The other day I was reading Maurice Merleau-Ponty’s 1961 essay on phenomenology, Eye And Mind (I’ve recently started doing an MA in Art In The Contemporary World at NCAD so you can probably expect more of this kind of thing in the future – those of you who just want to know who the band [...]
Archive for the ‘Photography Theory’ Category
Eye And Mind
Posted in Photography Theory, Whelans, tagged Andreas Feininger, Eye And Mind, Hugh McCabe, large format photography, long exposure, Merleau-Ponty, ncad, Petah Coyne, phenomenology, Rodin, whelans on October 29, 2011 | 1 Comment »
They Called it Photodynamism
Posted in Photography Theory, Venues, Whelans, tagged Anton Giulio Bragaglia, Arturo Bragaglia, Eugene Atget, Grand Pocket Orchestra, Hiroshi Sugimoto, Italian Futurism, large format photography, long exposure, stages, whelans on January 24, 2011 | 2 Comments »
There are a lot of precedents for this kind of long exposure photography. I have already talked about Hiroshi Sugimoto and his stunning long exposures of the insides of movie theaters. I was familiar with Sugimoto’s work before starting this project and the initial idea was simply to do for music venues what Sugimoto had [...]
The Paradoxes of Digital Photography – Lev Manovich (1995)
Posted in Photography Theory, tagged 3D graphics, Andreas Gursky, art, digital photography, Lee Manovich, ncad, photography, Photography Criticism, realism, visual culture, William Mitchell on February 25, 2010 | 2 Comments »
In this essay, written in 1995, Lev Manovich explores the ramifications of digital technology and photography. He asks if such a thing as digital photography really exists, and to what extent this really differs from traditional photographic practice. Manovich starts by referring to a range of digital innovations that have transformed the practice of image [...]
Playing In The Fields Of The Image – Abigail Solomon-Godeau (1982)
Posted in Photography Criticism, Photography Theory, tagged abigail solomon-godeau, art, john szarkowski, Maartje van den Heuvel, modernism, ncad, photography, Photography Criticism, post-modernism, richard prince, vikky alexander, visual culture on February 25, 2010 | 3 Comments »
This essay appears in Solomon-Godeau’s Photography At The Dock collection. It deals with a number of post-modern photographic artists, explaining their work, and situating it in opposition to the established canon of modernist art photography. It is deeply critical of many of the fundamental assumptions of modernist photography that would have been elaborated in the [...]
Introduction To The Photographers Eye – John Szarkowski (1966)
Posted in Photography Criticism, Photography Theory, tagged art, elliot erwitt, jeff wall, john szarkowski, modernism, ncad, photography, Photography Criticism, realism, the photographer's eye, visual culture on February 21, 2010 | 4 Comments »
John Szarkowski’s book The Photographers Eye was based on an exhibition of the same name held at the Musuem Of Modern Art in New Work in 1964. It featured the work of Friedlander, Evans, Strand and many others, and attempted to give an overview of the fundamental challenges and opportunities of the photographic medium. In [...]
Why Photography Matters As Art As Never Before -Michael Fried (2009)
Posted in Photography Criticism, Photography Theory, tagged art, jeff wall, michael fried, modernism, ncad, objecthood, photography, theatricality, visual culture on December 29, 2009 | 1 Comment »
I became interested in Michael Fried’s recent tome of photographic art criticism after reading an interview with him in Aperture magazine. I thought it would serve as good overview of the work of a whole assortment of contemporary photographers. It certainly did that – and much more besides. In 1967 Michael Fried published a controversial [...]
The Subject As Object: Photography and the Human Body – Michelle Henning (2000)
Posted in Photography Theory, tagged fetishism, freud, michelle henning, ncad, photography, Photography Criticism, psychoanalysis, stuart hall, visual culture, voyeurism on December 17, 2009 | 1 Comment »
After finding aspects of Stuart Hall’s text difficult to grasp in parts I turned to a chapter from Photography: A Critical Introduction (edited by Liz Wells) to try and get a better handle on the relevance of psyschoanalytic theory to photography criticism. It explains Freud’s take on voyeurism and fetishism clearly and concisely. Representations of [...]
Exhibition 2011
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