Rinko Kawauchi was born in 1972 in the Shiga Prefecture, Japan. She lives and works in Tokyo. She studied Graphic Design at Seian College of Art and Design. For her works Utatane (meaning “nap”), Hanabi (meaning “fireworks”), and Hanako (a girl’s name), she received the 27th Ihei Kimura Photography Award. In 2009, she won the 25th International Centre of Photography Infinity Award for Art. Her book Illuminance was published in five countries at once in 2011 and nominated for the 2012 Deutsche Börse Photography Prize. The adjective "poetic" is often used to describe Kawauchi's work. With her lyrical photographs of different aspects of everyday life, Rinko Kawauchi combines commonplace situations, people, animals, objects, landscapes and the urban environment with atmospheric lighting to create subtle narrative patterns. She enhances the narrative impact with familiar scenes and objects, dynamic perspectives, and transparent, almost paint-like colors. Like the pieces of a puzzle, each with its contribution to the whole, the photos created by this internationally acclaimed photographer-filmmaker accumulate to produce thematic series conveying a …show more content…
Kawauchi is simultaneously very conscious of that which is ephemeral in the world. And so her photographs often allow us to experience the aura of quiet beauty, poetry, and transience simultaneously. Perhaps each of her photographs is also a short poem, a haiku, which always also speaks of the nuances of colors and light. When Kawauchi begins a new photography project, everything remains wide open: no subject, no aim guides her. Then she sets off on her journey with a Rolleiflex 6x6, and sometimes with a digital camera, too, and is guided only by her intuition. And yet Kawauchi does not design this phase according to the laws of coincidence, because, in her view, intuition is fed from the subconscious, which she believes connects
Through her masterful usage of color and lighting, painter Alexis Rockman seeks to display the overwhelming beauty of the natural world and its inhabitants in her painting Kapok Tree. With a color scheme of bright colors that pops out and grab the attention of the viewer and an emphasis on lighting that divides the painting into two separate scenes, Rockman’s Kapok Tree delivers its timeless message with ease.
Inquiry Question: Why were the passengers on the Komagata Maru rejected to stay in Canada?
The poem begins by exploring how the speaker’s grandfather was a photographer in World War One and how he turned his hobby into his job: “Opened a shop. Turned it into a family affair”. Kay then goes on to introduce the father’s speaker and how he approached photography differently: “His father knew the equipment but not the art. He knew the darks but not the brights, my father learned the magic.” By first introducing the grandfather as a character the reader can better understand the speaker’s father. Since the grandfather took pictures for the war the moments he captured through his lens were much more gruesome, whereas the speaker’s father chooses to stray from this and focus on positivity or as it’s referred to in the poem “light”. Kay then introduces the speaker’s mother, exploring her passion for photography and giving her the title of “artist”. While the grandfather turned photography into his job, the speaker’s father uses photography as a way of capturing noteworthy events, for example: “he travelled across the country to follow a forest fire, hunted it with his camera for a week.” Finally, the speaker’s mother focuses more on the artistry of photography which is seen through her focus on the use of her darkroom. By exploring each of these characters, Kay
Fuss and Barthes, they share an interest in photography, they share an interest in the foundation and principles of photography, moreover they share an interest in photography that is deeply personal. Fuss takes the camera out of photography. Barthes takes photography out of art. Both men want to get to the essence of what a photograph is, one by thinking and writing about it, and one by doing it. In this paper I will show how Adam Fuss’ work matches up with and demonstrates the ideas of Barthes’ in Camera Lucida.
Unlike science, art is subjective. The artist leaves behind a part of himself in his work. Therefore, each piece has its own distinct perspective. Frida Kahlo’s self-portraits show her view on her life, on how she has faced so many struggles, yet managed to be a strong person. When we see or hear or read an artistic creation, it produces a mood such as calm or loud, fear or safety. For example, the Eiffel Tower gives Paris a majestic awe; everyone who passes by feels the strength of the 113-year-old grand structure. Art also has a texture. Photographs reveal much through their textures; grainy surfaces often make the picture more realistic while smooth ones seem softer. When we hear a piece of music or see a film, a rhythm carries us from one part to another. Not just true for these two genres, rhythm is present in any artistic work. These few properties are characteristic of everything we encounter in the world of art, the world of human expression. Most have other special features also. Most of the time, though, we do not think about these characteristics because we do not have enough time to pay attention to anything for more than a few seconds.
