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
6.4 与艺术家 Anouk Kruithof 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
45 個評分
從本節課中
图像的海洋：摄影与当代文化
许多艺术家转向我们这个充满图像的世界，既作为他们作品的源泉，也作为其作品的主体对象。
與講師見面
Sarah MeisterCurator
Department of Photography
My name is Anouk Kruithof.
The work in this show is entitled Subconscious Travelling.
It started by me finding an album actually just on a second hand market.
It was apparently an album with
empty negative sleeves of someone's travel archive.
This I could see because there were some indications of countries and
a lot of numbers which I found questionable and it's really
get my attention because I also come from analog photographic background and
I've always learned when we you work with negatives in all different form at 6-6,
6-7, 35 millimeter you would keep this in the sleeves to protect from dust.
And those pages, they were cardboard pages, all the negative sleeves are cut
and really quite beautiful, formal compositions made out of the sleeves.
And I have no idea why you would do that, so It was, for me,
like a catch that I was very excited about.
Like, why did someone do this?
What are the struggle photos about?
So it had this mystery which got my attention and then I started to
work with it, so I thought of the idea of how we now travel and
record the world which is obviously an iPhone or telephones which everyone always
carries with them and we outsource those memories or
these travel memories is to our phones or maybe the internet or.
And also, we look at these travel photos of others I think online so
in that way we, I feel we travel as well through imagery of others and
we can see the world through photos which we never made or never experience.
And so, I started to photograph every page with my iPhone, with a flash and
these photos, the 99 photos came out very straightforward and simple.
And that developed to this installation of the photo stickers on the wall and
the pieces of glass.
>> So I would like to focus on some specific details that are connected
to that specific piece, the Subconscious Traveling.
The use of stickers, the use of iPhone and the use of flash.
Can you elaborate on this?
>> Yeah, of course I'm in the flash edits when you start with that
you photograph with and without.
And obviously it needed to be an iPhone because I felt
I'm going to travel through this album of the absence of those imagery
and it's plastic sleeves.
So I find it interesting when I flashed it that obviously of
course you get the reflection so it creates an absence of pixels
actually which to me also, relates to memory loss or lost data but
also in a more human way loss of memory like the absence of that.
Which struck me and then, yeah, then you get an opportunity to show the work and
I start to think about the very kind of not pretentious way of showing
photographs, which is very much there not sticker material.
Is very straight forward.
It's also directly on the wall of a museum.
I really like it because it feels like you transfer than the work and
you make it part of the walls or the institution is less an object or
it has less the rears through the photographic object,
the photo, the prints and the wall it's more one.
And then I decided to use a few pieces of glass,
more relating to obvious framing, for example.
But on the other hand,
I also thought it's kind of highlights out of these travel albums.
And then, of course, people can see themself in it,
it's reflecting on certain spots.
Which is also nice, because then you create a kind of a little conversation
with also the viewer, so how they perceive the work.
[MUSIC]
