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Digital image systems : photography and new technologies at the Düsseldorf School / Claus Gunti.

By: Contributor(s): Material type: TextTextSeries: Image (Transcript (Firm)) ; v. 116.Publisher: Bielefeld : transcript-Verlag, [2020]Copyright date: ©2019Description: 1 online resource (350 pages) : illustrations, portraitsContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 3839439027
  • 9783839439029
Subject(s): Genre/Form: DDC classification:
  • 771 23
LOC classification:
  • TR267 .G86 2019
Online resources:
Contents:
Frontmatter -- Contents -- Introduction -- A FRAMING THE DÜSSELDORF SCHOOL -- B WHAT IS DIGITAL PHOTOGRAPHY? -- Introduction -- A EMERGENCE OF A GERMAN DOCUMENTARY TRADITION -- B THE END OF PHOTOGRAPHY -- C DISCOURSE ON DIGITAL PHOTOGRAPHY IN GERMANY -- Introduction -- A PRE-DIGITAL MECHANISMS IN CONTEXT: 1960S / 1970S -- B SERIAL CONSTRUCTIONS AND COMBINATORIAL FUNCTIONS: A TRANS-HISTORICAL PATTERN -- Introduction -- A DIGITAL RETOUCHING TOOLS -- B DIGITAL STITCHING -- C EARLY DIGITAL COMPOSITIONS -- D THOMAS RUFF'S ANALOGUE AND DIGITAL EXPERIMENTS WITH THE PORTRAIT -- Introduction -- A COMPLEX COMPOSITES: ANDREAS GURSKY'S GENERIC WORLD -- B IMAGE RECYCLING AND APPROPRIATIVE POSITIONS -- C THOMAS RUFF'S GENERATED PHOTOGRAPHS AND THE LIMITS OF REPRESENTATION -- D GENERIC PICTURE REALITIES -- 5 Conclusion -- A BIBLIOGRAPHY -- B INDEX -- C ACKNOWLEDGEMENTS
Summary: How have digital technologies affected the truth claim of photography? What has been the artistic response to the technological and societal transformations the digital revolution has brought about?Claus Gunti explores the widespread implications of the digital in the work of renowned photographers of the Düsseldorf School, Thomas Ruff, Andreas Gursky and Jörg Sasse, stretching from ties to conceptual art to the development of a globalized visual culture. The study provides a model for understanding the digital revolution in photography and shows that it ought to be understood beyond a strictly technological perspective.
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In English.

Series number missing in the book.

Includes bibliographical references (pages 334-344) and index.

Frontmatter -- Contents -- Introduction -- A FRAMING THE DÜSSELDORF SCHOOL -- B WHAT IS DIGITAL PHOTOGRAPHY? -- Introduction -- A EMERGENCE OF A GERMAN DOCUMENTARY TRADITION -- B THE END OF PHOTOGRAPHY -- C DISCOURSE ON DIGITAL PHOTOGRAPHY IN GERMANY -- Introduction -- A PRE-DIGITAL MECHANISMS IN CONTEXT: 1960S / 1970S -- B SERIAL CONSTRUCTIONS AND COMBINATORIAL FUNCTIONS: A TRANS-HISTORICAL PATTERN -- Introduction -- A DIGITAL RETOUCHING TOOLS -- B DIGITAL STITCHING -- C EARLY DIGITAL COMPOSITIONS -- D THOMAS RUFF'S ANALOGUE AND DIGITAL EXPERIMENTS WITH THE PORTRAIT -- Introduction -- A COMPLEX COMPOSITES: ANDREAS GURSKY'S GENERIC WORLD -- B IMAGE RECYCLING AND APPROPRIATIVE POSITIONS -- C THOMAS RUFF'S GENERATED PHOTOGRAPHS AND THE LIMITS OF REPRESENTATION -- D GENERIC PICTURE REALITIES -- 5 Conclusion -- A BIBLIOGRAPHY -- B INDEX -- C ACKNOWLEDGEMENTS

How have digital technologies affected the truth claim of photography? What has been the artistic response to the technological and societal transformations the digital revolution has brought about?Claus Gunti explores the widespread implications of the digital in the work of renowned photographers of the Düsseldorf School, Thomas Ruff, Andreas Gursky and Jörg Sasse, stretching from ties to conceptual art to the development of a globalized visual culture. The study provides a model for understanding the digital revolution in photography and shows that it ought to be understood beyond a strictly technological perspective.

Funded by Swiss National Science Foundation (SNSF)

Online resource; title from PDF title page (publisher's Web site, viewed 15. Sep 2020).

Open Access EbpS

Added to collection customer.56279.3

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