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PIPELINE (The Photography Annual 攝影年鑑)

PIPELINE (The Photography Annual 攝影年鑑)

Tony Godfrey
0/5 ( ratings)
This issue of Pipeline is about photography. Once a year we like to focus on art that results from the interaction between light and light-sensitive material. Since the 1960s and the weakening of the social and political agendas of modernism, which prioritised the representation of human society through progress, art practices have become available to those minorities previously women, as reflected by the Untitled Film Series by Cindy Sherman, a series of self-portraits as various stereotypes of western women; ethnic minorities; the lower classes of society; sexual minorities and so on. Since the 80s, contemporary artists have engaged with the mundane and the ordinary, coinciding with photographic material’s increasing everyday presence. It is therefore interesting to differentiate the versatile functions of photography in contemporary art-making; popularly employed for its documentary qualities within conceptual endeavours, it is also a good companion to figurative painting, especially since its recent transition back from abstraction. Intriguingly, though, contemporary art rarely converges with photography as practised by professional photographers or reporters; indeed it sometimes directly contradicts its codes, such as in Sophie Ristelhueber’s La Campagne , a series of photographic overlapping posters installed against of what appears to be quiet, bucolic countryside but is revealed on longer observation to be a war-ravaged Bosnian village. The artist employs war documentary as the subject-matter and the tools of reportage and photography, but integrates them into an artistic strategy that does not comply with the idea of what is expected or what people want to see.
Language
English
Pages
169
Format
Paperback
Release
January 01, 2013

PIPELINE (The Photography Annual 攝影年鑑)

Tony Godfrey
0/5 ( ratings)
This issue of Pipeline is about photography. Once a year we like to focus on art that results from the interaction between light and light-sensitive material. Since the 1960s and the weakening of the social and political agendas of modernism, which prioritised the representation of human society through progress, art practices have become available to those minorities previously women, as reflected by the Untitled Film Series by Cindy Sherman, a series of self-portraits as various stereotypes of western women; ethnic minorities; the lower classes of society; sexual minorities and so on. Since the 80s, contemporary artists have engaged with the mundane and the ordinary, coinciding with photographic material’s increasing everyday presence. It is therefore interesting to differentiate the versatile functions of photography in contemporary art-making; popularly employed for its documentary qualities within conceptual endeavours, it is also a good companion to figurative painting, especially since its recent transition back from abstraction. Intriguingly, though, contemporary art rarely converges with photography as practised by professional photographers or reporters; indeed it sometimes directly contradicts its codes, such as in Sophie Ristelhueber’s La Campagne , a series of photographic overlapping posters installed against of what appears to be quiet, bucolic countryside but is revealed on longer observation to be a war-ravaged Bosnian village. The artist employs war documentary as the subject-matter and the tools of reportage and photography, but integrates them into an artistic strategy that does not comply with the idea of what is expected or what people want to see.
Language
English
Pages
169
Format
Paperback
Release
January 01, 2013

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