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OBRAZY AKO VITÁLNE ZNAKY: KOMUNIKAČNÉ MOŽNOSTI VIZUÁLNYCH SPRÁV

100%

Šafaříková R.

Filozofia (Philosophy)

2014

vol. 69

issue 1

52 – 62

Medical context of vital signs which comprises detecting and monitoring “the presence of life” in human body serves as a starting point to our reflection on the varieties of animation or vitality that are attributed to images. The perspective of “vitality” requires a different type of questions addressed to pictures: not what the pictures do (or mean), but what they want, not what is their power, but what is their desire, not what is their value, but what is their vitality (meaning their reproductive potency and fertility). The final example – analysis of a famous recruiting poster – shows how the shift in question works in a concrete picture. It can also open a discussion about the limits of Mitchell's view.

O ZÁVISLOSTIACH MAĽBY. FOTOGRAFIA V MAĽBE 60. A 90. ROKOV 20. STOROČIA

72%

Jana G.

ARS

2010

vol. 43

issue 1

51-68

The article focuses on the analysis of the specific relationship between painting and photography in the 1960s and 1990s. Through the works of model artists from the 1960s and 1990s - Gerhard Richter (b. 1932), Richard Hamilton (b. 1922), Franz Gertsch (b. 1930), Georg Shaw (b. 1966), Peter Doig (b. 1959), Elizabeth Peyton (b. 1965) and Luc Tuymans (b. 1958) -, the paper compares approaches to reality, which project into the different concepts of image, and relate, on the one hand, to the change in the regime of vision, and on the other hand to the so-called Pictorial Turn.

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OBRAZY AKO VITÁLNE ZNAKY: KOMUNIKAČNÉ MOŽNOSTI VIZUÁLNYCH SPRÁV

O ZÁVISLOSTIACH MAĽBY. FOTOGRAFIA V MAĽBE 60. A 90. ROKOV 20. STOROČIA