A legitimidade cultural e artística da fotografia é recente. Durante muito tempo considerada como simples ferramenta útil, agora, nas galerias e museus, é contemplada enquanto fotografia. E a fotografia é o objeto desse livro: em sua pluralidade e seus vários desdobramentos, do documento à arte contemporânea; em sua historicidade, desde seu aparecimento, na metade do século XIX, até a presente aliança arte-fotografia, que leva André Rouillé a distinguir a arte dos fotógrafos da fotografia dos artistas. Informações técnicasEditoraSenac São PauloTítuloA fotografia : Entre o documento e a arte contemporâneaAutorRouillé, AndréFicha técnicaNúmero de páginas484Edição1Data de publicação03.09.2009IdiomaPortuguêsCódigo do produto01 - 20820 ISBN-10 - 857359876X GTIN-13 - 9788573598766 ISBN-13 - 9788573598766Peso aproximadoPeso do produto1000.0 gramas.Dimensões do produtoProduto(L x A x P): 18.0 x 25.0 x 28.0 cm.Informações complementaresGêneroArte Contemporânea

He transformed photography and laid the foundations for motion pictures, but Eadweard Muybridge has always been dogged by controversy. His biographer, Rebecca Solnit, defends the great innovator against a new campaign of innuendo

* “Master Profiles” is a series profiling all the great photographers of uncontrolled life. Unlike the rest of the blog, I’m doing these in a straight profile format to make it easy for quick access to facts, quotes and knowledge on all the masters. I’ll also group them together here every time I add a new one. Profile: Alex Webb (1952-present) […]

Small businesses enjoy an iconic status in modern capitalism, but what do they really contribute to the economy?

This is a print at home PDF document which will guide you step by step to produce your own lovely, loosely painted wisteria in watercolour. This would make a great gift for an aspiring artist, on its own or combined with other tutorials to make a small collection to give. This tutorial describes how to produce the loose painting effect and is ideal if you want to produce loose style paintings in watercolour. A list of paints and paper used is included along with colour illustrated step by step instructions. If you fancy having a go at painting with watercolours, this step by step flower painting project will show you how to paint wisteria in a contemporary style. You will learn to let colours mix on the paper, how to break up outlines to create a loose style and suggest a background with harmonious colours and suggested background flowers for an illusion of depth. A recent review says “ the best tutorial on loose flower painting I have seen”. Learn how to create layers of flowers in a loose and relaxed style . There is a list of materials to use and the different techniques are covered in step by step with clear photographs included with this digital download. This tutorial can be viewed on your computer, tablet or printed to work from. It includes my step by step guide with colour photographs on how to complete a painting in watercolour. This project is for personal use only. I have over 25 years experience in teaching watercolour painting and have written many step by step painting projects over the years. I have tried them all out on my students so I know they work! Please have a look at my other step by step painting lessons and browse original art, greeting cards and prints of my work for sale in my shop www.etsy.com/shop/Artbyrachelpainting or visit my website www.artbyrachel.co.uk to learn more. Follow me on Facebook at www.facebook.com/artbyrachel26 and on Instagram at www.instagram.com/artbyrachel26

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The post-modern artist will be showing 171 of her character pieces in an exhibit that pays tribute to her insightful study of women in society throughout the years.

"The point is this: aesthetics, as we have pointed out, are conceptually irrelevant to art." Joseph Kosuth is an American conceptual artist. In his works, Kosuth strives to explore the nature of the definition of art, rather than producing "art" in a traditional sense. Many of his works reference Sigmund Freud's psycho-analysis and Ludwig Wittgenstein's philosophy of language. Thinkers such as Wittgenstein concerned themselves with the idea of what makes knowing knowing; an idea Kosuth extended to what makes art art. In 1965 Kosuth began making his first conceptual works (right) consisting of an object, a photograph of said object [where it sits in the exhibition] and a dictionary definition of the words denoting it. These works later evolved into a series of 'investigations' comprising propositions on/about/ relating to 'art' entitled Art as Idea as Idea. Also in '65, Kosuth produced One and Three Chairs (below), following his blueprint for conceptual works. One and Three Chairs asks the viewer the question: If both the photograph and the words describe the chair, then how is their function any different than that of the real chair? In this work, Kosuth brings the fact that there are three different ways to be a chair [a wood chair, a photo of a chair or the definition of a chair] to the viewers attention. The pleasure of this artwork doesn't stem from the aesthetics of the piece – there is nothing artistic or precious in either the construction or the photograph of the chair – but instead the viewer derives pleasure from their own thinking. Slyvia Wolf has said that "The ambiguity that the work suggests is a provocation and therein lies the art as far as I’m concerned." Kosuth's One and Three Chairs on display In his book, Art After Philosophy, Kosuth has cited Marcel Duchamp as the inventor of conceptual – and therefore modern – art : "The event that made conceivable the realization that it was possible to “speak another language” and still make sense in art was Marcel Duchamp’s first unassisted Ready-made. With the unassisted Ready-made, art changed its focus from the form of the language to what was being said... it changed the nature of art... This change – one from “appearance” to “conception” – was the beginning of “modern” art and the beginning of conceptual art. All art (after Duchamp) is conceptual (in nature) because art only exists conceptually." Writer Terry Smith has deemed One and Three Chairs 'Pop-like,' explaining that "its statement about what constitutes a sign is all there, all at once, and obvious, as in your face as Richard Hamilton’s 1956 collage [Just what is it that makes today’s homes so different, so appealing?], but without the fascinated irony that informs the British artist’s perspective." Art critic Boris Groys has commented that One and Three Chairs "reduces spectatorship to supermarketlike art consumption, and artmaking to the provision of competitive goods" due to the fact that it seemingly gives the viewer a choice as to which item seems the most attractive constituent of "chairness." It is unclear if these were a part of Kosuth's original intentions for the artwork or not; but perhaps that does not matter – after all Kosuth once said that "Actual works of art are little more than historical curiosities." Sources: http://www.ubu.com/papers/kosuth_philosophy.html http://www.e-flux.com/journal/one-and-three-ideas-conceptualism-before-during-and-after-conceptual-art/ http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3228&page_number=1&template_id=1&sort_order=1 http://www.tate.org.uk/art/artists/joseph-kosuth-1437

Cindy Sherman "saw that identity was an elastic and malleable construction; a moveable feast on which she could dine. "

All the tensions, joys, ups and downs that go with the territory of being in a family—and finding love for a child born with Down syndrome.