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Este blogue desenvolve-se em dois níveis:

1º nível - Temas
2º nível - Comentários


No primeiro nível, Temas, iremos publicando textos e fotos relativos aos temas propostos.

No segundo nível, Comentários, iremos publicando, com maior ou menor regularidade, textos sobre a actualidade, fotográfica ou não.

Na "cabeça" deste blogue surgirão sempre linkes ,
para uma leitura "condensada", tema a tema.

Divirtam-se!

TEMAS

NEOREALISMO
(link)

WALKER EVANS - SUBWAY
(link)

HELEN LEVITT - A WAY OF SEEING
(link)

RAY METZKER

Ray Metzker’s images question the nature of the photograph and photographic “reality.” Through cropping, multiple imagery, and other formal inventions, his work explores options for transforming the vocabulary of the photograph. “Untitled” from 1969 illustrates the simple method of manipulating objective information through juxtaposition: two distinct women on the beach enter into a yin-yang relationship of line and gesture.
(link)

SUSAN MEISELAS

The camera is an excuse to be someplace you otherwise don´t belong. It gives me both a point of connection and a point of separation
LINK

BERT TEUNISSEN

Portugal was by far the easiest country to work in: people were most friendly and they kept inviting us for drinks, diners and talks.
PORTUGAL (link)

THE ROMANY ROAD

I read that a thousand years ago they traveled on horseback and in wagons. They were frequently richly dressed and dark in complexion with gold coins woven into their black hair. Romany Gypsies are England's oldest ethnic minority. They come and go at the edges of society and, before meeting some of them to make a collection of portrait photographs, I knew next to nothing about them.
LINK

UM ABRAÇO COM PROPÓSITO

COUPLES

APOLOGIES

..."My favorite apology so far, however, appeared in a brief Reuters account. “Villagers of the tiny settlement of Nubutautau [Fiji] wept as they apologized to the descendants of a British missionary killed and eaten by their ancestors 136 years ago,” the news agency reported. “The villagers and the relatives of the missionary, the Rev. Thomas Baker, were taking part in a complex ritual intended to lift a curse the locals say has caused an extended run of bad luck.” A cow was slaughtered and kisses given to the 11 relatives of the missionary by the village chief, Ratu Filimoni Nawawabalavu, “a descendant of the chief who cooked the missionary.” No word on whether the curse lifted"...
LINK

HAVE YOU ALREADY MADE YOUR WISH?

projecto em desenvolvimento

LASHESPHOTO

Tomamos las fotos el martes por la tarde, desarmamos la casa y construimos un pequeño dormitorio, intentando hacerlo parecer como que el mundo que la rodea cae a pedazos. Quisimos reforzar la idea dándole un tono monocromático, dejando solo a ella en la luz.
Tuvimos una pequeña complicación, pues la idea original estaba de espaldas mirándose por el espejo donde notaríamos sutilmente el golpe que reluce en su cara. Al hacer unas pruebas, nos dimos cuenta que su cara, al ser un plano general, se perdía por completo en la imagen. Esto no importo mucho, al ponerse frontal, nos dimos cuenta que el golpe, no solo se veía con mejor claridad pero también apreciábamos mejor su expresión y lenguaje corporal.

A view of central Dubai from above a camel racetrack on the outskirts of the city in March. The water at the edge of development is the emerging Business Bay district, where as many as 240 mixed-use skyscrapers are planned for 2015 around the extended creek.

Fifty years from now, New York will be considered the economic and cultural capital of the previous century, fille­d with quaint artifacts of another time and places to visit for the sake of nostalgia, but not the center of world culture—­somewhat like how we think of Paris today compared to 100 years ago. Federal immigration restrictions, the religious police, and the protection of large corporations from foreign competition will have cut off our biggest sources of wealth—invention and innovation—and historic preservation will have saved the unique character of neigh­borhoods and conserved innumerable buildings but killed the spirit that made the city the greatest of its time.

