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Photos taken by artists who are not working with cameras

2021-04-23 来源: 51Due教员组 类别: Essay范文

给大家推荐一篇优秀的代写Essay范文。自摄影起源以来,它的作用一直在不断发展。从世界的原始文献来看,摄影正逐渐成为一种自我表达的方式。随着这一趋势,艺术与摄影之间的界限变得模糊了。因此,有趣的是发现艺术家将摄影作为表达媒介的方式。道格拉斯·弗格(Douglas Fogle)策划的最后一次图片展(Last Picture Show)为公众提供了这样的机会,他们将不是使用相机工作的艺术家拍摄的照片作为主要工具。展览于2004年在明尼阿波利斯的沃克艺术中心举行。展览的策展人道格拉斯·佛格尔(Douglas Fogle)是一位经验丰富的策展人,他在沃克艺术中心工作了十多年。 Fogle与艺术中心合作发起了一系列团体展览。这些展览包括《剧照:1990年代的新兴摄影》(1997年)和《世界边缘的绘画》(2001年)(ArtSpace.org,2017年)。上次图片展是一个展览,重点是策展人的概念,而不是形式。在美国受到好评之后,该展览继续在欧洲进行,进一步扩大了它的影响力。展览包括约60位艺术家的200幅作品。这些艺术家将摄影作为实验活动进行了探索(Dailey,2003年)。随着传统摄影技术的潜力几乎被开发,艺术家们转向了新的方向,并赋予摄影技术一个全新的目的。纯粹的美学不再是艺术摄影的主要特征。相反,艺术家在这次展览中探索了“身份,性能和后工业景观”的概念。

 

Since the origin of photography, its role has been constantly evolving. Judging from the world's original documents, photography is gradually becoming a way of self-expression. With this trend, the boundary between art and photography has become blurred. Therefore, it is interesting to discover how artists use photography as a medium of expression. The Last Picture Show curated by Douglas Fogle provides the public with such an opportunity to use photos taken by artists who are not working with cameras as their main tools. The exhibition was held at the Walker Art Center in Minneapolis in 2004. The curator of the exhibition, Douglas Fogle, is an experienced curator who has worked at the Walker Art Center for more than ten years. Fogle collaborated with the Art Center to launch a series of group exhibitions. These exhibitions include "Stills: Emerging Photography in the 1990s" (1997) and "Paintings on the Edge of the World" (2001) (ArtSpace.org, 2017). The last photo exhibition was an exhibition, and the focus was on the concept of the curator, not the form. After being well received in the United States, the exhibition continued in Europe, further expanding its influence. The exhibition includes 200 works by about 60 artists. These artists explored photography as an experimental activity (Dailey, 2003). As the potential of traditional photographic techniques has almost been exploited, artists have turned to new directions and given photographic techniques a whole new purpose. Pure aesthetics is no longer the main feature of artistic photography. Instead, the artist explored the concept of "identity, performance and post-industrial landscape" in this exhibition (Dailey, 2003).

 

The works in the "Last Painting Exhibition" are arranged in strict chronological order and completely follow the traditional exhibition design (Liu, 2004). In most exhibitions, lectures are almost inevitable. Walker Art Center and Fogg arranged a continuous interpretive soundtrack, which included descriptions of photographs and anecdotes of the artist. Although some critics may be annoyed by the sound, it provides interesting information for most viewers. According to Catherine Liu (2004), this type of exhibition should focus on visual expressiveness, with sound and sound almost distracting. By ignoring the explanation and focusing on the connection between the photo and time, the audience can better appreciate the theme of the exhibition. The chronological sequence both activates the audience and limits them to a time frame. Since it is impossible to determine the correlation between the themes of the photos, the development of photography itself is the focus of the exhibition. In addition to the chronological order applied throughout the exhibition, there are also sections dedicated to different themes in "The Last Picture Exhibition" (Deitcher, 2004). It contains areas of photos about the evolution of grids, human bodies, landscape photography, and the relationship between people and the built environment. The three large spaces in the Walker Art Center are divided into several smaller parts. These parts are then connected to each other to form a network of linked topics. Although it looks like a conventional arrangement on the whole, the correlation between subspaces is established based on factors other than time (e.g. emotions). This shows the unique personal style and planning of the curator.

