Andy Warhol: Polaroids & Portraits

Enigmatic Andy Warhol claimed he had “no real point to make” in producing art. Yet, his silkscreens, sculptures, paintings, and photographs reveal the artist’s profound interest in the way art intersected with fields like advertising, fashion, film, mass culture, and underground music. In his experimentations with photography and portraiture, Warhol was fascinated with representations of both the individual and the masses and used the Polaroid portrait to illustrate the fine lines between art and popular culture, celebrity and anonymity. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1010/thumbnail.jp

Editoriales Etno-iconográficos en Vogue (1948-2016): un enfoque a las diplomacias culturales

Este artículo ofrece la visión general de una investigación que ha sentado sus bases en una sistematización de los mensajes que surgen de la interfaz entre diferentes culturas a través de la comunicación visual de la moda. Profundiza en un estudio semántico de las composiciones relacionadas con la "etno-iconografía" desarrolladas por tres ediciones occidentales de Vogue desde 1948 a 2016. Para esta investigación, hemos examinado 100 editoriales fotográficos. El artículo propone un marco teórico que sirva para evaluar la forma en que la moda ha reflejado y construido las nociones coloniales del Otro, impulsadas por políticas visuales de género y raza, y moldeadas por ideologías imperialistas de la industria. El artículo también introduce una exploración del legado de los regímenes visuales eurocéntricos y la negociación con las subjetividades postcoloniales por parte de las últimas ediciones no occidentales. Finalmente resalta que este tipo de imagen puede proporcionar visibilidad a realidades sociales de dichos territorios, permitiendo a las revistas de moda actuar como detonadores de la reflexión crítica y agentes capaces de establecer interrelaciones culturales.This article offers an overview of a seminal research that laid its foundations in a systematization of the messages emerging from the interface between cultures through fashion image making. It delves into a semantic study of the compositions related to “ethno-iconography” that have been developed by three Western editions of Vogue since 1948 to 2016. We had examined 100 photographic editorials. The paper proposes a theoretical framework that serves to evaluate the way that fashion has reflected and built colonial notions of the Other, driven by race and gender visual politics, and shaped by the industry’s imperialist ideologies. The article also introduces a prospective exploration of the legacy of the Eurocentric visual regimes and the negotiation with post-colonial subjectivities by non-Western editions. It ultimately highlights that photo shoots also provide visibility to social realities that permit magazines to act as triggers of critical reflection and agents capable of establishing inter-cultural relations

Bodies in Conflict: From Gettysburg to Iraq

The exhibition Bodies in Conflict: From Gettysburg to Iraq not only conveys an ambitious geographic and historical range, but also reflects the sensitivity, ambition, and thoughtfulness of its curator, Laura Bergin ’17. In examining how the human figure is represented in prints and photographs of modern war and political conflict, Laura considers how journalistic photographs, artistic interpretations, and other visual documentation of conflict and its aftermath compare between wars and across historical periods. Specific objects include a print and photographs from the Civil War, propaganda posters from World Wars I and II, photographs and a protest poster from the Vietnam War, and a large-scale photograph of a reconstructed journalistic image of Saddam Hussein’s palace by Iraqi-born contemporary artist Wafaa Bilal. Taken together, the works in the exhibition make a profound political and humanitarian statement about suffering, heroism, death, compassion, and appeals to nationalism throughout wars over the last 150 years. [excerpt]https://cupola.gettysburg.edu/artcatalogs/1018/thumbnail.jp

The hand that turns the handle: camera operators and the poetics of the camera in pre-revolutionary Russian film

This article seeks to chart the evolving nature of the camera operator's function at a time when Russian cinema was facing the challenge of self-definition, not only in relation to other art forms, but also in relation to world cinema. It will challenge the conventional notion of the cameraman as merely a ‘hand that turns the handle’, a technician (if not automaton) who was responsible only for the correct speed of shooting and exposure of the print. If camera operation started out as a rudimentary craft, one that was nevertheless valued because the mechanisms of the cinematograph were little understood, it rapidly became an art-form as the language of silent cinema acquired sophistication. This article will analyse the evolving nature of the relationship between the director and the camera operator, and the development of certain conventions which pertained to the role of the camera and controlled the expression of dramatic ideas in visual form. It will also seek to identify the reasons for a number of major aesthetic shifts which took place in Russian cinema during the period concerned, and the importance of the visual arts—in particular painting and still photography—in determining those shifts

