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Identity and Place

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Project 2: Typologies

Joel Sternfeld: Stranger passing

One of Sternfeld’s most interesting project and closely related to this module course is “Stranger Passing” in which the artist photographs strange people on the street, proposing them to interrupt what they are doing and prepare themselves briefly for the photo. Continue reading “Joel Sternfeld: Stranger passing”

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James & other Apes

Another brief additional comment about the typologies in photography, based on a suggestion sent to me by my tutor. The work of photographer James Mollison in addition to being surprisingly fresh and visually striking, introduces a new and interesting element in portrait photography. Continue reading “James & other Apes”

Bettina von Zwehl

Following my tutor’s recommendation, I have explored the work of this German artist based in UK, who is specialized in portrait photography and explores identity issues far beyond the visual matter, because she looks for connections with the unconscious dimension not necessarily of a particular subject but as a contemporary paradigm. Continue reading “Bettina von Zwehl”

Typologies: Artisans

Eirini Grigoriadu reflects about the concept of distance in her essay about typologies published in the magazine “Ars Longa” in 2012 stating that the portraits of the German photographer Thomas Ruff offer a proximity to the individual where we can see each detail of another human being, although we are protect against a personal encounter. Continue reading “Typologies: Artisans”

Typologies in Photography

Marc Freidus defines a typology as a collection of members of the same class or type in his essay included in the book “Typologies – Nine Contemporary Photographers”, catalog of the exhibition held at several museum between 1992 and 1992, that featured works of Bernd and Hilla Becher, Lynne Cohe, Judy Fiskin, Candida Hofer, Roger Mertin, Thomas Ruff, Edward Ruscha and Thomas Struth. Continue reading “Typologies in Photography”

Background as Context

August Sander (1876-1964) is interesting enough and with such a prolific body of work that deserves a deeper research about a lot of questions implicit in his photography. In an age where Pictorialism still maintained a certain grade of influence, Sander could be considered, as long as Renger-Patzch, and Blossfeldt, the founder of New Photography, a variation of the artistic movement known as New Objectivity. Continue reading “Background as Context”

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