Pluralism of Contemporary Art Photography

DSC_0209 Key words:

Introductory about book
_ the book is using of a large number of photogrpahers to exemplify the pluralism of photography: the differents scopes and views.
– photographers produce work that is intended to be published *and a single image is been picked to represent their whole series of work.

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  •  Photographers – graduated & crafting work mostly for specific audience.
  • critical discussion tends to centre on the consolidation and qualification of the field,rather than on rethinking it conceptually.
  •  issuees that influence the subject of photography as contemporary art ( social media / interaction / photosharing platforms/photography in journalism/ etc)
  •  these push to become more specific about what qualifies as artistic photographic practice in light of the new ubiquity of photography.
  • photography driven by the artists own choose – dialogic nature.

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   Chapter 1: If this is Art:

  •  how photographers devised strategies, performances and events for camera / documentary photography
  • moment when a picture of great visual charge appears in photographic frame – peak moment

*i was reading about an interesting piece called ” leaped into the void (photomontage) by Yves Klein the other day which was produced in the 1960s
in this photos the object presented as work of art trace an action that passed. ( decisive moment by Preson )

Chapter 2: ‘Once Upon a Time”

  •  looks at the prevalence of ‘tableau’ photography in contemporary practice : narrative been distilled into a single image
  •  ‘tableau’ : staged / constructed
    * i once wrote a piece of writing that reflected on the durational character of Francesca Woodman photography – the narrative thought in my opinion derived mostly from the long exposure technique used – which magically added few seconds more into the final image;Chapter 3 : Deadpan
    _ visual Drama ( objective Gaze ) Paramount
    _ reduction in size and print quality – bluring
    _ theatricality of human action
    _ dramatic light
    _ visual commands
    _ neautral aesthetics
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Chapter 4: Something and Nothing 

_ looks at how photographers have pushed the boundaries of what might be considered a credible visual object.
_ tend to include objects placed we might ignore / pass by.
_ thing-ness – litter/ abandoned rooms etc BUT are conceptually altered because of the visual impact they gain the act of being photograph and presented as art – giving them value ?
_ subjective view – everything can have a potential value.

Chapter 5 : Intimate life
emotional & personal relationships – diary of human intimacy.
__ many have casual /amateur styles
_ family snaps with instamatic pictures / familiar coloration / machine made prints.
_ the use of this style for constructing dynamic sequence  /focus on unexpected moments in daily life different that what anyone will capture. ( maybe not posed but someone doing something)

Chapter 6: Moments in History

_ documentary photography in art
_counter photojournalistic approach and aftermath photography
_ photographers arrive in places of disaster either social or ecological
present consequences of political individual upheaval.
_ visual records or isolated communities.

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  • Chapter 7: Revived and Readymade:
    _explores a range of recent photographic practice that centres and exploits our pre existing knowledge of imagery
    _remaking of well – known photographs and the mimicking of generic types of imagery / ad magazines/ fill stills / etc
    _ images triggering emotions
    _ critic of originality /;reproduction /authorship
    _ understanding of past events
    _ contemporary vs historically viewsDSC_0214Chapter 8 : Physical and Material
    _ Photography as part of the narrative of the work
    _ conscious decisions to highlight physical and material properties of photography and how they operate in galleries
    _maybe by using traditional process

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