scholarly journals SELF PORTRAIT TENTANG KEHILANGAN DALAM FOTOGRAFI EKSPRESI

2019 ◽  
Vol 2 (2) ◽  
pp. 159-167
Author(s):  
Prasetya Yudha Dwi Sambodo ◽  
Kusrini Kusrini ◽  
Tanto Harthoko
Keyword(s):  
Fine Art ◽  
The Body ◽  
Visual Narrative ◽  
Double Exposure ◽  
Logical Relationship ◽  
Physical Character ◽  
Resulting Effect ◽  
Art Photography ◽  
Artistic Self ◽  
Shutter Speed

AbstrakMelalui foto, seseorang tidak hanya merekam secara mekanis, melainkan masih mempunyai ruang untuk menciptakan ungkapan personalnya. Penciptaan karya seni ini mengungkapkan realitas personal akan nilai di balik peristiwa kehilangan yang dialami. Self portrait (potret diri) di sini hadir sebagai pengantar atas narasi dari hal yang tersirat dalam sebuah peristiwa kehilangan yang sifatnya lebih ke non-fisik, seperti kehilangan peran, waktu, keseimbangan, dan lainnya. Usaha memvisualisasikan narasi tentang kehilangan melalui self portrait yang artistik tidak terlepas dari pemanfaatan teknik fotografi yang digunakan. Selain eksplorasi tubuh dan benda yang menjadi penanda utama, efek yang dihasilkan dari teknik fotografi seperti slow shutter speed, double exposure, open flash, zoom, reflection, flare, dan lainnya juga dimanfaatkan menjadi penanda dalam keseluruhan narasi visual tentang kehilangan yang dibangun. Hasil penciptaan karya seni ini memanfaatkan perbendaharaan bahasa foto dengan menciptakan suatu hubungan logis dari objek-objek foto yang masing-masing sudah dikaitkan dengan ide atau makna tertentu. Makna tidak hanya dihasilkan lewat pose, melainkan juga benda dan teknik yang digunakan. Beberapa teknik yang biasanya dihindari dalam pemotretan seperti overexposed, blur, shaking, dan out of focus digunakan untuk menciptakan bahasa foto yang unik dan segar. Kata kunci: self portrait, kehilangan, fotografi ekspresi AbstractSelf Portrait about Loss in Fine Art Photography. Through a photo, someone is not only recorded mechanically, but also still has space or room to create their personal expression. The result of creating this art revealed the value of personal reality behind the suffer from a loss occurence. Self portrait in this context comes as an introduction for narratives of thing that is implicit in an occurrence of loss which has non physical character, such as losing role, time, the balances, and so on. Visualizing the narratives of losing through artistic self portrait could not be separated from the use of techniques in photography. Beside the exploration of the body and the things that became a major marker, the resulting effect of the techniques of photography such as slow shutter speed, double exposure, open flash, zoom, reflection, and flare could also be used as a maker in overall visual narrative about losing that was summed up. The creation of this art applied the ‘language’ of photo by creating a logical relationship from each photo object of which was associated with certain idea or meaning. The meaning was not only generated through the pose, but also through the objects and techniques which were used. Some techniques in photography were avoided to be used such as overexposed, blur, shaking, and out of focus to create the language of photo which was unique and fresh.  Keywords: self portrait,  loss, fine art photography

Photojournalism and fine-art photography magazines: typological features

2020 ◽  
Vol 14 (4) ◽  
pp. 69-74
Author(s):  
E. S. Radiontseva ◽  
Keyword(s):  
Fine Art ◽  
Art Photography

scholarly journals Reproductions, cultural capital and museums: aspects of the culture of copies

2015 ◽  
Vol 2 (1) ◽  
pp. 47-67 ◽  
Author(s):  
Gordon Fyfe
Keyword(s):  
Cultural Capital ◽  
Museum Studies ◽  
Historical Sociology ◽  
Fine Art ◽  
The Body ◽  
Cultural Consumption ◽  
Sociology Of The Body ◽  
Cultural Character ◽  
Visitor Research ◽  
The 1960S

