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1. |
Record Nr. |
UNIORUON00001293 |
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Autore |
MURPHY, John D. |
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Titolo |
Turkish newspaper reader / John D. Murphy & Metin Somay |
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Pubbl/distr/stampa |
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Englewood Cliff, : Dunwoody Press, 1988 |
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ISBN |
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Descrizione fisica |
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Altri autori (Persone) |
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Soggetti |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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2. |
Record Nr. |
UNINA9910404104903321 |
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Autore |
Gunti Claus <p>Claus Gunti, University of Neuchâtel and University of Art and Design Lausanne, Schweiz </p> |
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Titolo |
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Digital Image Systems : Photography and New Technologies at the Düsseldorf School / Claus Gunti |
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Pubbl/distr/stampa |
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Bielefeld, : transcript Verlag, 2020 |
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ISBN |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (352 p.) |
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Collana |
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Disciplina |
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Soggetti |
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Photography |
Art |
Digital |
Culture |
Computer |
Germany |
Düsseldorf School |
Thomas Ruff |
Andreas Gursky |
Jörg Sasse |
Art History of the 21st Century |
European Art |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di contenuto |
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Frontmatter 1 Contents 4 Introduction 8 A FRAMING THE DÜSSELDORF SCHOOL 20 B WHAT IS DIGITAL PHOTOGRAPHY? 31 Introduction 40 A EMERGENCE OF A GERMAN DOCUMENTARY TRADITION 47 B THE END OF PHOTOGRAPHY 77 C DISCOURSE ON DIGITAL PHOTOGRAPHY IN GERMANY 98 Introduction 116 A PRE-DIGITAL MECHANISMS IN CONTEXT: 1960S / 1970S 120 B SERIAL CONSTRUCTIONS AND COMBINATORIAL FUNCTIONS: A TRANS-HISTORICAL PATTERN 137 Introduction 154 A DIGITAL RETOUCHING TOOLS 156 B DIGITAL STITCHING 175 C EARLY DIGITAL COMPOSITIONS 203 D THOMAS RUFF'S ANALOGUE AND DIGITAL EXPERIMENTS WITH THE PORTRAIT 219 Introduction 240 A COMPLEX COMPOSITES: ANDREAS GURSKY'S GENERIC WORLD 243 B IMAGE RECYCLING AND APPROPRIATIVE POSITIONS 259 C THOMAS RUFF'S GENERATED PHOTOGRAPHS AND THE LIMITS OF REPRESENTATION 300 D GENERIC PICTURE REALITIES 314 5 Conclusion 320 A BIBLIOGRAPHY 334 B INDEX 346 C ACKNOWLEDGEMENTS 349 |
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Sommario/riassunto |
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In Digital Image Systems, Claus Gunti examines the antagonizing reactions to digital technologies in photography. While Thomas Ruff, Andreas Gursky and Jörg Sasse have gradually adopted digital imaging tools in the early 1990s, other photographers from the Düsseldorf School have remained faithful to film-based technologies. By evaluating the aesthetic and discursive preconditions of this situation and by extensively analyzing the digital work of these three photographers, this book shows that the digital turn in photography was anticipated by the conceptualization of images within systems, and thus offers new perspectives for understanding the »digital revolution«. |
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