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The thesis Photography and fashion: formation of Empty Image explores the phenomenon of fashion photography as it appears in lifestyle magazines. The hypothesis of this study is that the current fashion photography uses creative painting techniques, which denies the key idea about photography - that photography mirrors reality - but in the same time photography recipients are expected to believe this idea. This leads us to the assumption that fashion misuses photography. Fashion Photography, by constant repetition and displaying identical objects that in reality don't exist, which only refer to an indefinite referent gives rise to an empty image with no meaning. Powered by TCPDF (www.tcpdf.org)

Bibliography: pages 123-133. / The hypothesis was advanced that comparative interpretation of multi-temporal aerial photographs can be used as a tool in Environmental Impact Analysis (EIA). To test this hypothesis a site, Silwerstroomstrand, approximately 40 kilometres north of Cape Town on the West coast was chosen. An analysis of the site was carried out using aerial photographs taken in 1938, 1960, 1968, 1971, 1977, 1981 and 1983 at scales ranging from 1:7 000 to 1:50 000. Development of the site for recreation began in 1972 and in 1976 for water extraction. Pre-development photographs, 1938, 1960, 1968 and 1971, were stereoscopically compared and the observations were interpreted using a systems approach. From the analysis of the photographs and information on past landuse, the dynamics of the site were described with particular attention to the response of that environment to perturbations such as fire and removal of vegetation. Development actions were analysed to establish any similarity to past perturbations and on the basis of similarities, predictions of probable future responses of the site (and hence impacts) were made. The predicted impacts were compared with: 1. the interpretation of post-development photographs. 2. Impacts identified by a multi-disciplinary panel after a visit to the site. It was found that the major limitation of multi-temporal aerial photographs was the spatial resolution of the early (pre 1970) photographs. However, the capabilities of the tool for quantitative and semi-quantitative data gathering; promoting an understanding of spatial and temporal relationships; monitoring change; communicating information and the fact that it is economical means that it has a positive contribution to make to Environmental Impact Analysis is suggested that the optimal use of the tool of comparative interpretation of multi-temporal aerial photography is to combine it with other tools such as site visits and multi-disciplinary panels.

Research submitted in partial fulfilment of the requirements for the Degree of Master of Fine Arts at the University of the Witwatersrand, Johannesburg, March 2017 / The creative component of the research project explores, through the medium of sculpture, the notion of the liminal, with a particular focus on themes of the absurd and the unstable as characteristics of liminality. These themes may be useful for investigating and providing a valuable source for critical assessment, so as to allow for the opening of and extending of debates on reading and thinking about art regarded as ‘in-between’ the poles of a binary opposition. Broadly, it seeks to explore the historical trajectory of the 1960s artist Eva Hesse in relation to these themes, and how it resonates with my own sculpture-making and development. The aim of the written research is, therefore, through engaging with a close critical and theoretically informed reading of selected examples of Hesse’s work, to identify themes and approaches which may inform and advance the understanding of my own work produced in the context of this study. Connections will be drawn to the way in which these themes facilitate a favourable space in which the making of art flourishes. As far as viewers are concerned, such work may encourage the viewer to be an active participant in a dimension of human experience potentially not yet encountered, thereby liberating viewers’ fixed and rigid perceptual constructs. Entering into a discussion of the themes of liminality, the absurd and unstable, serves this aim. / XL2018

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The photographer discusses the work in Boundaries, her Master of Fine Arts exhibition on display at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee from October 31 to November 4, 2011. The exhibition consists of 20 black and white photographs, the main subject of which is the photographer's son. The photographs and supporting thesis explore the idea of boundaries real and implied, and how confinement can prompt a variety of behaviors. Topics include the process and evolution of the work and the artists who have influenced it, the importance of light and the challenge of photographing family. Included is a catalogue of the exhibition.

Eudora Welty's brief photographic career offers valuable insight into the development of her literary voice. She discovers many of the distinguishing characters of her fiction during the 1930s while traveling through Mississippi writing articles for the Works Progress Administration and taking pictures of the people and places she encountered. Analyzing the connections between her first collection of photographs, One Time, One Place: Mississippi during the Depression: A Snapshot Album, and her first collection of short stories, A Curtain of Green, and Other Stories, reveals the writer's sympathetic attitude towards her characters, the prominence of place in her fiction, and her use of time in the telling of a story.

The photographer discusses work in “Hearing Through Walls”, a Masters of Fine Arts thesis exhibit held at downtown Tipton Gallery from February 19th through March 2nd, 2018. The exhibition consists of 15 archival inkjet prints and one two-channel video piece, representing the artists three-year exploration into narrative forms in image making. Using non-traditional approaches to photographic portraiture and experimental exhibition layout, the artist forms questions around themes of domesticity, lost youth, and American masculinity. Among these themes is an investigation into photographic issues, including the cultural role that photographs play in perpetuating, miming, and disrupting the facades of everyday life. Non-photographic influences are listed, including the paintings of Edward Hopper and the filmmaking of Paul Thomas Anderson. Historic and contemporary photographic influences included are Garry Winogrand, William Eggleston, Philip-Lorca Dicorcia, and Katy Grannan.

In this thesis I consider photographs of the mannequin by Vogue's fashion photographer, George Hoyningen-Huene. Little scholarship has been written on Huene, as well as many other fashion photographers of the twentieth century. I examine four of Huene's works and his appropriation of the surrealist aesthetic, specifically the use of the mask and mannequin, which were directed at female spectators during the interwar atmosphere and development of the identity of the interwar modern woman. These images include Life-mask of Dolores Wilkinson (1933), Antoine with One of His Creations (1933), Scarf and Gloves by Chanel, Mannequin by Pierre Imans (1934) and Mauboussin Diamond-and-Topaz Corsage Clip, Mannequin by Pierre Imans (1934). I argue that his use of the mask and mannequin legitimates his work as he draws from the artistic milieu of nineteenth and twentieth-century high art.My survey describes photography's theoretical affinities with fashion and surrealism, the surrealist aesthetic and Huene's adoption of it in his fashion photographs of the mannequin, primitivism and Huene's adoption of high art themes and use of the mask, the interwar modern woman in a consumer society, female spectatorship and Huene's surrealist images functioning through a female gaze.