The megacity of Dubai, one of the seven federal states of the United Arab Emirates, will be...
LINK

AS PALAVRAS DOS OUTROS

O FIM DE UM MUSEU
Alexandre Pomar

..."No Chiado, o museu definido pelo organismo da tutela foi desvirtuado no seu progama por um director deixado em roda livre, esvaziando-se as galerias para promoções variadas e aplicando-se critérios de montagem próprios de um design novo-rico, depois de fazer desaparecer a compartimentação do espaço que um arquitecto especialista francês julgara conveneniente para obviar à escassez de superfícies (sabemos mais disso cá na província). Para impor certos presentes é preciso maltratar a história, apagar o passado. Uma ou outra atracção que por lá passa (a caminho da colecção Rendeiro?) não trava o crescer da insignificância e a ignorância crescente que se lhe segue. Percebe-se que a degradação da ideia de museu agrade às chamadas autoridades, que assim se desobrigam do compromisso que um dia assumiram de lhe ampliar as instalações. Mas para que raio haveria de crescer o museu do Chiado, se assim se prova que aquilo não interessa a ninguém? Para ser mais do mesmo já basta assim. Aqui ao lado, com o Prado, o Reina Sofia, o Thyssen, passa-se o exactamente o contrário, mas Madrid é uma capital; nas províncias espanhola é possível passar-se o mesmo que em Lisboa."...
LINK

ZOE LEONARD

For more than twenty years, the American artist Zoe Leonard (born in 1961, in Liberty, New York) has been practicing the art of the contemplative journey and the perceptive gaze. She trawls through nature and culture, through the (urban) landscape and the world of museums, in search of signs that might give some insight into their contrasts, similarities and inter-relationships. In her photographs, as we look down at the Niagara Falls, we see the rushing waters pour into a massive cleft in the earth’s crust; we see railway tracks sweeping across the globe; we see the patterns of modern urban existence, work and life pressed into right angles and tubes.
LINK

ZOE LEONARD

INTRODUÇÃO AO NEOREALISMO

E' interessante ripercorrere brevemente la storia della parola "neorealismo", perché ci permette di cogliere due aspetti fondamentali della natura di questo movimento: lo stretto legame che esso ebbe con il cinema, e da cui trae origine il titolo e il taglio del presente lavoro, e la problematicità che ha accompagnato fino ad oggi questo movimento culturale.
Infatti, anche se il termine "neorealismo" si cominciò ad usare alla fine degli anni Venti con riferimento alle tendenze artistiche del tempo e alla parola tedesca Neue Sachlichkeit (Nuova oggettività), chi lo usò in modo nuovo nel 1942 fu il montatore cinematografico per il film Ossessione di Visconti, e questo ne provocò una rapida diffusione nell’ ambito cinematografico. Già dopo il 1943 il termine si estese anche nell'ambito letterario con diverse interpretazioni e sovrapposizioni con altri termini: realismo in generale, socialrealismo, realismo socialista.
LINK

FEDERICO PATELLANI

¿Se puede hablar de neorrealismo analizando la obra de Federico Patellani en los años inmediatamente posteriores a la segunda guerra mundial? ¿Se podría crear un paralelo con el movimiento cultural que movió y guió a muchos directores de cine italianos como Rossellini, De Sica Visconti, Castellani y Germi?

Este movimiento surgió como espejo de una realidad excepcional, la de la Italia de posguerra, y está marcado más que por la elección de los argumentos a tratar o por las técnicas a utilizar, por el fuerte deseo de representar los diferentes aspectos de la sociedad sin ninguna búsqueda espectacular. En mi opinión, la respuestas las dos
LINK

MARIO DE BIASI

Una città, in quasi sessant’anni, subisce trasformazioni così profonde da renderla spesso irriconoscibile. Quando Mario De Biasi inizia la sua instancabile ‘ricognizione’ la guerra si è da poco conclusa, lasciando terribili ferite nel tessuto urbano, e sociale. Trascorre il tempo e Milano assume volti sempre diversi, e sempre fedeli alla sua realtà più autentica. Nell’intera storia della fotografia è improbabile che una città sia stata seguita per un così lungo periodo, ininterrottamente e da un singolo fotografo.
LINK

MARIO GIACOMELLI

Frank Horvat : I wonder if your eyes are like your mother's.

Mario Giacomelli : I don't really know what my mother's eyes were like. Sometimes I feel there was no difference between us, except that she was dressed as a woman and I as a man. When thinking back, the thing that now seems the most important - and also the most beautiful - is that never, at any time of her life, I found a way of telling her how much I loved her. Maybe because of my bad character, or out of shyness. I never kissed her and probably never even asked how she was. She died a few months ago, and when she was dead I kissed her lips. For me it was...
LINK & LINK

MARIO CATTANEO

In occasione della donazione del fondo fotografico Mario Cattaneo da parte degli eredi, Il Museo di Fotografia Contemporanea presenta una selezione delle sue opere nella sala dedicata alla collezione permanente.