 

The works in the exhibition cover a wide range of topics from 57 artists (Estep, 2004). Since most of these artists were in the golden age of the 60s to 80s, it can be inferred that many of them had passed away at the time of the exhibition and therefore knew nothing about each other's works. A common feature of the works in the exhibition is the identity of traditional photography that has been challenged by important artists over the years. The compilation of photos is like a selection of the most representative works from 1960 to 1982. The first attempt by artists in the 1960s was to combine traditional art with photography. Giulio Paolini's work combines photography and painting. For example, in Delfo, the painter himself wearing sunglasses was taken behind a wooden frame, which divides the picture into four parts. With arms crossed, it almost feels like the man is aware of the existence of the wooden framed window and the observer is standing in front of it. This kind of direct interaction and tension may take longer to show up in painting, but it becomes effortless in photography. Most of the work is done in the conceptualization and planning process, making photography a more free art form. The combination of photography and sculpture is also included, such as the works of Robert Watts and Sigmar Polke, who photographed simple objects and showed them the photographic work (Estep, 2004) ). This allows these artists to better control how they want to view their objects. Since photos can provide the same angle, light and color for all views, it can better guide the viewer's perception. Although the early photos were mostly black and white, the contrast and purity of the image added to the beauty of the photo.

 

Later artists took the combination of art and photography to a whole new level. In addition to single objects, many artists choose to construct complex scenes and photograph these scenes for the audience. In a series of Wurstserie (sausage series) photos taken by Peter Fischli and David Weiss in 1979, different scenes of the mini world of sausages were created (Estep, 2004). In one of the scenes, cardboard boxes were used as buildings, and one of them caught fire. Real sausages are made in the shape of a cart with wheels. In another photo in the same series, eyes and hair are added to different sausages standing in front of the mirror. Strange but interesting photos create a wonderland with few sausages for the viewer. Similar works by James Welling and Laurie Simmon are also on display. It is no exaggeration to say that photography has inspired these artists to construct their own worlds, and these worlds can be presented in a fair and direct way. In the early days, photography focused on truth clarification and documentation. However, it took a long time for people to discover the other side of photography. Some photos give people more doubts than facts. Photos can even be used for deception. This duality has become the main attraction of photography to traditional artists: by constructing and photographing their own world, they are responsible for what the audience can see or what they want. The combination of documentation and structure creates a distorted reality, which increases the expressiveness of the work. Through the artist's hands, photography can develop from extreme objectivity to the other end of the spectrum.

 

As art historian Nancy Foote commented in 1976: “For every photographer who exaggeratedly becomes a painter, there is a painter who risks becoming a photographer” ( Lyon, 2005). The twenty years captured in "The Last Photo Exhibition" is a critical period for the artist to cross boundaries and blur them. Since then, the distinction between artists and photographers is not important, especially in the art world. In the past few decades, photography has become ubiquitous, benefiting almost all male photographers. With the help of cameras, people, even if they are not professionals, can capture important moments and make others appreciate their work. For artists, the camera is a very convenient but limited creative tool. Even though most of the artists in the exhibition don't think of themselves as photographers, they obviously like the process of taking pictures. The emergence of this trend can be traced back to the post-war period of the 1960s. Bruce Nauman and Ed Ruscha were the first artists to apply concepts rather than purely aesthetic themes in photography. In the following decades, as the diversity of themes increased, it was further developed. The last photo exhibition captured the essence of this trend and showed people the transformation of photography from its original form to an important part of today's art world. The topics discussed in the exhibition include: exploring cultural identity through photography, the interaction between people and space, how people change the environment, and the visualization of various emotions. Realizing and understanding this shift will have a major impact on the perception of how photography will be regarded as an art form and its future development. In general, the biggest impact of this exhibition is its precise summary of the enhancement of photographic self-awareness. Early photographers mainly focused on the technical and economic benefits brought about by photography, while the illusion produced by photography developed rapidly from the 1960s to the 1980s, and has been successfully captured by the exhibition.


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