20th century to the present-day. Two terms: 'a public document' and 'a private document' are introduced into the analysis. The first one is used with regard to the work of early and classical photojournalists (i.e. Lewis Hine or Jacob Riis) and the second is applied to the works of contemporary photographers. Often 'a private document' shows the images of current city and the urban life style of its authors. In conclusion, the idea of a photographical image as an objective evidence of life has turned into autobiographical narration of authors of pictures. What is more, documentary style of representation is systematically exploited in pop-culture and commercial production.

3

ESTETIKA FOTOGRAFIE V ÉRE INSTAGRAMIZMU

100%

Pašteková M.

ESPES

|

2018

|

vol. 7

|

issue 1

38 – 46

EN

The starting point for the topic of this paper was finding out that for today’s students of photography who were born in the digital era, publications and magazines about photography are no longer the reference sources of information, but it is the social platform Instagram. There, they are looking not only for current aesthetic trends, but they also actively use Instagram in their art projects. In the introductory part of our paper, we analyse three types of the most common aesthetics of Instagram, as described by Lev Manovich in his book Instagram and Contemporary Image - causal photos, professional photos and designed photos. Subsequently, we study the so-called phenomenon Instagramism, whose representatives are a young digital class, actively using social platforms and communicating in particular visually. They work with photography in more conceptual way and their Instagram profile must have greater aesthetic consistency. The neologism “Instagram” suggests speed, quick decision, and fast action. If this was the platform’s original intension, then the visually sophisticated global youth and members of Instagramism use it today in a completely opposite way. Instagramism needs slowness, craftsmanship, and attention to tiniest details. Than we discussed how Instgram was used by established artists as Cindy Sherman, Richard Prince and Czech photographer Libuse Jarcovjakova. Sherman surprised the art world with a selfie-filled Instagram account, Prince gained attention with his series New Portraits and Jarcovjáková uses Instagram as a visual diary. By shifting to new medium, they continue in their previous work; new technologies are used here to raise questions about our relationship with internet and social platforms. On the other hand, for Instagrammers and thus also for the current students of photography, Instagram is a way of lifestyle and space for self-presentation. It is a new gallery space for them.

4

BETWEEN SUBVERSION AND AESTHETICS -– SURREALISM AND PHOTOGRAPHY (Miedzy subwersja a estetyka - surrealizm i fotografia)

100%

Lewandowska K.

|

2009

|

vol. 63

|

issue 3(286)

173-175

EN

The functions fulfilled by surrealistic photographs published in periodicals remain suspended between two extremities, orders and different practices, between subversion and aesthetics. The first is connected with the actual activity of the artists, and the second - primarily with the activity of the interpreters. On the one hand, photographs undermine their credibility and status of fully-fledged works of art, and are revolutionary in relation to the text or represented reality; on the other hand, they possess forms sufficiently expressive and beautiful so that in time they start to act in favour of building the renown of photographic imagery according to the modernistic categories of the autonomous medium. If it were possible to collect photographs functioning within the range of pre-war French Surrealism, the outcome would be an area for a confrontation with reality. Photographs are treated not as autonomous images but as representations devoid of a distance towards reality, and, quite possibly, even as part of the same phenomenological experience. They resemble extracted fragments of reality, in the manner of dreams, found objects, and all symptoms of psychic automatism or that of the world.

5

PERCEPTION OF MACHINE AND TECHNO - IMAGINATION

80%

Paluch M.

Slovenské divadlo (Slovak Theatre)

|

2007

|

vol. 55

|

issue 2

133-138

EN

AThe study deals with a technical perception of a device (a camera) in whose center is as an end product a technical picture and its analogical codes. We indicate them analogical in that sense, since they can develop an ancient experience of humanity with a mirror. A photography and film substitute properties of the mirror and establish a new relationship between 'mirror' as a supercode and its reporter. They create codes, which record the reporter in the status where 'here and now' (reality) the reporter 'was' (photographic and film picturing). We distinguish two-dimensional flat codes in case of photograph, and three-dimensional flat codes in case of film. We speak first of all about the flat configurations. The influence of techno - perception on our natural perception can be shown on the various manipulation forms, and on the arranging of pre-aparatus reality (for a camera or film camera) for the purpose of its shooting, since only in the status of a technical picture, the reality reaches an intentional meaning, or on the contrary, the omnipresence of technical pictures retroactively determines our behaviour in the natural reality.

