58 resultados para Vernacular photography


Relevância:

20.00% 20.00%

Publicador:

Relevância:

20.00% 20.00%

Publicador:

Resumo:

This is a report of a practice-as-research project. The chapter outlines McArdle's discoveries of means by which the pre-conscious processes of binocular vision and steropsis can be made visible in an effect which with one-eyed vision renders the scene 3-dimensional.

In the book's introduction editor Mehigan writes "[The] will to creation is only assayable once we estimate the role of the observer in the construction of space. McArdle's contribution, in engaging with the question of the animating presence of the observer focuses not just on what is caught in the lens of the photographer at the moment of depiction, but how the photographer's movement through space is the 'force field' that insinuates itself into the landscape and enters into a reciprocal relationship with it. The schematism of Euclidean geometry, for this reason, cannot account for the truth of the photographer's images; McArdle's metaphors are singularly non-Euclidean in their description of how objects are held together in the imaginative space of mental awareness."

Relevância:

20.00% 20.00%

Publicador:

Resumo:

Photography, normally considered a prosaic medium, is considered in this paper as a synthesises of the processes of human seeing, to develop an aesthetic, a poetics of space. The initial element of invention in my investigation was to devise the means by which the process of binocular perception might be depicted. Once the vortex form emerged from that experimentation, and I had the experience to predict the generation of affect, it became possible to manipulate it purposefully in seeking a solution to the problem of the portrait in the landscape.

This paper outlines a practice as research investigation into the construction and representation of the figure and the ground in photography through overlapping multiple temporal and spatial renderings of the same subject within single photographic images.

This included a critical investigation of the representation of time, perspective, and location in historical and contemporary photography with particular attention to the synthesis, imitation, and distinction of characteristics of human vision in this medium especially where they are indicative of consciousness and attention.

This investigation informed a re-evaluation of the premises of the genre of the photographic portrait and it’s setting, especially within the unstructured environment of the Central Victorian ironbark forests and goldfields. Analogue and digital photographic experiments were conducted in superimposed shifts in camera position and their convergence on significant points of focus through repeated exposures across different time scales. The images correspond to a stage in human stereo perception before fusion, to represent the attention of the viewer, where, in these images, the ‘portrait’ is located.

The findings were applied to the large format camera production of high-definition images that extended the range and effectiveness of selected pictorial structures such as selective focus, relative scale, superimposition, multiple exposures and interference patterns.

The outcome was an exhibition at Smrynios Gallery in Melbourne in April 2004. This presentation includes a discussion of relevant work by Australian practitioners Daniel Crooks and David Stephenson.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

The catalogue essay explores the themes presented within the photographs of two artist's vision of landscape. The artists work that James McArdle analyses and explores are Donna Bailey and Norman Lindsay.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

A touring exhibition of historic, modern and contemporary photographs from the collection of Horsham Regional Art Gallery, selected by curator James McArdle. His selection included photographs from the 19th century, with an emphasis on photographs which are not what they seem. The exhibition was designed to make us 'read' photographs more precisely, and appreciate the art of the photographer. This exhibition celebrated the originality and diversity of Australian vision in image and text.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

With the recent passing of the world's "best-known unknown filmmaker," Chris Marker, it is axiomatic that left-wing melancholy now includes the ongoing loss of previously lost causes – a paradox that suggests the true address of all lost causes worth defending is a strange confluence of past and futural states, as one state. This double loss as gain is also the primary mark of the "landscape" of pessimistic optimism that also denotes the foremost position to occupy today in the battles associated with capitalist End Times (Slavoj Žižek's term). Cultural ecology is no longer what it once was – that is to say, a strange amalgam of vernacular essences perpetrated in the rather forlorn 1970s and/or the insistent and incessant production of difference. Instead, cultural ecology invokes spectral civil war – arguably the very state of things today – and the return of "the dead" in the persistence of forms of high-formalist and high-conceptualist works of art and architecture. This paper examines the late works of the late Chris Marker, including the very short videos he uploaded to You Tube under the pseudonym "Kosinki" from 2007 to 2011, an event contiguous with his return to exhibiting very-still photography from 2006 to 2011. Marker's simultaneous returns to still photography and the short film-essay are both magnificent gestures toward the austerities required of present-day media to effect the necessary "return" to what is always present in one form or another anyway – the non-place between world and world-to-come.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

This report seeks to understand the meaning of the migrant house in Melbourne, Australia. Following a discussion of the Australian vernacular house, it asks what it is that makes the migrant house a unique category, different from other, nonmigrant houses in Australia. Reporting on research on seventeen migrant houses in the suburbs of Melbourne, it then shows how three architectural elements - the facade, the terrace, and the back yard - differentiate these houses from other examples of the Australian vernacular. Finally, it argues that, through their different "migrant aesthetics," the three architectural elements illustrate how soda-spatial features have facilitated and eased the adaptation of migrants to life in Australia.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

Curated by Liza McCosh, an exhibition of photographic artworks by John Wilkins, Peter Clayfield and Mick Sirriani, exhibited at SCOPE Galleries, Warrnambool.  The exhibition surveyed a range of processes and included portraiture, landscape, urbanscape and experimental photography on paper and aluminium.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

A project of interpretive and comparative re-photography, making use of the collection of Mark Strizic's images and the documents related to his career, held by the State Library, as a basis. Strizic died in 2012. It is now 50 years since his work began to illustrate the period of the 1960s when architecture of the Gold Rush era coexisted side-by-side with, and was being replaced by, curtain-glass high-rise office buildings. It is the position of the researchers that not sufficient attention has been given to Mark Strizic’s reaction to what he saw as a plague of ugliness pervading Australian city-scapes, developing a distinctive aesthetic that in turn made his work useful to commentators like Robin Boyd and David Saunders. Strizic operated from a unique perspective as a migrant with an architectural heritage from his father Zdenko, prominent architecture professor in Croatia, and visiting professor of architecture at Melbourne University in the 1960s. Precise re-photography alongside creative work will enable a comparison of Melbourne now with fifty years ago. The public will be able to participate in and contribute to the project via a crowd-funded custom-made app. Half a century has passed since Strizic made his photographs of Melbourne. In so many cases buildings have disappeared or altered, streetscapes have changed and the appearance of Melburnians have changed as have their habits of using the city. A selection of Strizic’s photographs of Melbourne locations can be rephotographed by the public using the methods devised by Mark Klett, assisted by the app software. This will provide a core of documentary imagery of benefit in framing and completing the rest of this project and to future research through comparisons over the time span. The app enables the location on a map of the site and orientation of photographs taken by Strizic. Photographs are downloaded onto users’ devices from the online SLV Strizic picture catalogue. They appear in the app as transparent templates so that users can line up their own re-photograph with accuracy. They will be able to upload their resultant images to a server and they will be available to the Library as an archive enabling direct comparison with the Strizic holdings. It is anticipated that involvement and participation of the public will elevate the profile of the project and publicise the SLV collections and encourage their increased usage and popularity.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

For the last two decades, studio photographers have been trying to create photos that replicate those produced for stars and for those destined for the cover of magazines. This article explores this phenomenon from the perspective of its suburban site for the production of the sensation of fame through glamour photography.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

Solo Exhibition, Framed Photograhs and Video installations as part of the 'Head On Photography Festival'

Relevância:

20.00% 20.00%

Publicador:

Relevância:

20.00% 20.00%

Publicador: