对于我们中的许多人来说，虽然拍照、分享和浏览照片已经成了日常生活中的习惯，但我们与图像的频繁接触并未培养我们在视觉表达上的素养。 这个课程的目的在于通过介绍影响摄影作品的创意、手段与技术，讨论观看照片与真正理解照片之间距离的问题。 在这个课程里，你将近距离观看纽约现代艺术博物馆收藏的照片，聆听从不同角度对照片的解读，以及摄影在将近180年历史中被使用的方式：作为艺术表现的途径、作为科学和探索的工具、作为纪实文献的媒介、作为讲述故事和记录历史的手段，以及作为日益视觉化的文化中一种交流和批评的模式。 学习目标 训练技巧，以便更好地检视和理解照片与摄影图像之间的不同。 发现语境如何影响摄影图像的制作、传播和接收。 学习摄影中各种不同模式的艺术和技术试验和创新。 探讨摄影在日益视觉化的文化中所发挥的作用
2.2 与艺术家 Vik Muniz 访谈 (可选择中文字幕)
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來自 The Museum of Modern Art 的課程
透过摄影看世界
46 個評分
從本節課中
一个主题，很多视角
通过观察摄影在历史上以各种不同的方式被用来捕捉大家熟悉的一个主题，发现这种媒介在艺术和科学领域的根源。
與講師見面
Sarah MeisterCurator
Department of Photography
When you look at a picture with the certain degree of ambiguity,
your perception heightens it.
And you try to figure out that from all kinds of possible references.
You don't know what it is, and
you are completely open to any kind of way of thinking about it.
[MUSIC]
When I knew that The Museum of Modern Art was organizing Stieglitz at Lake George,
I went to see it in an afternoon.
That show got me in a mood of looking for things in things,
which is something that you do when you look at clouds one way or another.
And the beautiful thing about Stieglitz Equivalents is that,
the fact that you're always seeing forms in clouds.
In the Equivalents you don't.
You just see clouds.
[MUSIC]
I just saw the show, and
right after leaving it you had these amazing marble floors.
I kept thinking about clouds, and when I leaved, I looked at the floor and
I saw all these clouds, and then I took the camera and
I started shooting the clouds right there and this whole thing.
>> I remember, I used to work, I was there, I remember those floors well.
>> And then what I did, I went to the gift shop and
I got a piece of paper to draw, and a little pair of scissors and
I made this little round thing that looked like the moon.
And I started shooting it there and a security guy came and tried to ask me what
I was doing and I said, no, I'm just taking pictures of the floor.
And then he was like, you cannot do this, I said, why not?
I'm just taking pictures of the floor.
I mean people take pictures of artworks, you don't mind.
And I went out to the street then came back and I shot like four rolls of film.
[MUSIC]
I wanted to make something that looked just like a Stieglitz but then it was just
the floor of the museum in front of the exhibition where a Stieglitz was.
When you're dealing with something that it seems familiar to you,
it's great because first of all you're open to it, and
you look at it as something that you want to see it again.
But then there's this double take,
you realize that that is not what you thought it was.
That feeling's quite effective in creating a lasting impression and
starting a conversation.
And before you know it,
you're implicated in a series of questions about what's in front of you.
You're not just looking at something,
actually thinking about the way you're looking at something.
This is the kind of interaction that I want my works to have with the viewer.
[MUSIC]
When you think of photographs as processes,
not as products, you start really understanding what they really mean.
[MUSIC]
My mother came to one of my shows, and first time she stepped in a museum
was to see one of my exhibitions, so I make work for her.
If she won't like it, I don't think it's good.
I'm maybe one of these artists that don't take any pride for
not being understood, and being ahead of my time.
I'm right here right now, and I want people to get it or
to feel at least something, because I make work in a way, don't make it for
any specific public and I have something for everybody.
[MUSIC]