6

PHOTOGRAPHS IN THE BIBLE DESIGN (LBS, 2005): SPECIFICITY AND PROBLEMS (Fotografijas Bibeles vizualaja noformejuma: ipatnibas un problemas)

80%

Lejasmeijere I.

Materiali Latvijas makslas vesturei

|

2008

|

vol. 7

189-193

EN

The subject of photography as part of the Bible design is rather related to popular visual culture, not to contemporary sacred art. Still such art in Latvia is rarely found and poorly researched. Also Bibles with a conceptually different book design are not published here. That is why this article deals with the Bible published by the Latvian Bible Society (LBS) in 2005 - texts of the Old and New Testaments that are supplemented with coloured, illustrated commentaries, the so-called insets. This is a reprint of the German Bible Society edition from 2002, corresponding to various editions issued by Bible Societies of different European countries and the USA. Historically different attitudes have developed towards the visual image of the Holy Scriptures - the ornamental one preserved by Judaism and the narrative one cultivated by Christianity since the Middle Ages; its initial educative motivation grounds also the present need for illustrated editions aimed at children. There are Bibles with thematically apt reproductions of paintings or drawings. Apart from the mysterious artistic value, knowing of iconography matters as well. Still today when visual manipulation is abundant the selection of images for the Bible is significant because the picture in a sense challenges the text, almost questioning if the word came first, as images come ahead of texts and influence their perception. The Bible starts to near the field of popular culture along with the introduction of print technologies and beginnings of the Bible industry in Europe and the USA; today it is a largely common product sold at the international market. Photography has been involved in Bible design since the mid-19th century when the first travel photographs with views of Palestine and Egypt taken by Francis Frith were published in England; later these were included in the first photo-illustrated edition of the Bible - the so-called Queen's Bible. Coloured photographs are largely used to illustrate the 'inset Bibles'. From the viewpoint of photographical grammar and its relation to the written text, principles of the popular visual aesthetics in this edition run into almost comic relationships with the text and its content. Publishers have attempted to show the contemporary look of the places mentioned in the Bible, also associative or direct equivalents of them. The visual experience has changed significantly since the mid-19th century when documental views from Biblical places could stir particular emotions.

7

WALTER BENJAMIN'S NOTION OF DEATH AND PHOTOGRAPHY

80%

Soulages F.

Slovak Review. A Review of World Literature Research

|

2007

|

vol. 16

|

issue 1

55-64

EN

The text is conceived as a tribute to Walter Benjamin as one of the founders of theory of photography, whose thought was moving on the borders of science and essayistic writing. The author shows that Benjamin, who noticed the connection of photography with death in his 'Brief History of Photography', is one of the first to bring forward fixation that can be considered the fundamental for the art of photography. In this way, he created a theoretical base of new mimetic aesthetics for this kind of art. Benjamin's over-interpretation of the art of photography, however, in the sense of anticipation ability, also shows its affinity to the magic evoking an effect of fascination in the recipient. Thus Benjamin entered the ground of anthropology in his reflection, and also of psychoanalysis, since as one of the first at all he considered the function of unconsciousness in photography, the function that turned out to be crucial in creation of theories of photography.

