Thesis (M.F.A.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (leaves 48-50).

Thesis (M.F.A.)--Rochester Institute of Technology, 2008. / Typescript. Includes bibliographical references (leaf 38).

Exegesis (MA--Art and Design)--AUT University, 2009. / Includes bibliographical references. Also held in print (68leaves : ill. ; 22 x 30 cm. + 1 CD-ROM) in the Archive at the City Campus (T 779.82 GAN)

Thesis (M.F.A.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaf 40).

Orientadores: Fernando Cury de Tacca, Geoffrey Batchen / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T02:22:25Z (GMT). No. of bitstreams: 1 Dobranszky_DianadeAbreu_D.pdf: 17151156 bytes, checksum: 1a279a259cd47f6832cb027f6f878b7d (MD5) Previous issue date: 2008 / Resumo: O Departamento de Fotografia do Museum of Modern Art de Nova York foi fundado em 1940 e seu primeiro curador foi Beaumont Newhall. Através de exposições e aquisições ele e sua esposa Nancy - que o substituiu nos anos em que ele serviu nas forças armadas durante a Segunda Guerra Mundial - estruturaram esse que foi o primeiro Departamento de Fotografia independente em um museu de arte. A importância do fato está no apoio institucional que o meio fotográfico recebeu e que possibilitou o reconhecimento da fotografia como arte. Ao mesmo tempo, pouco antes de ser indicado curador, Beaumont organizou a exposição Photography 1839-1937, cujo catálogo transformou-se no conhecido livro The History of Photography. O processo que levou ao Departamento assim como o trabalho desenvolvido pelos Newhall no MoMA entre 1940 e 1946 é tema de nossa pesquisa / Abstract: The Photography Department of the Museum of Modern Art (New York) was created in 1940, and its first curator was Beaumont Newhall. With exhibitions and acquisitions he and his wife Nancy, who replaced him while he served the Navy during the World War I, structured this that was the first independent Photography Department in an art museum. The importance of this fact lies in the institutional support that established photography as an art form. At the same time, shortly before Beaumont was appointed curator he assembled the Photography 1839-1937 exhibition. Its catalogue evolved into the seminal book History of Photography. The process that led to the Department as well as the work developed by the Newhalls at the MoMA between 1940 and 1946 is the subject of this study / Doutorado / Doutor em Multimeios

Orientador: Maria de Fátima Morethy Couto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T09:46:49Z (GMT). No. of bitstreams: 1 Satake_FernandaMitsue_M.pdf: 184874880 bytes, checksum: e2758443075068708d536e4d1376be12 (MD5) Previous issue date: 2011 / Resumo: Grande pesquisador em diversas áreas, José Oiticica Filho foi um fotógrafo destacado em sua época, sempre explorando novas maneiras de produzir suas fotografias. Iniciou na fotografia como maneira de ilustrar seus trabalhos científicos e procurou sempre estudar a técnica, para aperfeiçoar seu trabalho. Esta dissertação apresenta a trajetória de sua obra, e o foco desta pesquisa está nas experimentações que José Oiticica Filho realiza no campo da fotografia, em especial a série Recriações. Para melhor compreensão desta fase, esta pesquisa foi realizada a partir de três vertentes: a compreensão da evolução de sua pesquisa, a contextualização de sua obra com o debate fotográfico e artístico de sua época e a análise formal de suas obras / Abstract: Great researcher in several areas, José Oiticica Filho was a prominent photographer in his time, always exploring new ways to produce his photographs. He started in photography as a way to illustrate his scientific work and has always sought to study the technical to improve his work. This dissertation presents the trajectory of his work, and the focus of this research is in the trials that José Oiticica Filho realized in the field of photography, especially the series Recriações (Recreations). To better understand this phase, this research was conducted from three aspects: understanding the evolution of his research, contextualization of his work with the photographic and artistic debate of his time and the formal analysis of his works / Mestrado / Artes Visuais / Mestre em Artes

Max Dupain is regarded as the most significant photographer working in Australia during the 1930s. In this thesis I examine his work in relationship to the impact in Australia of what has been called the 'body culture' movement. After world war one, many western countries enthusiastically subscribed to schemes designed to control, regulate and develop the body as a means of building individual health and fitness and assisting communal regeneration. Drawing on the pseudo-scientific theories of eugenics, ideas and methods concerning the revitalisation of the body became popular among a diverse range of groups. In a number of countries, including Australia, such discourses were linked to nationalism. / The primary focus of my investigation is to explore how 'body culture' developed in Australia and how it was expressed in public culture, education and the visual arts. In particular, I investigate the relationship of Dupain's work to the 'body culture' movement and the role that photography played in general to the imaginative rendering of utopian and dystopian ideas concerning the body in the interwar period in Australia. / Using a cultural studies methodology I investigate the dynamic interchange that evolved as photographs were used in a range of popular magazines, specialist publications and high art journals to record, authorise and perpetuate a range of ideological and social constructs regarding the body. As part of this examination, I propose that Australia's most distinctive contribution to 'body culture' was through the development of two physical archetypes associated with the beach - namely, the lifesaver and the surfer – and that the popularity of these icons was largely enabled through photography. / In a biographical study of the artist, I investigate the impact of Max's father, George Dupain, a pioneer physical educator and supporter of eugenics, arguing that his influence was significant in the formation of Max's attitude to photographing the body. I examine the influence of vitalism on Dupain's creative development and conclude that his reputation as an exemplar of modernist photography in Australia should more properly be seen as residing in his contributions in the 1930s to classical modernism rather than the broader context into which he is customarily placed. / I argue that our understanding of commercial and art photographs of the body, taken by Dupain and others, is both broadened and enlivened when it is seen as embedded in the discourses of 'body culture'. Likewise, I propose that the field of 'body culture' itself could not have captured the public's imagination with as much force as it did in the intelWar period without the aid of this most protean of mediums.

Photographic technology is increasingly respondent to a desire for the production and consumption of information. The current age of photography not only possesses the ability to capture the image, but also to capture photographic metadata as supplemental information. Engaging in the premise that the photographic image exists as an incomplete medium to the transfer of information, this research identifies the acquisition of data as a means to resolve interpretation and quantify the photographic image. Inhabiting a complex territory within this structure, the photographic image manifests multiplicity and operates as source, production, and capture of information. This work challenges the perceptions of how to engage with the dialogues created between the photographic image, and the externally appended metadata.

No description available.