The camera is presented as a living eye in her work, capable of bending and twisting, contorting reality in its own light. It is at the same time a sensuous device, one that exp...
Yarn is the main element in Shiota’s works since it allows her to explore breath and space, as a line in paint. When it is impossible to trace a line of yarn or an object with the eyes, then it starts to feel complete, creating an indescribably deep black. Each Chiharu Shiota’s work is made with the heart, and as a goal effects the viewer emotionally. The yarn expresses the relationship between people, more as a knotty relationship (Shiota, 2013).
Takashi Murakami is an incredible, talented Japanese artist whose modern artwork has attracted even the biggest names in the industry for collaborations, such as Kanye West and Louis Vuitton. Although Murakami does not think of his artwork as Pop Art, his work does have a Pop Art feel to it. To people without the knowledge of history behind his work, they will think that his work is happy and colorful, but behind the bright colors and the happy caricatures, Murakami tells a story that was inspired by the struggles of discriminated people.
Since its emergence over 30,000 years ago, one of visual art’s main purposes has been to act as an instrument of personal expression and catharsis. Through the mastery of paint, pencil, clay, and other mediums, artists can articulate and make sense of their current situation or past experiences, by portraying their complex, abstract emotions in a concrete form. The act of creation gives the artist a feeling of authority or control over these situations and emotions. Seen in the work of Michelangelo, Frida Kahlo, Jean Michel-Basquiat, and others, artists’ cathartic use of visual art is universal, giving it symbolic value in literature. In Natasha Trethewey's Native Guard, Kazuo Ishiguro’s Never Let Me Go, and Joseph Conrad’s Heart of Darkness,
Henri Cartier-Bresson has been called "equivocal, ambivalent and accidental"1 since his debut as a photojournalist. Amplified and enriched, the work of the photographer is revealed in all its grandeur. While he may appear to "be a hurried man or a traveler without luggage"2, to quote a few of his titles, he is a poet, attentive to the act of love made with each photograph, and this is where the genius is revealed. From a desired distance, we discover simultaneously the geographer, who analyses the permanence or vulnerability of cultures; the ethnographer, who captures gestures of work and rituals of religion; the anthropologist, who reflects the spectrum of emotions; and the sociologist, who reveals the development of destinies and histories.3 Cartier-Bresson's dependence and uncompromising view of photography; to rely solely on the moment in time, is why he will always be remembered.
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology
Throughout the chosen scene in Memories of Matsuko, an extremely rich colour palette is applied. From the flowers planted in front of Okano’s house, to the imagined flowers and birds along the road and finally the pathway leading to ‘the moon’, a warm colour palette is used in major. It is defined as a surrealistic use of colour as this scene has “an oddly dreamlike or unre...
...better defined image. The linear clarity is made more visibly off-set by the warmth of color that radiates off the mountain top. The woman in prayer, although neatly defined with shadow, has an unclear expression that is reminiscent of the ukiyo-e style. What also reminds this writer of ukiyo-e, is the attention to impermanence in the position of the setting sun.
“They thought I was a Surrealist, but I wasn’t. I never painted dreams. I painted my reality,” said Frida Kahlo describing her art work (Frida Kahlo n.d.). Kahlo was a Mexican artist from the mid-20th century. She was born on July 6, 1907 in Coyoacan, Mexico, and the daughter of German and Mexican descendants (Lucie-Smith 1999). During her lifetime Kahlo embarked on many hardships caused by illness, heartache, and love. She became known for her haunting self portraits, radical politics, and that infamous unibrow (Stephen 2008).
Through Frida Kahlo’s extensive self-portrait pieces, audiences are able to view her life in an almost biographical way. Each portrait conveys deep emotion and meaning, and carry a story which Kahlo has experienced. Her self-portraits are very personal, and overall show just how tragic her life had been.