Susan Derges (British, b.1955) is a photographer living and working in Devon. Born in London, Derges studied painting at the Chelsea School of Art and the Slade School of Fine Art in London. A recipient of the Rotary Foundation Award, Derges lived in Japan for six years, and continued her postgraduate studies. After returning to the UK, Derges first began experimenting with abstraction, and.
Essay. Around 1960, more and more photography began to seep through the well-maintained borders separating the mediums of art. While the painters of the Abstract Expressionist movement admired the graphic flair of Aaron Siskind’s graffiti details and the sidewalk ballet of Rudy Burckhardt’s street pictures, photography was still too irrevocably tied to the mundane to compete with the.
Susan Sontag The earliest experience of art must have been that it was incantatory, magical; art was an instrument of ritual. (Cf. the paintings in the caves at Lascaux, Altamira, Niaux, La Pasiega, etc.) The earliest theory of art, that of the Greek philosophers, proposed that art was mimesis, imitation of reality. It is at this point that the peculiar question of the value of art arose. For.
In contrast with the often-restricted palette of camera-less photography, this work is jewel-like. Purdy’s signature ability to play with lustre - to print up warm blacks and pearl-like silvers is still key. But to this she has added collage - talismanic eyes, shields, pods and egg-like ovals. Protected, enclosed, private they play with the balance between the interior and exterior selves.
The essay of Stephen Bann is valuable in emphasizing the importance of the print culture in Normandy as context for the photography and painting debate. Bann underscores the importance of photography, painting and printmaking as integrated elements of an emerging new visual culture that helped to establish a distinctive regional identity for Normandy. Perhaps most valuable otherwise is a.
The essence of photography lies in its seemingly magical ability to fix shadows on light-sensitive surfaces. Normally, this requires a camera, but not always. Several artists work without a camera, creating images on photographic paper by casting shadows and manipulating light, or by chemically treating the surface of the paper. Images made with a camera imply a documentary role. In contrast.
Susan Sontag is known as a lover as well as a critique of photography. In Regarding the Pain of Others she focuses on the impact of horrible war-images - starting with paintings such as Goya's Disasters of the War (1810-1820) going up to the present, in which first photography and then film have taken over. She rightly and strongly criticises the old idea that 'pictures show the truth', and.
Painting, is an art of arrangement: therefore it is reasonable to demand that there is some kind of order in what is arranged. Every relation between forms in a painting is to some degree adaptable to the painter's purpose. This is not the case with photography. (Unless we.