8

A PHOTOGRAPHIC BREVIARY. 'ZODIAQUE' PUBLICATIONS IN THE 20th CENTURY (Brewiarz fotograficzny. Wydawnictwo 'Zodiaque' w XX wieku)

80%

Lesec C.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

|

2011

|

vol. 4

144-155

EN

In the 1950s, Christian thought was dominated by the 'debate on sacred art', in which numerous radical and dogmatic viewpoints on the 'revival' of religious art clashed. A group of Benedictine monks challenged the status quo and proposed a new approach to the issue; they laid down their ideas in an art review, which soon became a real publishing enterprise. Zodiaque publications enjoyed wide popularity for nearly fifty years, thanks to their use of photographs, which conveyed history much more poignantly than words. Architecture and sculpture thus gradually became independent of text, and at the same time thoroughly reshaped it. They created new, autonomous features, as if 'anointing' the book as an object; it now became both an object of aesthetic contemplation and an instrument of discovering national heritage.

9

Eccentrics' love, thought, hospitality* and other feelings. Robert Mapplethorpe's and Nan Goldin's affective(?) photographs

80%

Kitlinski T., Leszkowicz P.

Teksty Drugie (Second Texts)

|

2007

|

issue 1/2(103/4)

272-284

EN

This article interprets the feelings in photographic art of Robert Mapplethorpe (1945-1989) and Nan Goldin (born 1953), usually analysed in terms of being 'extremely sexualised'. In Mapplethorpe's and Goldin's art, we can sense feelings. In our opinion, photography can love, think, and offer hospitability/'other(guest)ness'* to strangers, eccentrics, weirdoes of any genre. Afterthought on feelings has been there since Heraclitus and The Song of Songs; today, scholars like Hélene Cixous, André Green, Julia Kristeva, Martha C. Nussbaum or Griselda Pollock have resumed the discussion. Mapplethorpe's and Goldin's art appears to be intimate, bi-sexual, one that explores homosexuality, as we believe, as an emotional orientation. We interpret these pieces of photographic art as being composed of love, dissimilar/eccentric thought, and interiors - body-souls. (* The Polish word for 'hospitality' used in the original is split into two, enabling a pun: gosc-innosc, i.e. 'guest + otherness' = hospitality. -Translator's note)

10

PHOTOGRAPHIC RECORDING OF THE ESTONIAN FARM PEOPLE IN THE 19TH CENTURY (Dokumentacja fotograficzna estonskiej ludnosci wiejskiej w XIX wieku)

80%

Liibek T.

