20.500.12556/RUL-111159 Specifičnost fotografije kot umetniškega medija na podlagi kritično prevrednotene Friedove teorije modernizma Specifics of photography as an artistic medium based on the critical reappraisal of Fried's theory of modernism V magistrskem delu predstavljam pot, ki sem jo prehodil med iskanjem specifične lastnosti fotografije v umetnosti. Iskal sem lastnost, ki je izključno fotografska ali pa se pomembno razlikuje od lastnosti drugih načinov umetniškega udejstvovanja. Osredotočal sem se predvsem na lastnosti fotografskega in slikarskega »medija«, saj sta si vsaj navidezno najbolj podobna. Izhodišče raziskave predstavlja koncept umetniškega medija – predvsem koncept medija, kot ga razume in obravnava umetnostni zgodovinar in kritik Michael Fried. Njegovo teorijo primerjam in dopolnjujem z razmišljanjem drugih teoretikov (Diarmuid Costello, Vilém Flusser, Roland Barthes, Ernst H. Gombrich, Rosemary Hawker, Michel Foucault) in z analizo umetniške prakse umetnikov, ki delujejo na področju fotografije in slikarstva ter na presečišču obojega (Jeff Wall, Gerhard Richter, Glenn Brown). Raziskava me vodi do ugotovitve, da sta fotografija in slikarstvo dve različni orodji oziroma postopka, ki lahko artikulirata isti medij. Obe orodji pri tem predstavljata dve različni govorici istega jezika. Fotografija predstavlja novo govorico v jeziku, ki ga je do njenega odkritja govorilo le slikarstvo, in s tem prinaša nove estetske potenciale v že obstoječi medij – medij pomenjajoče ploskve. This MA thesis represents a path: a path towards the specific property of photography in the field of art that is distinctly photographic or at least significantly different from the properties of other modes of artistic practice. I focus mainly on the properties of two “media”, photography and painting, because they seem most related – at least superficially. The starting point of my investigation is the concept of artistic media – especially the concept of media as it is understood by art historian and critic Michael Fried. I compare and reevaluate his theory taking as a basis the discussions of other theorists (Diarmuid Costello, Vilém Flusser, Roland Barthes, Ernst H. Gombrich, Rosemary Hawker, Michel Foucault) and analysing the artistic practices of individuals who engage with photography and/or painting (Jeff Wall, Gerhard Richter, Glenn Brown). I come to the conclusion that painting and photography represent two tools or processes that possess the ability to articulate the same medium. Each tool is a parlance of the same language. Photography – a new parlance in the language that until its discovery was spoken only by painting – brings new aesthetic potential into an already existing medium, i.e. the medium of significant surface. fotografija vizualne komunikacije fotorealizem teorije modernizma umetniški mediji slikarstvo magistrska naloga photography visual communications photorealism theories of modernism artistic media painting MA thesis true false false Slovenski jezik Angleški jezik Magistrsko delo/naloga 2019-09-25 08:35:13 2019-09-25 08:35:17 2022-08-23 03:41:13 0000-00-00 00:00:00 2019 0 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 15736 1000.pdf 1000.pdf 1 BEC41002F618A385D10AA491276FA98F b52af41f81551ad9d9cac1cc9f3f44173d1c16da82cb921f95c92efb0b1cdbcd 51387356-a1b7-11eb-a523-00155dcfd717 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=122971 Akademija za likovno umetnost in oblikovanje 0 0 0