MCAM - The AR Photography Composition Education Prototype for Mobile Device Based on Augmented Reality Interactive

The current digital age and era where technological advancements and innovation have revolutionized various sectors, photos and videos are the most convenient and direct medium for people to record and share their personal lives today. In this digital era and internet age, mobile phone cameras have replaced cameras as the most widely used photography tools. While documenting personal life with photos, people gradually pay more and more attention to the artistry and aesthetics of photos. Just recording that life can no longer satisfy them, how to present more of their own life is a new pursuit of videos and pictures as it can be seen from the webpage. Many phone applications and specifically camera apps have a designed filter function that helps people to optimize their photos. These camera apps have gradually filled people\u27s mobile phones. Selecting a filter and then taking a photo-shoot has become a standard process for daily photography. If the image is not satisfactory after the shooting completed, the photos can be re-optimized by light adjustment and liquefaction deformation in the camera apps as it can be noted from the webpage on page 16. Unfortunately, the power of those filter functions cannot change the reality of the release of mediocre images because of the lack of composition skills. Compared to filters and other photo re-optimized functions, photography composition is the skill that people need to learn and master in the earlier stage. However, most people find it difficult to determine. In this project there will be a demonstration of how AR interactive instruction is rationally helping people in learning photography compositions; give users an enjoyable experience to improve the better skill of photography. This project will present in an interactive interface, and a prototype shows the use of this application

Rockscapes:A Study of Forms in the Natural Formations of Hyderabad

Rock formations in the Deccan Plateau are very old; some of them are older than 2.5 million years. Geologically, rocks constitute of various mineral compositions within the core and these decide how they are shaped due to weathering over many years. These beautifully weathered landscapes are affected by the recent rapid urbanization. Thus by photographically studying the forms and divulging the inner souls, this project attempts to sensitize a viewer towards these rockscapes. Photographs are presented in square format to highlight the form and texture. As per the psychology of shapes, square is quite balanced and that encourages the viewer to move around within the frame. It provides a clutter free and simple composition. In addition, the images are printed in monochrome to eliminate the visual dominance of color, to emphasize form and texture, to feel the timelessness and to amplify the use of negative space. By grouping the images, the subject matter is presented to the viewer with intended emphasis – singles, sky, plants, shadow and radials

Photography as an act of collaboration

The camera is usually considered to be a passive tool under the control of the operator. This definition implicitly constrains how we use the medium, as well as how we look at – and what we see in – its interpretations of scenes, objects, events and ‘moments’. This text will suggest another way of thinking about – and using – the photographic medium. Based on the evidence of photographic practice (mine and others’), I will suggest that, as a result of the ways in which the medium interprets, juxtaposes and renders the elements in front of the lens, the camera is capable of depicting scenes, events and moments that did not exist and could not have existed until brought into being by the act of photographing them. Accordingly, I will propose that the affective power of many photographs is inseparable from their ‘photographicness’ – and that the photographic medium should therefore be considered as an active collaborator in the creation of uniquely photographic images

Soft reboot : the making of Hard Reset

textDirector, Writer and MFA Candidate Deepak Chetty will discuss his history as a filmmaker from an early age up until present day as well as the entire process of conceptualizing, creating, producing and finishing Hard Reset. Hard Reset, a science fiction thriller is the first short film out of UT3D and the first graduate thesis film shot natively in stereoscopic 3D in North America.Radio-Television-Fil

Symbiots: Conceptual interventions into energy systems

Symbiots set out to examine values such as ease-of-use, comfort, and rationality assumed within conventions of ‘good design’, in order to expose issues related to energy consumption and current human- (versus eco-) centered design paradigms. Exploring re-interpretations of graphical patterns, architectural configurations and electrical infrastructure typical in Swedish cities, Symbiots takes the form of a photo series in the genre of contemporary hyper-real art photography. Painting a vivid picture of alternatives to current local priorities around energy consumption, the three design concepts depicted are strangely familiar, alternatively humorous and sinister