Kwartalnik Historii Kultury Materialnej

|

2009

|

vol. 57

|

issue 1

79-91

EN

The earliest data, regarding the stay of an itinerant photographer in Estonia, dates from June 1843. In the following years itinerant photographers from different German states moved around in a number of towns and cities on the shores of the Baltic Sea. Almost exclusively, they all dedicated themselves to atelier photographing, with a few additional views of the town and landscape shots. According to expectation, the photographed persons, until the 1860s, were, without exception the ones belonging to the higher stratification of society. In Estonia, where the social status in the 19th century was strongly associated with the ethnic origin, this meant that practically all the shots taken before the 1860s depicted the German nobility, literati and craftsmen. Also Estonians occurred in front of the camera prior to the 1860s, yet these pictures also exceptionally reveal wealthier townspeople, having obtained the German-like lifestyle and attire. There are no signs whatsoever evidencing the photographing of the peasantry, comprising, in the middle of the 19th century, nearly 90% of the Estonian population and of whom more than 95% were Estonians. During the 1860s, significant changes take place in the whole of society and, simultaneously, in the picture-taking habits of photographers. The era of itinerant photographers faded away, the time of national awakening for Estonians started and the first Estonian-origin picture-takers occur among the photographers. Proceeding from this, photographic perpetuation of the Estonian country people commences in the 1860s. Knowingly, the earliest preserved snapshot of Estonian peasant is made in Tartu (Dorpat) in 1865. In 1867, the press announces that frequent photographing of peasants also take place at another photographer in the same city. In 1869, the first Estonian-origin photographer, Reinhold Sachker, opened his studio in Tartu, who, has been reported to have repeatedly visited the people in the country where he was given a lot of work and picture-taking. When observing the photographers working in the 1860s in the largest Estonian city Tallinn (Reval) it can be denoted that the local photographers paid even less attention to taking pictures of peasant people. The first photographs of the peasant people were added in the collections of the local Provincial Museum only in 1866, when one of the most successful photographers in Tallinn, Charles Borchardt, donated to the museum ten photos depicting Estonians in folk costumes. Concerning the 1870s, there is little data with regard to taking pictures of farm people and very few of such photos preserved. There are some single photos from these years, particularly group photographs of peasant schoolteachers, brass band members, etc., however, not the ones depicting the daily life of farm people. At the time when elsewhere in the world, the different exotic cultures of Asia, Africa and America were being extensively photographed, the Estonian farm people, being too ordinary and too close, did not deserve even a slightly comparable attention. In the 1880s a significant change is the occurrence of photos of peasant weddings, funerals and other important events. Circumstantial evidence allows us to suppose that it is namely in the 1880s when the first photos of the close ones are put up on the walls of the farm rooms. The most characteristic ones remain to be the photos where the farm people have put on their best town clothes and have themselves photographed in the nearby studio and thus there are no preserved photos depicting the everyday life of peasants. It was only as late as during the last decade of the 19th century when the custom of photographing the rural life, evanescent folk costumes and customs, in their natural environment, started to strive. Since 1894, advertisements can be noticed where some local Estonian peasants commence with a new type of craft - making pictures. Thus, the brighter Estonians, born in a peasant family, were the ones who started to photographically perpetuate traditional folk culture on a more wide-scale basis. One of the best known photographers at the end of the 19th century, who, upon his own initiative and finances, commenced with systematic photographing of rural people, was Heinrich Tiidermann, born in a peasant family. He took hundreds of pictures of the Estonian farm people and culture. The preserved photos show the labour and activities of people, villages, Estonian folk costumes, sights of nature, school life, choirs and bands, i.e., in general, the 'Estonian people in the more important matters'. Tiidermann also sold his pictures as individual photos and bestowed them to a number of museums in Europe, thus relevantly contributing to the wider promotion of the traditional Estonian lifestyle. In Estonia, however, Tiidermann's self-initiated undertaking remained to be the only endeavour to record the peasant people of the 19th century and their daily life. Other similar photographic documents, taken in a more systematised manner, originate from the 20th century.

11

Pamięć jako praktyka. Fotografia i troska o wspomnienia

80%

Fereński P. J.

Prace Kulturoznawcze

|

2011

|

vol. 12

263-271

EN

Convinced that one of the most constitutive properties of photography is making manifest what is absent and not directly visible, the author reflects on the relations between photographic images and memory. He is, however, interested not so much in individual memory as in its collective or cultural dimension. He tries to explain what such forms of memory are, asking who wants to remember what or who wants us to remember what. At the same time, the author wants to establish how historical representations of the past are shaped on the level of image and what types of making the past manifest are the most significant when it comes to forming the memory. He takes the example of Wrocław and its residents to illustrate his argument.

12

CONSTRUCTION - REPRODUCTION and Film in Polish Constructivism. Graphic Arts, Photography

80%

Gizycki M.

Kwartalnik Filmowy

|

2006

|

issue 54-55

31-44

EN

The author deals with the problem of an interest in photography and film, shown by Polish avantgarde artists from its beginnings. According to him, photomontage, film, prints made of typographic elements, and first of all film collage were the means that were perfectly suitable for the realisation of Constructivist ideas. One of the basic aims of Constructivism - to turn towards new materials - could be put in practice through the use of finished and prefabricated elements. He traces the way in which the artworks were evolving from the 'literary quality' of the early photomontages of Mieczyslaw Szczuka, Teresa Zarnower's abstract and geometric compositions, Stefan Themerson's films, inspired by 'Constructivism Pharmacy' (1930) and 'Europa' (1932) and Jalu Kurek's ('Rhytmic Calculations', 1932) into typically collage-montage films of Janusz Maria Brzeski ('Sections', 1931; 'Concrete', 1933) or his anti-Utopian and anti-industrial series of photomontages 'The Robot is Born' (1934). The author also points out that after a period of Utopian projects by artists relishing a regained freedom, the Constructivists expressed through art their, mostly left-wing, political beliefs.