The concept of cultural capital is well known in museum studies from pioneering visitor research conducted and reported by Pierre Bourdieu in the 1960s. This paper examines the concept in the light of the criticism that, whilst it illuminates the dynamics of cultural consumption and inequality in advanced capitalist societies, its socio-genesis is less well understood. It is argued that the historical sociology of fine art reproduction provides an opportunity to (i) enlarge our understanding of its formation and (ii) to explore the cultural character of the copy and the sociology of the body. The paper draws on Marx’s concept of primitive accumulation, on Connerton’s distinction between incorporated and inscribing practices and on Bourdieu’s distinction between three states of cultural capital.

scholarly journals Binding Matters

IDEA JOURNAL ◽  
2020 ◽  
Vol 17 (01) ◽  
pp. 94-106
Author(s):  
Isla Griffin
Keyword(s):  
New Zealand ◽  
Fine Art ◽  
The Body ◽  
Creative Arts ◽  
Research Project ◽  
Creative Research ◽  
The World ◽  
Darkened Room ◽  
Uniform Wall ◽  
Cadaver Studies

This visual essay introduces and critically reflects on a creative research project entitled ‘Spectra on the edge of embodiment,’ undertaken as part of my Master of Fine Art study in 2017 at the College of Creative Arts, Massey University, Wellington, New Zealand. The project was motivated by several questions and concerns: What is the being that is human? How does it interact with the space it occupies? Through a work of art, is it possible to convey to a viewer the metacognitive perceptions I have propagated in connecting to my interiority and how it interfaces with the world? The work took the form of an immersive spatial installation including multiple video projections accompanied by a sound loop. Occupying a darkened room within a gallery setting, it animated uniform wall surfaces and corner spaces. The video imagery originated from textural surfaces, detritus, fluids and other such flotsam and jetsam reminiscent of interior anatomies, compelling viewers to linger and wonder what the body might look like from the inside. Such a detailed imaginary view of the body’s interior environment stems from extensive cadaver studies that I undertook as part of my training as a physiotherapist.

scholarly journals SAMPAH POLA KONSUMTIF DALAM KARYA FOTOGRAFI STILL LIFE

2019 ◽  
Vol 2 (1) ◽  
pp. 25-34
Author(s):  
Arief Pristianto ◽  
Tanto Harthoko ◽  
Arti Wulandari
Keyword(s):  
Fine Art ◽  
Electronic Media ◽  
Consumer Society ◽  
Master Plan ◽  
Still Life ◽  
Ancient Times ◽  
Art Photography ◽  
Consumptive Behavior ◽  
Authentic Data

AbstrakSampah menjadi persoalan yang tidak pernah selesai, dari zaman purba hingga sekarang, keberadaannya semakin banyak dan mulai tidak terkendali. Berbagai berita baik di media cetak maupun elektronik selalu menawarkan bermacam-macam produk yang menggiurkan masyarakat untuk melakukan peran konsumtif, dan akan berbahaya jika masyarakat tidak menyadari bahwa dari sisa konsumtif akan terjadi sampah. Penciptaan karya fotografi ini bertujuan untuk memunculkan foto-foto tentang sampah pola konsumtif dari penulis. Berdasarkan atas pola konsumtif tersebut diperoleh data otentik tentang perilaku konsumsi diri sendiri yang kemudian dikonstruksi menjadi rancangan untuk pemotretan. Foto yang dihasilkan merupakan karya seni fotografi still life dalam ranah fotografi kontemporer. Karya-karya yang dihasilkan menunjukkan bahwa kamera bukan hanya merepresentasikan ide dan perilaku kelompok manusia, melainkan juga dapat merepresentasikan pola tindakan biologis manusia.Kata kunci: sampah, pola konsumtif, still life, fotografi seni  AbstractWaste of Consumptive Behavior in Still Life Photography. Waste becomes a never ending issues, from the ancient times to the present, it is getting more and more and even  it is getting out of hand. Various news either in printed and electronic media has always offered a variety of tantalizing products to perform the role of the consumer society, and it will be dangerous if people are not aware that the residual consumption will end up as wastes.The creation of this photography work aims to bring photographs of waste as a result of author’s consumptive behavior.Based on the mentioned consumptive behavior, a set of authentic data about own consumptive behavior was collected and constructed as master plan for the photography creation. Resulting photographs show thay thay belong to the genre of still life photography in the domain of contemporary photography.  The photographs proved that camera was not only able to represent ideas and the habit of certain people, but also to represent the pattern of human’s biological life. Keywords: waste, consumptive behavior, still life, fine art photography 