Mario Cattaneo appartiene a quella generazione di fotografi italiani che nella seconda metà del Novecento trovano nell’ambiente dei circoli fotoamatoriali un luogo di espressione e di dibattito sulla fotografia: dall’approfondimento tecnico alla conoscenza dei maestri della fotografia internazionale, alla formulazione di ipotesi teoriche ed estetiche sul mezzo.

LINK

ENRICO PASQUALI

Empecé mirando las películas, la pintura y los libros que hablaban de neorrealismo. Deseaba ser como aquellos artistas que a través de su arte querían no sólo describir la realidad tal como era, sino imponer en ella un cambio. Quería contribuir a modificar las cosas; a pesar de no sentirme un artista, sabía que tenía algo que decir. Corno un pintor o un escritor, fotografiaba a los trabajadores como eran, sin ninguna opción de retoque. Me interesaba el trabajo del hombre y su voluntad de cambio para mejorar su propia condición de vida; mis padres eran esclavos, esclavos de su propia generación, de su propio analfabetismo.
LINK

GIANNI BERENGO GARDIN

Gianni Berengo Gardin è nato a Santa Margherita Ligure nel 1930. Ha iniziato a occuparsi di fotografia nel 1954. Dopo aver vissuto a Roma, Venezia, Lugano e Parigi, nel 1965 si è trasferito definitivamente a Milano iniziando la carriera professionale, dedicandosi alla fotografia di reportage, all’indagine sociale, alla documentazione di architettura, alla descrizione ambientale. Ha collaborato con le principali testate della stampa illustrata italiana ed estera, ma si è principalmente dedicato alla realizzazione di libri, pubblicando oltre 180 volumi fotografici, tra monografie e opere collettive.

Le sue prime foto di reportage sono state pubblicate nel 1954 su Il Mondo, diretto da Mario Pannunzio, con cui ha collaborato fino al 1965.
LINK

WALKER EVANS - SUBWAY

Between 1938 and 1941 Evans surreptitiously shot portraits of strangers in the New York subway, riding trains with a camera concealed under his coat, fitted with a shutter release running inside his sleeve. In 1966, he finally published a book of the pictures, entitled Many Are Called ; in the same year they were exhibited at New York's Museum of Modern Art.
LINK

WALKER EVANS - SUBWAY

WALKER EVANS - SUBWAY

WALKER EVANS - SUBWAY

A WAY OF SEEING

A WAY OF SEEING
James Agee

HELEN LEVITT was born and educated in New York City. She made these photographs in New York in the 194os. None of the photographs is intended as a social or psychological document. Several are records of street and sidewalk drawings; most of the others can best be described as lyrical photographs. In this book they are arranged, numbered but without captions, in an order suggested by the essay. "THE MIND and the spirit are constantly formed by, and as constantly form, the senses; and misuse or neglect the senses only at grave peril to every possibility of wisdom and well-being. The busiest and most abundant of the senses is that of sight. The sense of sight has been served and illuminated by the visual arts for as long, almost, as we have been human. For a little over a hundred years, it has also been served by the camera. Well used, the camera is unique in its power to develop and to delight our ability to see. Ill or indifferently used, it is unique in its power to...
LINK

HELEN LEVITT - A WAY OF SEEING

HELEN LEVITT - A WAY OF SEEING

HELEN LEVITT - A WAY OF SEEING

ALVIN LANGDON COBURN

Alvin Langdon Coburn was born into a middle-class family in Boston in 1882. His first camera was given to him by his uncles when he was eight years old. Thus began his venture into photography as a means of artistic expression In 1899 he moved with his mother to London and soon after had his first exhibition with the Linked Ring Brotherhood in 1900. The Linked Ring was an organization founded in 1892 by a group of photographers that included H.P. Robinson, George Davison, and H. H. H. Cameron, Julia Margaret Cameron's son. The three interlinked rings that were the symbol of the Brotherhood had Masonic overtones and
link

MARTIN MUNKACSI

In 1932 the young Henri Cartier-Bresson, lately returned from Africa, saw a photograph of African children charging into waves on a beach. “I must say that it is that very photograph which was for me the spark that set fire to fireworks,” he recalled years later. “I couldn’t believe such a thing could be caught with the camera. I said, ‘Damn it,’ took my camera and went out into the street.” What Cartier-Bresson produced during the next few years, as the curator Peter Galassi once wrote, became “one of the great, concentrated episodes in modern art.”