13

CYPRIAN NORWID'S ENCOUNTERS WITH PHOTOGRAPHY

80%

Melbechowska-Luty A.

Rocznik Historii Sztuki

|

2006

|

vol. 31

77-86

EN

Cyprian Norwid (1821-1883), an outstanding Polish poet, prose writer, thinker, but also a draughtsman, painter, sculptor and graphic artist, commented several times on the role and importance of photography. In 1854 he turned his attention to the 'phenomena', which were the inventions of the 19th century (albeit in accordance with his historical thinking he believed that many of them had been invented and described long ago). He accepted photography and its benefit, appreciating the advantage of a true-to-life picturing of people and things and preserving the memory of them. Norwid himself posed for a photograph several times and, like in his self-portraits, in this way he deliberately created his image himself. In 'Black Flowers' (Czarne Kwiaty), with a 'daguerreotypic pen' he recalled the memories of those who were close to him (among others Fryderyk Chopin, Adam Mickiewicz, Juliusz Slowacki). From the well-known Warsaw company of Karol Beyer he used to get the 'calling cards' of his friends and acquaintances. He also collected the photographs from all around the world for his 'Orbis Album in Draft' devoted to the history of civilisation, which at the same time was his 'artistic portfolio'. With reference to painting art, Norwid thought that the recent invention of daguerreotype would certainly influence memory and art, but would also outdo a simple, sensitive vision, that is impression, and that was why man had to turn towards expression, which was a 'working out the impression in our hearts'; from this angle he examined the paintings of, for instances, Gustave Courbet and Leon Kaplinski. Although Norwid considered photography as a valuable medium and technical help for painters, yet never he made equal its advantages with the ethos of the fine art, with a spiritual creative act and inner experience of an artist, which he always placed on the highest registers, because 'only a percent of feeling of contemplation could be painted', and 'no photographer could replace a true sketch'.

14

SEEN THROUGH THE CAMERA - THE SEMIOLOGY OF DEPICTIONS OF VIOLENCE (Okiem kamery - semiologia obrazów przemocy

80%

Ferenc T., Sulkowski B.

Kultura i Społeczeństwo

|

2009

|

vol. 53

|

issue 4

75-96

EN

The article contains an attempt to analyse the phenomenon of visual violence (iconic) distributed by mass media, like photography, the cinema, television documentaries and news and the Internet. The authors attempt to demonstrate the characteristics of this type of violence, referring to specific examples, which are interpreted according to the concepts of George Gerbner, Erich Fromm, Susan Sontag, Jean Baudrillard and others. The contemporary iconosphere encourages the practice of the mechanical approach to looking at violence, separating it from ethical reflections, which is why the question of screen violence, on the consequences of rapid but superficial information, seems still worth posing.

15

SUSAN SONTAG AND ETHICS OF PICTURE

80%

Leszkowicz P.

