Photography and painting in multi-mediating pictures

Gelder, Hilde Van; Westgeest, Helen

doi:10.1080/14725860903106120

Cited by 5 publications

(3 citation statements)

References 3 publications

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“…The resulting digital image file is laterally correct and corresponds to the one seen by an external observer or another photographer. The smartphone addresses a media-specific problem of visual self-reflexivity by art historians Hilde van Gelder and Helen Westgeest [33]. Analog photography differentiated the picture's transparency from its exposure moment.…”

Section: Smart Phone and Contemporary Selfiementioning

confidence: 99%

History of contemporary self-image

Islam

Samynadin

2020

IJCS

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Section: Smart Phone and Contemporary Selfiementioning

confidence: 99%

History of contemporary self-image

Islam

Samynadin

2020

IJCS

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“…This same oscillation between identification of the past and the perpetual present of the still image in the moment of viewing is the condition of photography. As Hilde Van Gelder and Helen Westgeest explain, since Barthes’ often-quoted discussion of the photograph of his mother as a child with her brother at the Winter Garden in Camera Lucida (1982), temporal disjunction is a defining characteristic of photography as a medium (Van Gelder and Westgeest, 2011: 68). The photograph both opens up the past in the now, the reality of the present moment, and simultaneously reminds of the loss and absence of the event that is recorded.…”

Section: Post-war German Photographymentioning

confidence: 99%

Physically absent, visually present: Joachim Schumacher’s photographs of Germany’s Ruhr Valley

Guerin

2017

Journal of European Studies

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This article examines the photographs of Joachim Schumacher for their vision of a landscape haunted by the forgotten, the silenced and the increasingly invisible lives erased by the re-articulation of Germany’s Ruhr region. The article places Schumacher’s work in relationship to post-war German photography, both that which imagines the memories of World War II and the Holocaust, as well as the 1980s urban photographs of the Düsseldorf School photographers. Within this context, Schumacher’s photographs are understood for their location of place and history on the revitalized Ruhr landscape. In addition, the article considers the photographs in relationship to the New Topographics to demonstrate their simultaneous placelessness. In this international context, Schumacher’s photographs can be seen as indicative of a European placelessness that has emerged in the wake of the closure of mining and industry.

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“…This new breed of practices fosters hybrid visual forms that make porous the boundaries between the live action and the animated images, and between the recorded and the manipulated. More complicatedly, Campbell’s images might be viewed as, to use Hilder van Gelder’s term, ‘multi-mediating pictures’ (Van Gelder and Westgeest, 2009) given his combinatory employments of photography, film (both with digitized data) and digital video (as replaced by the LEDs) that result in the dynamic coexistence of stasis and motion. Thus it could be stated that his images are structurally both photographic and filmic, or neither photographic nor filmic.…”

mentioning

confidence: 99%

Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’

Kim

2011

Animation

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This article investigates the ways in which contemporary media artworks across various platforms provide a fresh look at the photographic inscription of reality by animating the still photograph with digitally produced movement. These artworks are based on what the author calls 'digital moving pictures', hybrid images in which photographic stillness and cinematic movement are interrelated in a single picture frame by the mediation of digital imaging systems. Examining the works of , the author argues that the pictures' blurring of the boundaries between the live action and the animated images, and between the recorded and the manipulated, is meant to satisfy documentary epistephilia (a 'desire to know') and stimulate the viewer's 'pensive' and 'investigative' engagements with the photographic trace as possible spectatorial modes of the documentary. The pictures then ask us to envision the documentary's 'expanded field' (Rosalind Krauss), in which a series of binaries defining the modernist conception of the documentary are problematized, including prioritizing the photochemical qualities of analogue film and photography as directly guaranteeing evidential claims about their representations over the animated or graphically rendered image.

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Photography and painting in multi-mediating pictures

Cited by 5 publications

References 3 publications

History of contemporary self-image

History of contemporary self-image

Physically absent, visually present: Joachim Schumacher’s photographs of Germany’s Ruhr Valley

Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’

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