scholarly journals Between Art And Photojournalism : An Examination Of Henri Cartier-Bresson's The People Of Moscow

2021 ◽  
Author(s):  
Kova Walker-Lečić
Keyword(s):  
Turning Point ◽  
Fine Art ◽  
Soviet People ◽  
The People ◽  
Photographic Survey ◽  
Art Photography

Henri Cartier-Bresson's (French, 1908-2004) career spanned more than fifty years during which he was involved with the surrealist movement, produced work for various picture magazines, helped found Magnum Photos Agency and published numerous photobooks. While his body of work is often discussed in terms of either fine art photography or photojournalism, prior to 1950s these elements tended to be isolated to separate venues. This thesis is concerned with Henri Cartier-Bresson's 1955 book The People of Moscow, a photographic survey of the Soviet people. It considers the significance of this book as a venue that combined the two aspects of Cartier-Bresson's photography, the formal aesthetics and the documentary content and thereby marked a turning point in his career. The essay describes and analyzes the elements of the book's design, such as the layout, sequencing and use of text by comparing them to the earlier Cartier-Bresson monographs, as well as to the use of the photographs from the book in Life and Paris Match.

ACTIVE BLOCK: THE BLOCKING PRACTICE IN CONTEMPORARY ISRAELI FINE ART PHOTOGRAPHY

Tarih Dergisi ◽  
2019 ◽  
Vol 69 (0) ◽  
pp. 195-219
Author(s):  
Jochai Rosen ◽  
Keyword(s):  
Fine Art ◽  
Art Photography ◽  
Active Block

Defamiliarisasi Tubuh Dalam Karya Seni Rupa Mella Jaarsma

2019 ◽  
Vol 6 (1) ◽  
Author(s):  
Firman Lie
Keyword(s):  
Human Body ◽  
Fine Art ◽  
The Body ◽  
Art Works

