中国山水画与西方风景画构图之比较

不同的文化背景产生不同的艺术形态,中国山水画的散点透视偏重一种类似"笔记式"的构图,讲究"写心论"和"畅神说";西方风景画的焦点透视侧重一种类似"照相式"的构图,讲究一种可视性的描绘.从社会文化背景、观察方法、空间观念比较分析中国山水画与西方风景画的构图,有助于人们全面认识和理解中西方绘画的精神内涵和艺术特质.     

摄影之外 历史之中——对本雅明《摄影小史》的一种解读

<摄影小史>是本雅明对摄影艺术的论述;但更为重要的是,它又是本雅明艺术哲学与历史哲学的重要文本之一,有着深广的理论内容与历史意义.<摄影小史>区区万字,却凝聚着本雅明对摄影这一社会文化形式的全面深刻认识,对社会现实的思索与关心.以文本细读为基础,本论文力求突出本氏此文强烈的社会责任感与历史意识,以及强有力的历史视角.他的态度与方法无疑有助于我们对摄影与影像艺术进行历史哲学式的思考与批判,也为自己的理论建构与实际行动提供具有社会历史方向的契机与可能.     

Is Seeing Believing? Photographs,Eyewitness Testimony,and Evidence of the Holocaust

During World War II, the first media outlets to publish photographs of the Nazi mass murder of Jews and others were Soviet newspapers and magazines. The problem with Soviet photographs was that the Soviet media were considered unreliable from a Western standpoint, because unlike in the West, which perceived a clear ideological differentiation of art from photojournalism, Soviet photography blurred that distinction. According to Western standards of evidence, Soviet photography could never be taken seriously as photojournalism, precisely because the photographer was always metaphorically present. Since Soviet photojournalism failed the test of the documentary imperative, it rarely convinced people of the truth of its subject matter. In this epistemological context when photographs might fail to convince, the act of physically bearing witness, of seeing with one's own eyes, became the most important way of proving to a disbelieving public the veracity of Nazi atrocities.     

图像修辞与意识形态的超越——罗兰·巴特摄影图像理论论析

与文本不同,图像中修辞与意识形态的结合更具隐蔽性,特别是在摄影图像中,貌似客观真实的讯息充盈着直接意指。巴特一方面揭示了摄影图像中的修辞编码及其意识形态内涵,另一方面又强调感受照片时偶然性的冲击、突如其来的惊奇,并最终指出一条图像修辞与意识形态的超越之径:用我们的身体去体验(而非用语言去思考),在奇遇中将生命投入并点亮照片,以此种方式可以重新拥有照片中的事物。     

REVEALING THE UNSEEN: TOURISM,ART AND PHOTOGRAPHY

Contemporary cultural criticism is increasingly recognizing the central place that tourism occupies in organizing interactions, both economic and social, between different peoples in the world today. In this paper, I take up the question of what role photography plays in determining the nature of touristic experience.By drawing on Martin Heidegger's account of modernity as the epoch of modern technology, I seek to articulate an understanding of touristic photography that goes beyond conventional critiques of its objectifying character and tendency to conform to predetermined semiotic markers. Instead, by considering the examples of the photographing of local peoples, and of attempts to photograph what I refer to ‘the unphotographable sight’, I develop an alternative perspective on both the dangers and the epistemic possibilities of touristic photography. Such a perspective, it is argued, allows us to move beyond the identification of photography with the ocularcentric discourses of Western modernity and towards a consideration of the possibilities of touristic photography as art. By foregrounding the role of photographic images in the production of memory and self identity, it is suggested that tourism can be understood in terms of what Michel Foucault refers to as the creation of one's life as a work of art. Finally, I argue that by attending to the limits of touristic photography, the potential to develop a new way of seeing may be fostered.     

以摄影的眼光看世界--桑塔格摄影观散论

苏珊·桑塔格对摄影的论述是与现代性问题交织在一起的.她认为当今由照片所组成的世界直接指证了柏拉图"洞穴喻"所表达的思想:人们生活在世界的影像之中.摄影除了记录功能,还发挥着社会仪式、"抵抗焦虑"和"表现权利"等功用.她对摄影的广泛而精彩的论述,包含了摄影哲学、摄影社会学、摄影心理学、摄影意识形态等多方面的主题.     

COMMUNITY AND THE PUBLIC BODY IN BREAST CANCER MEDIA ACTIVISM

In this article, I consider how communities form around health care advocacy and activism. My concern is the place of visual media in the politics of breast cancer. Art photography and film are considered against mainstream images and media campaigns focusing on breast cancer. The primary work considered is the self-portrait photography of the artist Matuschka and the film The Body Beautiful by Ngozi Onwurah. I argue that these alternative texts help us to think about the ways in which issues such as race, age and beauty are key aspects in the experience of breast cancer, and not tangential cultural issues or ‘appearance-related side effects’, as one breast cancer support programme puts it.     

纪实摄影——介入并延伸的真实

备受争议的纪实摄影定义命题已经没有讨论的意义,我们需要更多的关注纪实摄影的属性。在外在属性＂介入性＂和内在属性＂真实性＂的互动共生中,可以看到真实并未被篡改,介入不等于干扰,以观看的方式进行记录,完成了纪实摄影以介入的形式表达真实的特质。真实在这里得到了延伸而不是曲解。     

数码时代黑白照片的艺术价值与市场前景

本文从艺术与艺术性的角度出发,通过分析黑白照片本身的艺术创作特点,认为在百花齐放的艺术需求市场中,由于黑白照片独特的黑白影调艺术魅力和艺术价值,现在与将来,黑白数码摄影与黑白照片,在新闻纪实摄影、时尚摄影和艺术收藏等领域之中,都将会有自己独特的市场需求空间。     

Abandoned negatives,Themeless Parks: images of contemporary China in two photographic projects

Abstract

This article juxtaposes two photographic projects to illustrate ways of perceiving everyday space in contemporary China: on the one hand, ‘Silvermine Project’ (2009–2013), by French collector and editor Thomas Sauvin, recycles a vast collection of abandoned film negatives from the 1980s to the early 2000s, and subsequently ‘curates’ these amateur images into the frame of a quasi-ethnographic approach. On the other hand, Hong Kong photographer Dustin Shum’s ‘Themeless Parks’ (2008) presents a series images of public parks in Chinese cities and towns. The two projects propose different readings of the ‘postsocialist’ condition in contemporary China. While the domestic shots curated by Sauvin actively mobilise individual and national identities in private and public spaces, Shum’s compositions of shape, colour and architectural density reveal a highly orchestrated ‘China’ that pre-empts the emergence of an individual identity. This paper analyses the textual articulations of individuality, space, and temporality in the two projects.