Photography As An Art Form Essays 1 - 30 Anti Essays

Ofparticular interest is the cemetery photography and accompanying essay on that delves into the extraordinary role sensuality and theclassic nude figure has played in the art of the cemetery.

Melinda Gibson: The Photograph as Contemporary Art

Read the latest stories about photography on Time

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To return to the prescient anonymous essay that appeared in Camera Work more than a century ago, 'The conclusion, then, that we have come to is, that photography is one of the fine arts, but no more allied to painting than to architecture, and quite as independent…as any of the other arts…Photography is photography, neither more nor less.'

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Commentary on thisphotography galleryincorporates the thinking of Carl Jung and and the role of myth and the unconscious in the fascinating symbols and meaning ofcemetery and memorial art.

Information on the Glasgow School of Art (GSA)'s bachelor of Art (BA) in Fine Art Photography, the only School with a dedicated Fine Art Photography degree

Hackers and Painters - Paul Graham

It's important to note that the Cotton introduced her text by asserting, 'The aim of this book is not to create a checklist of all of the photographers who merit a mention in a discussion on contemporary art' , and many of the artists included in it were not yet part of any particular canon, but were instead rather unexpected, unconventional, or little-known at the time.

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In a 2011 interview, Cotton herself remarked, 'I could only write [The Photograph as Contemporary Art ] now if "Contemporary Art" was understood as a museological term for a period in art-making that, for most museums, started around 1965 and ended around 2010...I think that the very nature of the time that we're now living through has led me to change my opinion about lots of things profoundly.

Below is an essay on "Is Photography Art?" from Anti Essays, your source for research papers, essays, and term paper examples.

The Power of Photography - National Geographic

For me, taking this book apart helps to question these images, far more than when they are within the constraints of a book.'

Yet paradoxically, Gibson concluded the same post by stating, 'By slicing, cutting and de-contextualising the images I start to gain a greater appreciation of the works; I start understanding why and how the these images have been created.' Having liberated these photographs from the conceptual and commercial confines of 'Contemporary Art' – the context within which they were admittedly born, flourished, and in many cases, for which they were precisely intended – and by melding, merging, and re-engaging with them in her own unique way, Gibson allows them to cross a particularly poignant threshold, into a more unmitigated and arguably more suitable realm: that of Photography itself.

Foreword: The Photograph as Contemporary Art, by Melinda Gibson by Aaron Schuman September 2012. This essay was originally published inThe …

It’s not that photography is dead as many have claimed, but it’s gone

The new range of video and photographic imagery has reduced the importance of skills, and by manipulating the new technology, artists (notably those involved in new media, like installation, video and lens-based art) have been able to short-cut the traditional processes involved in "making art," but still create something new.

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Postmodernist Art: Definition, Characteristics, History

That said, despite Cotton's best intensions and because of both its incredible popularity and the academic authority it quickly gained, The Photograph as Contemporary Art has – amongst other things – ultimately served to canonize many of the images and artists included within it for an entire generation of photographers.