scholarly journals Changing Images of the Democratic Party: an analysis of the aesthetic and philosophical underpinnings of Life's photo-essay "Happy days in Miami"

2021 ◽  
Author(s):  
Rick Slater
Keyword(s):  
Democratic Party ◽  
Scene Reconstruction ◽  
New Journalism ◽  
Life Magazine ◽  
Stylistic Elements ◽  
Political Narrative ◽  
Art Photography ◽  
The Aesthetic ◽  
Photo Essay

The purpose of this study was to examine the influence of New Journalism on the photo-essay "Happy Days in Miami" from the 21 July 1972 issue of Life Magazine. The stylistic elements of New Journalism such as scene-by-scene reconstruction, overt stylization, status details and others, are analyzed for their role in the construction of the visual and political narrative utilized in this photo-essay. Its influence on 1960s art photography as embodied by Larry Clark, Danny Lyon and the New Documents exhibition is also considered. This was analyzed through research of the various topics (New Journalism, the Presidential Convention in 1972, Life and 1960s art photography), critical readings of the photographs and original interviews with Ralph Graves, Life's managing editor in 1972 and contributing editor Richard Meryman.

scholarly journals Changing Images of the Democratic Party: an analysis of the aesthetic and philosophical underpinnings of Life's photo-essay "Happy days in Miami"

2021 ◽  
Author(s):  
Rick Slater
Keyword(s):  
Democratic Party ◽  
Scene Reconstruction ◽  
New Journalism ◽  
Life Magazine ◽  
Stylistic Elements ◽  
Political Narrative ◽  
Art Photography ◽  
The Aesthetic ◽  
Photo Essay

The purpose of this study was to examine the influence of New Journalism on the photo-essay "Happy Days in Miami" from the 21 July 1972 issue of Life Magazine. The stylistic elements of New Journalism such as scene-by-scene reconstruction, overt stylization, status details and others, are analyzed for their role in the construction of the visual and political narrative utilized in this photo-essay. Its influence on 1960s art photography as embodied by Larry Clark, Danny Lyon and the New Documents exhibition is also considered. This was analyzed through research of the various topics (New Journalism, the Presidential Convention in 1972, Life and 1960s art photography), critical readings of the photographs and original interviews with Ralph Graves, Life's managing editor in 1972 and contributing editor Richard Meryman.

scholarly journals Between life and the underground : a study of photography found in Rolling Stone magazine from 1967 to 1972.

2021 ◽  
Author(s):  
Rachel Lobo
Keyword(s):  
Comparative Analysis ◽  
New Journalism ◽  
Life Magazine ◽  
Underground Press ◽  
National Convention ◽  
Rolling Stone ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

scholarly journals Between life and the underground : a study of photography found in Rolling Stone magazine from 1967 to 1972.

2021 ◽  
Author(s):  
Rachel Lobo
Keyword(s):  
Comparative Analysis ◽  
New Journalism ◽  
Life Magazine ◽  
Underground Press ◽  
National Convention ◽  
Rolling Stone ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

scholarly journals Between Life and the Underground: A Study of Photography Found in Rolling Stone Magazine from 1967 to 1972

2021 ◽  
Author(s):  
Rachel Lobo
Keyword(s):  
Comparative Analysis ◽  
New Journalism ◽  
Life Magazine ◽  
Underground Press ◽  
National Convention ◽  
Rolling Stone ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

scholarly journals Between Life and the Underground: A Study of Photography Found in Rolling Stone Magazine from 1967 to 1972

2021 ◽  
Author(s):  
Rachel Lobo
Keyword(s):  
Comparative Analysis ◽  
New Journalism ◽  
Life Magazine ◽  
Underground Press ◽  
National Convention ◽  
Rolling Stone ◽  
History Of ◽  
The 1960S ◽  
The Aesthetic

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

Bourke-White, Magaret (1904–1971)

2018 ◽  
Author(s):  
Naomi Slipp
Keyword(s):  
Soviet Union ◽  
Industrial Processes ◽  
Processing Plant ◽  
Columbia University ◽  
American Industry ◽  
Life Magazine ◽  
Steel Company ◽  
Cornell University ◽  
Fortune Magazine ◽  
Photo Essay

