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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. The first is easy to see. Philosophy: The Basics - Nigel Warburton. 28 Incredibly Beautiful Places In The U.K. To Visit. Too Much Photography | Martin Parr. 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.

Now mobile phone cameras and digital photography mean that the entire visit is documented. From the moment the tourist enters the site, everyone has to be photographed in front of every feature of note. 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. Martin Parr, April 2012. Makiranta. The Self-Society Dynamic: Cognition, Emotion and Action - Judith A. Howard, Peter L. Callero.

MPHO405 Photography Practice: Constructing the image | University of Westminster. Women, Modernity, and Landscape Architecture: 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. In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe. They are a grammar and, even more importantly, an ethics of seeing. To collect photographs is to collect the world.

To photograph is to appropriate the thing photographed. Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. Photographs furnish evidence. 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" | The Frick Collection. Exploring the Relationship Between Photographer and Subject. Documentary photography is a medium of aesthetic expression in which form and content need to collaborate with the subject matter to capture an unchangeable image.

This collaboration provides an active examination of contemporary society and a presentation of experiences to enhance historical and cultural awareness. For me, documentary photography is purity and freedom: the purity of the relationship between the photographer and the subject and the freedom to create images of life as it happens. With documentary work, I stretch the boundaries, nurture the subject matter, and communicate critical thinking on many layers. To compare documentary photography to newspaper photography is to view them as a mirrored set. Frequently, when photographing, I am asked if I work for a newspaper. This reaction is not universal.

Ultimately, all photographers photograph for themselves. Poland, 1994. Poland, 1995. Poland, 1995. Most popular articles from Nieman Reports. 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. As indicated by the title of the work, Wearing has written that this collaboration 'interrupts the logic of photo-documentary and snapshot photography by the subjects' clear collusion and engineering of their own representation.' 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. Across four decades the photographic and written practice of Allan Sekula has provided an object lesson in the possibilities for an artistic commitment to labour’s cause and for the exploration of the world of late capitalism from a radical-left perspective.

Turning from performance and sculpture to the camera in the early 1970s, Sekula has insisted ever since on the viability of realism and the ‘social referentiality’ of photography. While his photographic work has sought to renew the documentary tradition, Sekula’s practice as a theorist and historian of photography has been equally crucial to his search for a way beyond the habitual lapse of the discourse of documentary into either a scientistic objectivism or a romantic and expressive subjectivism.

Sekula stands as one of very few contemporary artists – matched only, perhaps, by his early interlocutor Martha Rosler – to have continually and convincingly resisted the conventional division of labour between practitioner and critic. 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 "A timely revision of a great book. Inside%20out. Sontag. The Pencil of Nature | by William Henry Fox Talbot. Illuminations: Women Writing on Photography from the 1850s to the Present. Foreword to ‘Photography: the Whole Story’ | David Campany. 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.

Impossible. Choices have to be made. In fact the process of shaping a ‘story’ of photography is not unlike taking photographs. It is an art or science of abbreviation. It involves judgment, selection, framing, editing, assessment and reassessment. Photography has had more lives than a lucky cat, each with its own convoluted story. Photography was well established before anyone even tried to tell its story. Since then the story has become even more complex and plural. Over the last few decades photography has become a much more reflective medium, aware of its history and able to draw upon it with maturity.

No doubt the Internet has had much to do with this revival. Photography appeals because it is both a subject and a passport.