Specifičnost fotografije kot umetniškega medija na podlagi kritično prevrednotene Friedove teorije modernizma

Grom, Jure (author), Grafenauer, Petja (mentor)

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.

• Language: Slovenian
• Keywords: fotografija, vizualne komunikacije, fotorealizem, teorije modernizma, umetniški mediji, slikarstvo, magistrska naloga
• Work type: Master's thesis/paper
• Organization: ALUO - Academy of Fine Arts and Design
• Year: 2019
• PID: 20.500.12556/RUL-111159
• Publication date in RUL: 25.09.2019

Secondary language

• Language: English
• Title: Specifics of photography as an artistic medium based on the critical reappraisal of Fried's theory of modernism

Abstract

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.

• Keywords: photography, visual communications, photorealism, theories of modernism, artistic media, painting, MA thesis