Margaret Bourke-White was an influential American photojournalist associated with Life Magazine. Bourke-White briefly studied at Columbia University under Photo-Secessionist Clarence White (1871–1925) before graduating from Cornell University in 1927. Opening a photography studio in Cleveland, Ohio, she specialized in industrial and commercial images that appealed to emerging modernist tastes. Widely published and highly lauded, Bourke-White achieved many firsts, including being the first woman to photograph combat zones. Her career transformed the male-dominated field of photojournalism. In 1927 Bourke-White photographed the dark interior of the Cleveland-based Otis Steel Company utilizing magnesium flares to capture the industrial processes. The following year, Bourke-White documented the construction of the Chrysler Building in Manhattan. Both sets of photographs emphasize American industry and combine formal drama with tonal variation, aligning Bourke-White with the "machine aesthetic" of modernist art. From 1929–1935, Bourke-White photographed for Henry Luce’s Fortune magazine. For her first assignment, she took compelling images of the Swift hog processing plant. This was followed by three trips abroad to document culture and industry in Stalin’s Soviet Union. Her 1931 photo-essay in Fortune was the first on life in the USSR in a Western publication.

scholarly journals Fotografi adalah Seni: Sanggahan terhadap Analisis Roger Scruton mengenai Keabsahan Nilai Seni dari Sebuah Foto

2017 ◽  
Vol 4 (1) ◽  
pp. 49-60
Author(s):  
Andreas Arie Susanto
Keyword(s):  
Technological Development ◽  
Mechanical Action ◽  
Art World ◽  
Work Of Art ◽  
Artistic Value ◽  
Art Photography ◽  
The Aesthetic ◽  
Causal Event ◽  
Roger Scruton

Tulisan ini bertujuan untuk menyanggah argumentasi Roger Scruton mengenai keabsahan nilai seni dari sebuah foto. Scruton berpendapat bahwa fotografi bukanlah karya seni. Fotografi hanyalah sebuah tindakan mekanis dalam menghasilkan suatu gambar, bukan representasi melainkan hanyalah peristiwa kausal, bukan gambaran imajinasi, tetapi hanya kopian. Fotografi mengandaikan adanya kemudahan dalam penciptaan seni. Pernyataan Scruton semakin dikuatkan dengan fenomena perkembangan teknologi yang sudah melupakan sisi estetis dan hanya berpasrah sepenuhnya pada tindakan mesin. Penekanan berlebihan terhadap keunggulan reduplikasi, proses instan, dan otomatisasi fotografi membuat fotografi kehilangan tempatnya di dunia seni. Akan tetapi, persoalan seni adalah persoalan rasa. Fotografi tetaplah sebuah seni dengan melihat adanya relasi intensional yang tercipta antara objek dan seorang fotografer dalam sebuah foto. Relasi intensional ini tercermin dalam proses, imajinasi, dan kreativitas fotografer di dalam menghasilkan sebuah foto. Lukisan dan fotografi adalah seni menurut rasanya masing-masing. Photography is an Art: A Disaproval towards Roger Scruton's Analysis on the Legitimacy of Art Value of a Photograph. This paper aims to disprove Roger Scruton's argument about the validity of the artistic value of a photograph. Scruton argues that photography is not a work of art. Photography is simply a mechanical action in producing a picture, not a representation but merely a causal event, not an imaginary image, but only a copy. Photography presupposes the ease of art creation. Scruton's statement is further reinforced by the phenomenon of technological development that has forgotten the aesthetic side and only entirely devoted to the action of the machine. The excessive emphasis on the benefits of reduplication, instant processing, and photographic automation makes photography lose its place in the art world. However, the issue of art is a matter of taste. Photography remains an art by seeing the intense relationships created between an object and a photographer in a photograph. This intense relationship is reflected in the process, imagination, and creativity of the photographer in producing a photograph. Painting and photography are arts according to their own taste.

Fluency as a determinant of the aesthetic-usability effect

2014 ◽  
Author(s):  
Takahashi Tomoyo ◽  
Shinji Kitagami
Keyword(s):  
The Aesthetic
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