Fashion Photography Dissertation Proposal

Fashion Photography Dissertation Proposal-52
Couturiers, nevertheless, claimed and continued to claim that they are artists, driven by inspiration and genius.Charles Frederick Worth even wore a Rembrandt-style beret to prove that he was such an artist. Even before the advent of digital photography and the computer, which bring endless possibilities of altering the raw image, it had been realised that every photograph is taken by an individual who brings his own bias and evaluation to the construction of the image.And in one way or another, for the bourgeois romantic, Art was in some sense sacred.

Couturiers, nevertheless, claimed and continued to claim that they are artists, driven by inspiration and genius.Charles Frederick Worth even wore a Rembrandt-style beret to prove that he was such an artist. Even before the advent of digital photography and the computer, which bring endless possibilities of altering the raw image, it had been realised that every photograph is taken by an individual who brings his own bias and evaluation to the construction of the image.And in one way or another, for the bourgeois romantic, Art was in some sense sacred.

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My interest is not in discussing the status of these two forms, fashion and photography, and whether they qualify as art, or not.This economic symbiosis has a further dimension in that both mass fashion and the mass image have aestheticised the world – or at least large parts of the globe – massively contributing to the visual culture in which we now live.A further similarity between fashion and photography is that in contemporary society both function as potent visual representations of history, of the past.Similarly, Susan Sontagsuggested that photography was a language, and, like language, it was not an art in itself, but rather the process from which art might emerge.Photography was born as an industrial process, the salient feature of which is the mass reproducibility of the image.That debate tends to rely, at least to some extent, on an idea of Art with a capital ‘A’.Art with a capital A disavows vulgar commerce, claiming to be driven by individual genius, when in fact the art market is as much a market as anything else.The creative in photography is its capitulation to fashion. Therein is unmasked the posture of a photography that can endow any soup can with cosmic significance but cannot grasp a single one of the human connexions in which it exists.’Benjamin – here anticipating Warhol in the most uncanny way – rejects the ideology of Art for Art’s Sake, as would any good Marxist of his time.But the kind of photography that is closest to painting does lose some of the distinctiveness and disavows some of the other possibilities of photography.By contrast, photography did seem to be the bearer of truth. Nevertheless, photography continues to benefit from the idea that it bears witness, that it is objective.At the same time this supposed documentary objectivity distinguishes it from Art.

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