Qual o lugar da fotografia contemporânea?
Tipo
Tese
Data de publicação
2016-10-07
Periódico
Citações (Scopus)
Autores
Carvalho, José Marcos Cavalcanti de
Orientador
Rizolli, Marcos
Título da Revista
ISSN da Revista
Título de Volume
Membros da banca
Guimarães, Alexandre Huady Torres
Fatorelli, Antonio Pacca
Almeida, Sullivan Bernardo de
Davino, Gláucia Eneida
Fatorelli, Antonio Pacca
Almeida, Sullivan Bernardo de
Davino, Gláucia Eneida
Programa
Educação, Arte e História da Cultura
Resumo
The work aims to address the relationships around the picture as visualities precursor
that caused changes in relation to other artistic languages. Seeking similarities between these and
contemporary photography, we undertook a journey that sought answers around the photography
place in relation to other contemporary arts. The course was conducted through the trends and artistic
movements and photography lined up like picturalism, Dadaism and Surrealism during their various
uses as an object and as an expressive art materials and plastic through to other languages and images
several orders that compete with this technology and that constitute the art scene. In the present work
we place it on copyright, artistic, expressive and procedural framework determined by technology and
languages taking into account their defilements, their contributions and their deviations.
In the first chapter, we treat the relationships that are structured within a cultural perspective
around the differences given on the day and especially in the polarizations of the artistic work and
daily life, establishing distinctions between practices that will reflect the distinctions between doings.
Mainly the differences on photographic practice, to establish beforehand our subsequent arguments
at work.
In the second chapter, built from historical photographic procedures a thesis that had already
constituent elements of artistry in these, and they determined all a path that photography would travel
trying to demonstrate that it is a fair means of expressive possibilities, though, was still a new field to
be explored with varying articulation possibilities in artistic circles. Since its inception it had already
said artistic qualities, and how other modalities also had plastic and expressive features, though, was
not understood these parameters by some segments of society. We seek the picturalism trend the
basis for our arguments, understanding that this above others, then, is the questions that we propose
to discuss, and which in turn promotes maturation and a more emphatic attitude, more focal than
other attempts photography establish earlier in the field of art.
Between the second and third chapters we scale a map that was developed from the events of
cultural history, art and photography relating them graphically providing the ability to visually establish
the relationships between important points for photography. They were related 126 (one hundred
and twenty six) events that we believe to be important and relevant, including the demarcation of the
period between the world wars. It covers a period that begins in the historic discovery of photography
until 2007.
In the third chapter, we treat of the photographic technique of a procedural way in relation
to the practice of learned photography, addressing the technical capabilities of expressive means in
relation to the procedures in the photographic field and their correlations in contemporary art.
In the fourth chapter, they are aligned with respect to the intersections of the issues we
discussed in previous chapters, covering the ways in which photography is established as the object
of multiple approaches in art and around this in their relations as privileged material in contemporary
art. We treat these matters primarily a visual path established from selected portfolios of the artists
included in the work: Eustaquio Neves, Vik Muniz and Laurence Gartel and relationships of their works
with other productions that we believe relevant artistically.
The photography’s status as art has changed in the course of its development making it
currently one of the materials used in contemporary art. We aim to scale in the production of these
three artists within their artistic contributions, looking through the production of such a response on
our questions about the contemporary place of photography.
Descrição
Palavras-chave
arte , fotografia , linguagem , contemporaneidade.
Assuntos Scopus
Citação
CARVALHO, José Marcos Cavalcanti de. Qual o lugar da fotografia contemporânea?. 2016. 163 f. Tese( Educação, Arte e História da Cultura) - Universidade Presbiteriana Mackenzie, São Paulo .