Rocznik Historii Sztuki

|

2007

|

vol. 32

185-208

EN

The text is dedicated to the last book by Susan Sontag 'Regarding the Pain of Others', from 2003 and her last essay 'Regarding the Torture of Others' from 2004. Her ruminations on the war photography are presented in the context of her biography, history of her reflection on photography and American imperialism, as well as her involvement in the fight for human rights. Susan Sontag ruminated on photographic representations of violence and human suffering in reference to the modern media culture. Her analyses pertained to the history of war report, photographs of lynch mobs, photographic evidence of the World Trade Center attack and photographs of tortures from Abu Ghraib. The authoress contemplated the ethical impact of photographic images of suffering. The article presents the various doubts of Susan Sontag as to impingement of such representations. It was emphasised that Sontag departed from her early scepticism: photography expressed in her book 'On Photography'. In her last reflections on photography she stressed its role played in protest against violence and its ability to mirror and convey the truth about the reality of war. For Sontag photography plays also a role in disclosing the truth about the dark side of human nature. The ruminations of Susan Sontag on the violence images are situated in the context of using violence by the media as the weapon in the present 'war against terrorism' and of the art by Alfredo Jaar pertaining to the alternative presentations of genocide. The essay emphasises an ethical approach to photography and relationship between visuality and human rights. It is supplemented by an outline of a history of war photography.

16

PHOTOGRAPHY AND SOAP-OPERA - TWO EXAMPLES OF CREATION OF REALITY

80%

Ferenc T., Sulkowski B.

Kultura i Społeczeństwo

|

2004

|

vol. 48

|

issue 4

85-96

EN

The article discusses the application of Gadamer's concept of indistinctiveness to the photography and soap-opera. It may be quite astonishing that the same perceptual mechanism connects photography and soap-opera. We can say that this is a veristic attitude. Receivers of both media have serious problems in distinguishing between performance or photographical image and the real live, between fiction and documentary. Nowadays, digital techniques of simulations allow us to create virtual reality and present it in the mass media. But it seems to be very different case from indistinctiveness between art and real live. The game of simulation is based on the ability to produce the illusion without any connection with real, material background.

17

Niepełnosprawny – taki sam czy inny? fotografia jako forma samoopisu osób niepełnosprawnych intelektualnie

80%

Masłowiecka A., Dmochowska M.

Pogranicze. Studia Społeczne

|

2013

|

vol. 22

201-213

EN

Te disabled - the same or diferent? A photograph as the form of self-report of people sufering from intellectual disabilities Te subject of discussion are the results of research in the feld of visual anthropology of people with intellectual disabilities. A photograph taken as a form of self-report was used as a method. People from the research group were using cameras to present what seemed to be important in their life. Te results are grouped into several categories, including Family, Home, Nature, Pets, etc. Te results suggest a strong bond and intensity of the relationship with the environment as well as aesthetic sensitivity .

18

UNTOUCHABILITY AND INTIMACY: TWO PHOTOGRAPHIC STRATEGIES OF DEPICTING THE OTHER

80%

Garncarek M.

Kultura i Społeczeństwo

|

2005

|

vol. 49

|

issue 4

185-196

EN

The authoress accepts the fairly obvious assumption that visual depictions we create are at least in part a reflection of our own way of understanding, interpreting and imagining a given subject. Her aim is to describe two possible ways of depicting the Other, for which she has used the accepted term 'strategy of untouchableness' and 'strategy of intimacy'. These two seem to be so distinct so as to make two completely different approaches to the Otherness possible.

19

KDO JE CINDY SHERMAN?

80%

Šantová K.

ESPES

|

2012

|

vol. 1

|

issue 1

60 – 64

EN

The report introduces the work of Cindy Sherman, a visual and conceptual artist, who has mainly worked in the field of gender and identity politics. The author of the text describes Sherman ́s best known series of photographs Untitled Film Still as well as a series of photographs taken for Vogue Paris. Sherman ́s work is compared to the work of Slovak conceptual artist Lucia Nimcova and her series of photographs called Women. Later in the text, the author describes the field of recipients, divided into men and women, and the emotions they feel and their thoughts, as they look on the work of Sherman.

20

THE CASE OF CRAIGIE HORSFIELD

80%

Hussakowska M.

