A Philosophy of Photography. A Philosophy of Photography and of Some Visual Art in Generalby Rick Garlikov This is a companion essay to the booklet "Understanding Photography: A Theoretical and Practical Guide to Taking Great Pictures" and it is background material for the essay "A Philosophy of Erotic Visual Art" I would like to discuss here some elements that I think contribute to the value of many works of visual art, particularly photographs.
This is not meant to imply or show that these are the only elements of value nor that they will apply to all art, to all visual art, or even to all photographs, because I think some artists have or could have other ideals and other quests, and because creative artistic ideas could always be thought of that would not fit my perhaps narrow ideas. However, I do think that art (including photography) does involve ideas, techniques, and or insights that can, however well or ill, be articulated in a way to help us evaluate the work. Philosophy: The Basics - Nigel Warburton. 28 Incredibly Beautiful Places In The U.K. To Visit. Too Much Photography. Too Much Photography Mass tourism is one of the subjects I have photographed consistently over the years.
I have documented many of the most well known tourist sites in the world including Machu Picchu, Angkor Wat and Copacabana beach. Tourism is the biggest industry in the world and the tourist spend is always growing, despite the current downturn in global economies. One thing that has really changed in recent years is how the tourist uses photography. When I started shooting this topic many years ago, people would take one photo of themselves in front of the site and move on. The question I keep asking myself is what happens with all these images?
I was motivated to write this blog by a recent visit to Barcelona, a city enjoying a massive tourist renaissance. Makiranta. The Self-Society Dynamic: Cognition, Emotion and Action - Judith A. Howard, Peter L. Callero. MPHO405 Photography Practice: Constructing the image. Women, Modernity, and Landscape Architecture: Amazon.co.uk: Sonja Dümpelmann, John Beardsley: 9780415745888: Books. Review Sonja Dümpelmann and John Beardsley are to be commended for bringing an abundance of lesser-known landscape production to our attention.
This book should inspire further scholarly scrutiny, not only of the work introduced in this collection but also of related efforts to explore (to repeat their phrase) “the place of women in the emergence of modernist landscape architecture.” - Caroline Constant, Landscape Architecture Magazine Dümpelmann and Beardsley's edited collection traces a broad arc of female landscape architects contributing to the emergence of modern movements globally in the decades before and after World War Two. This book’s excellent essays rely on original source material to fill gaps in the backgrounds of important women landscape architects on five continents.
Again and again the essays emphasize how these women’s knowledge of plants and horticulture contributed to the design of twentieth century modernist spaces. About the Author. 9780822943709exr. Susan Sontag. Humankind lingers unregenerately in Plato's cave, still reveling, its age-old habit, in mere images of the truth.
But being educated by photographs is not like being educated by older, more artisanal images. For one thing, there are a great many more images around, claiming our attention. The inventory started in 1839 and since then just about everything has been photographed, or so it seems. This very insatiability of the photographing eye changes the terms of confinement in the cave, our world. Photoessayist: Photographer Essays by John Krill. Illuminations: Women Writing on Photography from the 1850s to the Present.
Malcolm Daniel: "Thoughts about the History of Photography Collections and Collecting" Exploring the Relationship Between Photographer and Subject. Batchen. Berger. Barthes Photographic Message. Bresson DecisiveMoment1. COLUMN ONE : Moscow's Brothers Yakovlev : The three children admit they killed a man and say they steal to survive. Their life of crime reflects a boom in juvenile delinquency fueled by a breakdown in the post-Soviet social system. - latimes. MOSCOW — They knocked the drunk down and beat in his face with paving stones, kicking him and punching him with all the viciousness coiled in their wiry boys' bodies, until his rattling grunts stopped.
They watched him die. Then the three Yakovlev brothers, all younger than 15 at the time, cleaned out his pockets--although they did not kill him to rob him, said the youngest. "He swore at us, and we're just kids, and he said bad words about our mother, we beat him for that, that's what we killed him for," 11-year-old Volodya piped in his choirboy soprano. If you happen to visit Moscow this summer and gravitate to the famous McDonald's on Pushkin Square, you could run into Volodya, still out on the streets, one of a gang of smudge-faced, sour-smelling boys in filthy clothes who beg from foreign tourists and hire themselves out as car-watchers to Mercedes owners. "Russia's future is being stolen," he said. "What could literally be called a children's gang was forming," she said. '‘I’m desperate’', Gillian Wearing OBE: Summary.
Signs that say what you want them to say and not Signs that say what someone else wants you to say 1992-3Framed colour photographs on photographic paper mounted on boardEach 1220 x 920 mm (48 x 36 ¼ inches)I'm desperate 1992-3Edition 9/10 plus 1 Artist's ProofP78348 Gillian Wearing first attracted public acclaim when she exhibited this series of photographs at City Racing, a small artist-run gallery in London in 1993.
She had been using video and photography since the early 1990s, but this was her first significant collaboration with members of the public. Standing in a busy area of South London, Wearing stopped passers-by and asked them to write down what was on their mind. With their permission, she then photographed them holding their statement. CCPTheArchive35 spreads. Photography-art-or-science. DAlleva Theory. Visualizing Research. Evidence Probability BOP. DAlleva Theory. Production in View: Allan Sekula’s Fish Story and the Thawing of Postmodernism. Photography: A Critical Introduction. Photography: A Critical Introduction was the first introductory textbook to examine key debates in photographic theory and place them in their social and political contexts, and is now established as one of the leading textbooks in its field.
Written especially for students in further and higher education and for introductory college courses, this fully revised edition provides a coherent introduction to the nature of photographic seeing. About the Author Liz Wells is Professor in Photographic Culture in the Faculty of Arts, University of Plymouth. Her teaching and research covers photography history, theory, criticism; contemporary photographic practices; Independent and Experimental Film and Video, with a special interest in landscape photography.
Editorial Advisory Group member , Visual Communications, Sage Editorial Advisory Group member, Visual Culture in Britain, University of Manchester Press. Review. Inside%20out. Sontag. By William Henry Fox Talbot. Illuminations: Women Writing on Photography from the 1850s to the Present. Foreword to ‘Photography: the Whole Story’ Strictly speaking, the whole story of photography would be an account of every photograph ever taken and every response to it, from that tentative handful made in the 1820s and 1830s to the thirty billion or so now snapped annually around the world.