≡ (re)Discovering the work of Gregory Crewdson ≡

When I first saw Gregory Crewdson’s photographs, roughly 10 years ago, they didn’t appeal to me. Aesthetically, they still don’t. Throughout the years, in classes and other events, there were various encounters with his lynchian universe, but my immediate reactions weren’t changed and beyond my interest in some of the technical issues called forth by…

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⁞ On the use of Photomontage as an anti-establishment tool ⁞

Henry Peach Robinson, Fading Away, 1858. Oscar Gustava Rejlander, Two ways of life, 1857. John Heartfield, Adolf, Self-portrait with Police, 1929. Raoul Hausmann, Le Critique d’art, 1918. Alexander Rodtchenko, Montages, 1923. László Moholy-Nagy, The Olly and Dolly Sisters, 1925. Hannah Höch, The Bride, 1933. Paul Eluard, L’Hystérie, circa 1928. Man Ray, Observatory Time –The Lovers,…

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Jeff Wall talks about his work

© Jeff Wall A Sudden Gust of Wind, 1993 Jeff Wall discusses his work in conjunction with the retrospective that traces his photography from the late 1970s to the present. 2007 One of the many audio files from MOMA. You can hear it downloading directly from here The online exhibition he talks about can be…

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Artistic Documentary

© Robert Polidori, After the Flood © Jeff Wall, The Destroyed Room (…) Um dos aspectos vulgarmente utilizado para referenciar a fotografia documental é a sua autenticidade. O fotógrafo deve presenciar e experimentar a realidade que recria através do Acto Fotográfico. Mas, de facto, a fotografia nunca é, ela está sempre em lugar de. E…

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