Intimate Life in Contemporary Art

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Intimate Life As Contemporary Art
According to, contemporary is defined as happening or beginning now or in recent times. When utilized in art and photography, it’s connoted as vague, obscure, and by definition always in flux. For some it signifies “cutting edge” – work that pushes the limitations of recognized practice, style, subject matter, mediums, or concepts.

In the book “ the photograph as contemporary art” Contemporary Photography is divided into eight categories that were chosen to highlight the diverse styles and subject matter that is somehow connected through similar characteristics.

Chapter One “If This Is Art” defies a conventional stereotype of photography. The photographers in this chapter contrive strategies, performances, and happenings exclusively for the camera. They alter the way one thinks about the social and physical world, as well as it taking one to a world of astonishing dimensions.
Chapter Two “Once Upon A Time” discusses narratives in art. It focuses on ‘Tableaux’ Photography described as a visual narrative. Photographers in this chapter work on the details in their images, using props, gestures, and the styles of art, these photographers stage their photographs and plan them to the precise camera angle.
Deadpan Photography is a cool, detached and powerfully sharp type of photography that contains seemingly emotional detachment and command on the part of the photographer. The adoption of a deadpan aesthetic moves art photography outside the hyperbolic, sentimental and subjective. Chapter Three discusses deadpan by the visual command that comes from their extensive nature and scale.

‘Something and Nothing’ Chapter four focuses on how Contemporary Photographers have pushed the...

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...s photography to tell her story. She invites the viewer to share her most vulnerable moments. Being obese most of her life, Davis is agonized with insecurities. she has always preferred to interact with the world through the lens of a camera. During high school Davis used photography as a source of communication. Over time she became good at capturing subjects that portrayed isolation and a sense of loneliness. At the age of 23 Davis realized that her insecurities haven’t changed for years and decided to use herself as a subject to free herself from her uncertainties and better understand herself.

“In this body of work, I deal with my insecurities about my body image and the direct correlation between self-perception and the way one is perceived by others.”
Her work is based on reconstructed personal experiences as well as fantasies of love, desire, and intimacy.

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