Identifying Portraiture
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Exemplaarnummer Plaatscode Signatuur R072269 Ned. Fotomuseum Ned. fotomuseum
TitelIdentifying Portraiture
Auteur
Editie[nummer] 3
[jaargang] 9
[tijdschrift; titel] PHOTO COMMUNIQUE
[tijdschrift; pagina] 6-12
Fotograaf
Iconografisch trefwoord
Jaar van uitgave1987
Materiaalartikel
DocumenttypeArtikel
TrefwoordRepresentatie en fotografie, Geënsceneerde fotografie, Portretfotografie (teksten over), Geschiedenis van de portretfotografie (teksten over)
Samenvatting
A general historical survey of the genre of portraiture, beginning in the
1840's with the emergence of neo-classical daguerrotypes. In the late 19th
century, photographers increasingly burdened their pictures with an ever more
elaborate system of environmental signs. The portrait became in a sense a
visualisation of the photographers notion of what these people should
represent. More recently photographers seem to have concluded that trying to
identify 'the other' is hopeless; better to construct a theatre of identity
centred on the self (as in the work of Cindy Sherman). ""In as far as 'the
other' is permitted in portraits, the other is not really him/herself. Identity
now issues entirely from the photographer. It's the photographers's
construction and (...) it proscribes all individuality for the other''. His
final remarks are critical of the contemporary genre of portraiture, as being
too much under the photographer's control, a ""control that is running out of
control! The photographer forges an identity for him/herself''. An attitude
that the author condems as ""dominant, elitarian''.
1840's with the emergence of neo-classical daguerrotypes. In the late 19th
century, photographers increasingly burdened their pictures with an ever more
elaborate system of environmental signs. The portrait became in a sense a
visualisation of the photographers notion of what these people should
represent. More recently photographers seem to have concluded that trying to
identify 'the other' is hopeless; better to construct a theatre of identity
centred on the self (as in the work of Cindy Sherman). ""In as far as 'the
other' is permitted in portraits, the other is not really him/herself. Identity
now issues entirely from the photographer. It's the photographers's
construction and (...) it proscribes all individuality for the other''. His
final remarks are critical of the contemporary genre of portraiture, as being
too much under the photographer's control, a ""control that is running out of
control! The photographer forges an identity for him/herself''. An attitude
that the author condems as ""dominant, elitarian''.
| Exemplaarnummer | R072269 |
| Instellingsnaam | |
| Signatuur | Ned. fotomuseum |