How much the African photograph actually shaped this work is debatable, but it struck a chord. It epitomized the combination of serendipity and joie de vivre that Cartier-Bresson admired: three naked boys, their silhouettes against white spray and sun-drenched water, making a perfect geometry.

The man who shot the picture was Martin Munkacsi. Hungarian-born, a star of Berliner Illustrierte Zeitung, the leading illustrated German newsmagazine, Munkacsi was then one of the most celebrated photojournalists. He reached a pinnacle of fame and fortune in New York later that decade, claiming to be the highest-paid photographer in the world (he was notoriously self-mythologizing), revolutionizing the American fashion magazine under Carmel Snow and Alexey Brodovitch at Harper’s Bazaar.

LINK

BORIS IGNATOVICH

Boris Ignatovich is one of the outstanding photographers of the Russian avant-garde - the pioneers of photo journalism. He belonged to the Rodchenko and Lissitzky circle of artists and was closely affiliated and befriended with professional photographers like Alpert and Shaikhet, Skurichin and Shagin, Langman and Sterzer, Fridljand and Tules, Markov and Chalip, Petrusov and Kovrigin as well as Gruntal and Chlebnikov, the masters of subject- and document related photography.

For the avant-garde artist amongst the photographers of the 1920's there had been three different ways of ...
LINK

ARNOLD NEWMAN

PROPUESTA DE MODELO DE ANÁLISIS DE LA IMAGEN FOTOGRÁFICA

Descripción proyecto:

Nuestra propuesta se formula para el análisis del campo de la fotografía artística, ya que es el tipo de imágenes que da el juego suficiente para poder desarrollar un estudio analítico en profundidad. Creemos que en el contexto actual es más necesario que nunca ofrecer un trayecto metodológico en el estudio de la imagen, y más concretamente en el caso de la fotografía, que contribuya a responder la pregunta “cómo significa la fotografía”.

En el análisis de una fotografía se puede distinguir una serie de distintos niveles, desde la estricta materialidad de la obra, y su relación con el contexto histórico-cultural, hasta un nivel interpretativo.

La presente propuesta de análisis de la imagen fotográfica se completa con la preparación de una base de datos de fotografías, que incluye unos 900 registros, cada uno con una breve ficha técnica, y una selección de 30 fotografías analizadas siguiendo la metodología de trabajo que hemos expuesto. El trabajo de investigación, realizado entre los años 2001-2004, está financiado por la Convocatoria de Proyectos de Investigación BANCAJA-UJI de la Universidad Jaume I, código I201-2001, dirigido por el Dr. Rafael López Lita, Catedrático de Comunicación Audiovisual y Publicidad, la coordinación del Dr. Javier Marzal Felici, Profesor Titular de Comunicación Audiovisual y Publicidad, y el Grupo de Investigación “ITACA-UJI” (Investigación en Tecnologías Aplicadas a la Comunicación Audiovisual). Todo el material puede ser consultado en la página web www.analisisfotografia.uji.es, y ha sido presentado en el I Congreso de Teoría y Técnica de los Medios Audiovisuales, dedicado en esta edición a “El análisis de la imagen fotográfica”, celebrado en Castellón los días 13, 14 y 15 de octubre de 2004.
LINK

EDWARD STEICHEN

Edward Steichen (March 27, 1879–March 25, 1973) was an American photographer, painter, and art gallery and museum curator, born in Bivange, Luxembourg. His family moved to the United States in 1881 and he became a naturalized citizen in 1900.

Having established himself as a fine-art painter, in the beginning of the 20th century, Steichen assumed the pictorialist approach in photography and...
LINK

LEWIS HINE

Lewis Wickes Hine (September 16, 1874 - November 3, 1940), was an American photographer. For Hine, the camera was both a research tool and an instrument of social reform.

Born in Oshkosh, Wisconsin, Hine studied sociology at the University of Chicago, Columbia University and New York University. He began his career in 1904, photographing immigrants arriving in the United States at Ellis Island in New York Harbor. In 1908, he became...
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