玩照片

R. Viswanathan
{"title":"玩照片","authors":"R. Viswanathan","doi":"10.1215/21582025-9710602","DOIUrl":null,"url":null,"abstract":"\n Two recent exhibitions in New York City invite thoughts about the meanings and possibilities of photography in art. Featuring the works of the artists Gauri Gill and Farideh Sakhaeifar, the exhibitions explore unconventional methods of photo-taking and making. Long known for her collaborative practice, Gill's work features multiple authors and subjects who play with photographic conventions and subject-object relations. Her subjects devise their presentation and mask their faces. Pointedly rejecting the ethnographic perspective, Gill's subjects exercise a level of freedom from the fixity of the camera. Sakhaeifar, from a markedly critical vantage point, draws attention to the ways that photography can obscure its subjects. Deeply sensitive to the histories of photography, both artists visualize the things that photography cannot contour—horror, pain, joy, and the unreal.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"88 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Playing with Photographs\",\"authors\":\"R. Viswanathan\",\"doi\":\"10.1215/21582025-9710602\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n Two recent exhibitions in New York City invite thoughts about the meanings and possibilities of photography in art. Featuring the works of the artists Gauri Gill and Farideh Sakhaeifar, the exhibitions explore unconventional methods of photo-taking and making. Long known for her collaborative practice, Gill's work features multiple authors and subjects who play with photographic conventions and subject-object relations. Her subjects devise their presentation and mask their faces. Pointedly rejecting the ethnographic perspective, Gill's subjects exercise a level of freedom from the fixity of the camera. Sakhaeifar, from a markedly critical vantage point, draws attention to the ways that photography can obscure its subjects. Deeply sensitive to the histories of photography, both artists visualize the things that photography cannot contour—horror, pain, joy, and the unreal.\",\"PeriodicalId\":368524,\"journal\":{\"name\":\"Trans Asia Photography\",\"volume\":\"88 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-05-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Trans Asia Photography\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1215/21582025-9710602\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Trans Asia Photography","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/21582025-9710602","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0

摘要

最近在纽约举办的两个展览邀请人们思考摄影在艺术中的意义和可能性。展览以艺术家Gauri Gill和Farideh Sakhaeifar的作品为特色,探索了非传统的摄影和制作方法。吉尔的作品以她的合作实践而闻名,她的作品以多个作者和主题为特色,他们玩弄摄影惯例和主客体关系。她的主题是设计他们的展示,并戴上面具。吉尔尖锐地拒绝了民族志的观点,他的主题在一定程度上摆脱了相机的固定。Sakhaeifar从一个明显批判的角度,将人们的注意力吸引到摄影可以模糊其主题的方式上。两位艺术家都对摄影的历史非常敏感,他们将摄影无法描绘的东西——恐怖、痛苦、快乐和虚幻——形象化。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Playing with Photographs
Two recent exhibitions in New York City invite thoughts about the meanings and possibilities of photography in art. Featuring the works of the artists Gauri Gill and Farideh Sakhaeifar, the exhibitions explore unconventional methods of photo-taking and making. Long known for her collaborative practice, Gill's work features multiple authors and subjects who play with photographic conventions and subject-object relations. Her subjects devise their presentation and mask their faces. Pointedly rejecting the ethnographic perspective, Gill's subjects exercise a level of freedom from the fixity of the camera. Sakhaeifar, from a markedly critical vantage point, draws attention to the ways that photography can obscure its subjects. Deeply sensitive to the histories of photography, both artists visualize the things that photography cannot contour—horror, pain, joy, and the unreal.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.20
自引率
0.00%
发文量
0
期刊最新文献
How to Capture Birds of Freedom: Picturing Tamil Women at War Methods of Memory: Time Travels in the Archives Picturing Solidarity: Photography and Cuban Internationalism during the Vietnam War Images at War: An Introduction Hong Kong in Transition: Photography and Liberation at the End of the Pacific War
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1