Rocznik Historii Sztuki

|

2007

|

vol. 32

209-230

EN

The article presents the case of Craigie Horsfield - an artist of the middle generation (1949), Englishman, who spent over six years (1972-1979) in Poland, straightaway after his study (St. Martin's School, London 1967-1971), and whose photographs taken in Kraków in the 1970s two decades later are to be found in the most prestigious museums. The first, most important reason is an artistic value of his works created in various periods of his artistic life. Second motive are his far from routine mechanisms of a 'late' worldwide career, realised outside the photographic mainstream, and - last but not least - the artist's theoretical reflection on the Status of photographic representation and its social references. One of such references analysed in the present essay is an incorporation of photography into museum frames, with an active participation of art historians. A scientific training influenced a hierarchy that afflicts also modern photography which is also evaluated in the course of a dynamic debate of the current art. A description of the career of the artist in the domain of photography - though outside its main streams - was to emphasise the characteristics of the Anglo-Saxon System of visual arts and to reveal a significance of promotional critical infrastructure. The changes concern the functioning of the art within the institutionalised frames in reference to new expectations towards museum. Important in this process are also relations between institutions promoting social projects and the marked on which Horsfield depended. The last two parts of the article focus on two aspects of the Horsfield's photographs: photography as a 'medium' and photography identified with a 'picture'. The artist's attitude toward the medium is a complex one: it uses both historical 'novelties' of Talbot and digital photography, subjecting them to artistic representation. The analyses of a suggestive, saturated with the art of the old masters visual material are compared with the interpretations of the artist himself and critical reviews of his artistic creativity that goes beyond one medium.

Refine search results

La Poésie des souvenirs. Album fotografii z Podróży Wschodniej Adama Potockiego i Katarzyny z Branickich Potockiej z lat 1852-1853 w zbiorach Biblioteki Narodowej (AFF.II-31)

SATURDAY TO SUNDAY - DOCUMENTARY PHOTOGRAPHY AND PORTRAITS OF CITY LIFE

ESTETIKA FOTOGRAFIE V ÉRE INSTAGRAMIZMU

BETWEEN SUBVERSION AND AESTHETICS -– SURREALISM AND PHOTOGRAPHY (Miedzy subwersja a estetyka - surrealizm i fotografia)

PERCEPTION OF MACHINE AND TECHNO - IMAGINATION

PHOTOGRAPHS IN THE BIBLE DESIGN (LBS, 2005): SPECIFICITY AND PROBLEMS (Fotografijas Bibeles vizualaja noformejuma: ipatnibas un problemas)

WALTER BENJAMIN'S NOTION OF DEATH AND PHOTOGRAPHY

A PHOTOGRAPHIC BREVIARY. 'ZODIAQUE' PUBLICATIONS IN THE 20th CENTURY (Brewiarz fotograficzny. Wydawnictwo 'Zodiaque' w XX wieku)

Eccentrics' love, thought, hospitality* and other feelings. Robert Mapplethorpe's and Nan Goldin's affective(?) photographs

PHOTOGRAPHIC RECORDING OF THE ESTONIAN FARM PEOPLE IN THE 19TH CENTURY (Dokumentacja fotograficzna estonskiej ludnosci wiejskiej w XIX wieku)

Pamięć jako praktyka. Fotografia i troska o wspomnienia

CONSTRUCTION - REPRODUCTION and Film in Polish Constructivism. Graphic Arts, Photography

CYPRIAN NORWID'S ENCOUNTERS WITH PHOTOGRAPHY

SEEN THROUGH THE CAMERA - THE SEMIOLOGY OF DEPICTIONS OF VIOLENCE (Okiem kamery - semiologia obrazów przemocy

SUSAN SONTAG AND ETHICS OF PICTURE

PHOTOGRAPHY AND SOAP-OPERA - TWO EXAMPLES OF CREATION OF REALITY

Niepełnosprawny – taki sam czy inny? fotografia jako forma samoopisu osób niepełnosprawnych intelektualnie

UNTOUCHABILITY AND INTIMACY: TWO PHOTOGRAPHIC STRATEGIES OF DEPICTING THE OTHER

KDO JE CINDY SHERMAN?

THE CASE OF CRAIGIE HORSFIELD