AbstrakTubuh dan pakaian merupakan dua visual yang secara bersama-sama memberikan tanda dan kode dalam merepresentasikan makna dan identitas tertentu. Ketika tubuh dan pakaian mengambil posisi di wilayah imajinasi, maka realitas menjadi kenyataan yang berlapis-lapis. Seni rupa bukan media langsung dari persoalan yang terjadi dalam masyarakat. Seni rupa bukan sekadar imitasi realitas dalam masyarakat, melainkan sebuah dunia dengan realitas baru yang diinterpretasi seniman atas realitas dalam masyarakat. Cara menampilkan tubuh manusia pada karya-karya instalasi Mella Jaarsma dengan tubuh model memberikan banyak makna kepada penonton seni rupanya. Kemampuan kita mengenali citra-citra familiar dalam penggabungan tubuh dengan pakaian yang menggunakan idiom yang tidak lazim diperlambat dalam proses-proses konotasi. Pemahaman terhadap tubuh yang diselubungi pakaian yang menggunakan bahan yang tidak lazim menciptakan metafora yang tidak hanya membuat hal-hal yang asing, tetapi juga membantu untuk menarik perhatian kita keluar dari persepsi yang sudah diketahui. Defamiliarisasi menggunakan mekanisme mirip dengan pengenalan medium yang sudah kita kenal yang digabungkan dengan medium yang tidak biasa untuk menghalangi persepsi dan bukan membantu pemahaman. Dengan menyediakan deskripsi baru, metafor menyediakan sebuah cara untuk mengajak kita keluar dari cara yang konvensional dan membatasi dalam melihat karya seni yang tidak lazim.AbstractBody and clothing are two visuals that provide signs and codes in representing certain meaning and identity. When body and clothing are at the imagination level, reality becomes reality in layers. A fine art is not merely an imitation of reality in the society, but a world with new reality that is interpreted by artists based on the reality in the society. How human body is presented in Mella Jaarsma’s installation gives various meanings to her audience. Our ability to identify familiar images found in the body and clothing amalgamation using unconventional idioms is disrupted during the connotative processes. The understanding of body covered by clothing using uncommon materials creates metaphor, which not only produces foreign meanings but also helps to get our attention out of the perception with which we are familiar. Defamiliarization uses a mechanism that is similar to introducing medium we have already known but it is added with uncommon medium in order to disrupt perception and not to help understanding. With the new description, metaphor provides a way to get us out from the conventional way and limitation in seeing uncommon art works. 

Self-Injuring Body Art

2019 ◽  
Vol 46 (2) ◽  
pp. 151-170
Author(s):  
Rosemarie Brucher
Keyword(s):  
Vietnam War ◽  
Past Research ◽  
The Body ◽  
The Self ◽  
Body Art ◽  
Self Injury ◽  
Art Form ◽  
History Of ◽  
The Will ◽  
Artistic Self

AbstractArtistic self-injury, established as an art form since the late 1960s, polarizes the audience and still raises questions about the motivations behind such actions as well as about the narrative contexts in which they occur. While past research has focused on either specific performers or specific trajectories of violence in the contexts in which each artist was working, for instance, the Vietnam War (Kathy O’Dell), this article localizes artistic self-injury within the larger coherencies of the history of mind with respect to aesthetic theories. Questions of subjectivation and desubjectivation seem especially productive for such a discussion. Read against the backdrop of the aesthetics of the Kantian sublime as a strategy of self-empowerment that sets the independence of the will against the powerlessness of the body, the self-wounding act can also be understood with Georges Bataille as a purposeful desubjectivation, in which the artist strives for a radical disempowerment through pain. A consideration of selected artists sounds out the range between these two theoretical references.

Interpreting Map Art with a Perspective Learned from J.M. Blaut

2006 ◽  
pp. 15-23 ◽  
Author(s):  
Dalia Varanka
Keyword(s):  
Social Context ◽  
Visual Analysis ◽  
Fine Art ◽  
The Body ◽  
Late 20Th Century ◽  
Theoretical Concepts ◽  
Cultural Contexts ◽  
Multiple Contexts ◽  
Very Young Children ◽  
Mapping Techniques

Map art has been mentioned only briefly in geographic or cartographic literature, and has been analyzed almost entirely at the interpretive level. This paper attempts to define and evaluate the cartographic value of contemporary map-like art by placing the body of work as a whole in the theoretical concepts proposed by J.M. Blaut and his colleagues about mapping as a cognitive and cultural universal. This paper discusses how map art resembles mapping characteristics similar to those observed empirically in very young children as described in the publications of Blaut and others. The theory proposes that these early mapping skills are later structured and refined by their social context and practice. Diverse cultural contexts account for the varieties, types, and degrees of mapping behavior documented with time and geographic place. The dynamics of early mapping are compared to mapping techniques employed by artists. The discipline of fine art serves as the context surrounding map artists and their work. My visual analysis, research about the art and the artists, and interviews with artists and curators form the basis of my interpretation of these works within varied and multiple contexts of late 20th century map art.

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