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GÉNESIS 2:1, foi o tema escolhido para a 31ª edição dos Encontros da Imagem - Festival Internacional de Fotografia e Artes Visuais.2021, que este ano decorre entre 17 de setembro e 31 de outubro. Entre as muitas outras atividades, o Festival engloba 47 exposições distribuídas por 25 espaços distintos, envolvendo a participação de 64 fotógrafos. GÉNESIS 2:1 dá continuidade ao tema do ano passado e, nunca um tema escolhido, se enquadrou tão bem no contexto da atualidade. Um ano depois, voltamos também nós e todo o mundo -- em resultado da crise pandémica provocada pelo Covid-19, de novo, a ter que passar por um confinamento generalizado. Gerou-se a confusão e o caos. Uma incapacidade coletiva para compreender a desordem das coisas, confrontando a humanidade com desafios cada vez mais complexos e exigentes. A sociedade contemporânea está desde há muito, perante enormes desafios de carácter global: desde as questões relacionadas com o planeta e os seus problemas ecológicos -- perda da biodiversidade, alterações climáticas, aquecimento e contaminação -- até às civilizações que o habitam, onde muitas delas geram novas desigualdades e indiferença moral -- regimes políticos, religiosos, fronteiras, refugiados, racismo, questões de género e muitas outras. Aquilo a que chamamos progresso, não só deixou de coincidir com a humanização do mundo, como pode acabar por ditar o seu fim. Urge encontrar soluções para acabar com as desigualdades e indiferença em relação ao sofrimento de milhões de pessoas. Uma interrogação se pode colocar: que futuro nos espera? A crise em que vivemos constitui uma oportunidade para que todos encontremos causas comuns e discutamos as melhores soluções para o que deva ser feito. Assim, e também com o objetivo de alerta, muitas das exposições agora apresentadas no âmbito dos Encontros da Imagem, para além do seu lado estético, abordam algumas das questões pertinentes que o mundo contemporâneo hoje vive.
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"What are photographs 'doing' in museums? Why are some photographs valued and others not? Why are some photographic practices visible and not others? What value systems and hierarchies do they reflect? What Photographs Do explores how museums are defined through their photographic practices. It focuses not on formal collections of photographs as accessioned objects, be they 'fine art' or 'archival', but on what might be termed 'non-collections': the huge number of photographs that are integral to the workings of museums yet 'invisible', existing outside the structures of 'the collection'. These photographs, however, raise complex and ambiguous questions about the ways in which such accumulations of photographs create the values, hierarchies, histories and knowledge-systems, through multiple, folded and overlapping layers that might be described as the museum's ecosystem. These photographic dynamics are studied through the prism of the Victoria and Albert Museum, London, an institution with over 150 years' engagement with photography's multifaceted uses and existences in the museum. The book differs from more usual approaches to museum studies in that it presents not only formal essays but short 'auto-ethnographic' interventions from museum practitioners, from studio photographers and image managers to conservators and non-photographic curators, who address the significance of both historical and contemporary practices of photography in their work. As such this book offers an extensive and unique range of accounts of what photographs 'do' in museums, expanding the critical discourse of both photography and museums".--UCL Press.
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Longtemps méconnue, la photographie soviétique reste encore prisonnière de préjugés tenaces. Pour beaucoup, elle s’inscrit dans deux pôles bien identifiés : la photographie dite de propagande supposée dénuée d’intérêt, et l’avant-garde des années 1920 incarnée par Rodtchenko. Ces considérations abruptes doivent être largement nuancées. Bien que fortement contrôlée, la photographie soviétique qui a été préservée dans les archives et dans la presse illustrée offre une diversité comparable à celle des autres pays. Une observation attentive, une étude des différents thèmes abordés ainsi qu’une analyse des nombreux débats qu’elle a suscités permettent une compréhension plus fine des réalités de l’URSS et un regard nouveau sur l’histoire de la photographie. Saisir les évolutions et mettre les événements en perspective, tel est le sens de cette recherche menée sur une longue période allant de 1917 à 1945.
Photography --- Photographs --- History. --- Political aspects --- Photos --- Snapshots --- Pictures --- propagande --- photographie --- URSS --- avant-garde
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Photographs show family celebrations, religious rituals, the homeless, couples, children, bodybuilders, parades, street scenes, and shops in each section of Boston. Originally published by Northeastern University Press in 1987. With a new foreword by B. D. Colen.
Massachusetts --- Boston (Mass.) --- Boston (Mass.) --- Social life and customs --- Photography & photographs
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Museum techniques --- Photograph collections --- Photographs --- Standards --- Conservation and restoration --- Conservation and restoration
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"Visual Plague claims that what epidemic photography did, besides the individual visualization of each outbreak it depicted, was to transform the way in which we relate to infectious diseases, as both biological and historical agents"--
Environmental factors --- Epidemiology & medical statistics --- Photography & photographs --- Public health and preventive medicine --- Epidemiology and medical statistics --- Photography and photographs --- Epidemics --- Documentary photography. --- History. --- MEDICAL / Public Health --- MEDICAL / Epidemiology --- PHOTOGRAPHY / History --- Photography, Documentary --- Photography
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"Reveals the invisible work that made it possible for pictures to circulate in print and online from the 1830s to the 2010s"--
Pictures --- Cataloging of pictures. --- Research. --- PHOTOGRAPHY / History --- ART / Museum Studies --- LANGUAGE ARTS & DISCIPLINES / Library & Information Science / Digital & Online Resources --- Cataloging of photographs --- Photographs --- Iconography --- Pictorial representations --- Art --- Visual aids
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In een tijd waarin het publiek kopje-onder dreigt te gaan in de digitale informatiestroom is het belangrijk voor een organisatie of instelling om zich op een snelle en duidelijke manier kenbaar te maken.Dat werkelijk iedereen effectief fotografeert is vooral het resultaat van een evolutie met de smartphone als voorlopig eindpunt. Iedereen heeft tegenwoordig een fotocamera op zak. Je hoeft geen dure apparatuur meer aan te schaffen en mee te sleuren, maar een aantal technieken en basiskennis zorgen ervoor dat je met foto's heel krachtig kan communiceren.Deze publicatie begeleidt de lezer daarin en toont aan hoe je goede foto's moet zoeken, maken en beheren, het wettelijk kader dient te begrijpen, en met welke vuistregels je rekening moet houden. Dankzij de vele beelden en duidelijke uitleg is dit boek een ware inspiratiebron voor een goed fotogebruik.Bron : https://www.politeia.be/
Didactic strategies --- Photography --- Fotografie --- Visuele communicatie --- Beeldcommunicatie --- Communicatie --- Grafische technieken --- photographs --- use --- Communication visuelle Visuele communicatie --- Photographie Fotografie --- visuele communicatie
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Conservation. Restoration --- Photography --- History --- restoration [process] --- photography [process] --- history [discipline] --- preserving --- restauratie (kunst) --- conservatie --- fotografie --- geschiedenis --- Photographs --- Photographic conservation --- Photographic restoration --- Conservation and restoration
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