The development of fashion photography, just like its subject itself, was in the past and will be affected by trends in the future. The techniques and influences that emerged in the field since the...Show moreThe development of fashion photography, just like its subject itself, was in the past and will be affected by trends in the future. The techniques and influences that emerged in the field since the late 1980s and 1990s have marked a paradigm shift from idealized to flexible conventions shaping the status quo of what constitutes a contemporary fashion (ad) photograph. The developments are reflected in modern fashion (ad) photographers’ works such as by Philip DiCorcia or Juergen Teller. The latter is considered a trending fashion photography pioneer. Although it is impossible to typify contemporary advertising photography’s expression, this paper illustrates one of its multi-approaches by investigating Juergen Teller’s (aesthetic) strategy in the advert campaign series Resort 2020 for Miu Miu in light of the concept of hybridity, which reflects the tendency of post-modernist photography. The notion of hybridity is characterized by dualism. The ad contains a multiplicity of hybrid elements revealed by using the methods of interdisciplinary research approach, combining literature review from various disciplines and visual analysis: Miu Miu Resort reflects not only a hybrid fusion of the luxury (the Miu Miu collection) and the banal (the setting or the models’ posing) but also plays on the concept of the grotesque which is in itself hybrid and is exemplified in the photographic series mainly by pairing incongruent categories such as animal and handbag. The general ambiguity in Resort is reflected in ‘conflicting’ compositions intriguing viewers and stimulate their curiosity for luxury products’ display, proved by findings of other scholars’ research on grotesque imagery’s persuasiveness. Teller’s imagery lacks cohesiveness and is not classifiable in many respects, as underlined by his neither amateurish, documentary, or filmic photography style nor in terms of gaze and gender-specific representations of the models. The artist’s work is unlike traditional fashion ad photography, which provides an exaggerated and decorative aura. Teller maintains the Resort campaign’s focus on the Miu Miu commodities by presenting the ordinary as ordinary. The anti-spectacular approach in Juergen Teller’s photographs alludes to the aesthetic concept Wabi-Sabi incorporating intentionally cropped body-parts or sunlight overexposure, rendering albeit the impression of naturalness, but the awareness of an artificial construction remains.Show less
Het ontwerp voor het Casa da Música, ontworpen door Rem koolhaas, is erg onconventioneel voor een muziekgebouw. Dit lijkt te komen door de leegtes die gebruikt zijn. In deze paper wordt de mate van...Show moreHet ontwerp voor het Casa da Música, ontworpen door Rem koolhaas, is erg onconventioneel voor een muziekgebouw. Dit lijkt te komen door de leegtes die gebruikt zijn. In deze paper wordt de mate van ontwrichting in het Casa da Música onderzocht en wordt er gekeken hoe leegte hieraan bijdraagt.Show less
In dit onderzoek wordt beschouwd hoe het conflict tussen stilstand en beweging de positieve kracht is van zowel het beeldhouwwerk Nijinsky van Auguste Rodin als de dans L’après-midi d’un faune van...Show moreIn dit onderzoek wordt beschouwd hoe het conflict tussen stilstand en beweging de positieve kracht is van zowel het beeldhouwwerk Nijinsky van Auguste Rodin als de dans L’après-midi d’un faune van Vaslav Nijinsky. De benadering in dit onderzoek is erop gericht om de omkering duidelijk te maken van een contemporaine negatieve beschouwing van het conflict naar een positieve beschouwing van tegenwoordig.Show less
Research master thesis | Arts and Culture (research) (MA)
closed access
This thesis investigates the art movement Arte Povera through the lens of the Grotesque as an approach to openness. The Arte Povera movement is scrutinized first by a close-reading of the texts and...Show moreThis thesis investigates the art movement Arte Povera through the lens of the Grotesque as an approach to openness. The Arte Povera movement is scrutinized first by a close-reading of the texts and exhibitions by art critic and founding father of the movement Germano Celant, after which the thesis turns to the Grotesque as analytical tool to understand Arte Povera’s inherent contradictions as a form of social anarchy. The Grotesque is proposed as a way to openness, a notion taken from Umberto Eco’s study Opera Aperta. As such, this thesis presents new readings of Arte Povera; of the artworks and actions as well as the critical and curatorial endeavors of Celant that have informed these.Show less
This research explores the conflict that emerges when applying registration practices into performance art. As the ephemerality of performance art is perceived as essential for this art genre,...Show moreThis research explores the conflict that emerges when applying registration practices into performance art. As the ephemerality of performance art is perceived as essential for this art genre, professionals (and sometimes artists) are not always in favor of its total disappearance. Documentation processes have the purpose of partially archiving the memory of these artworks, however, the forms of producing this type of information are not standardized because of the various forms that this art manifestation can have. Some of the strategies museums have been applying were explored during this research to enable enquiring about their compatibility with the nature of performance art. While documentation processes preserve traces of performances’ poetic, the form of perceiving and collecting this artwork as manifestations should not be attached to temporality, but as concepts that can be reinterpreted and have several versions throughout time.Show less
Research master thesis | Arts and Culture (research) (MA)
open access
At the beginning of the early twentieth century, various photographic societies were established such as the Brotherhood of the Linked Ring in England and de Nederlandse Club voor FotoKunst in the...Show moreAt the beginning of the early twentieth century, various photographic societies were established such as the Brotherhood of the Linked Ring in England and de Nederlandse Club voor FotoKunst in the Netherlands, who profiled themselves as artists and promoted photography as a fine art. It is often argued that they solely produced images to evoke emotions or atmosphere, and that they exclusively looked back at painting styles to reach for the ultimate goal of including photography as a fine art. Moreover, the photographs are mainly described on the basis of art historical categories, techniques, or the biographies of the photographers. I argue that these perspectives neglect the crucial fact that the photographs are photographs, and that new perspectives are needed. Therefore, this research will take a more theoretical approach, by focussing on early Dutch photography from 1913-1927, the medium of photography, and the photo-theoretical concepts of light, straight and composed photography, and time. In this research, the focus will specifically be on two seemingly different photographs: a photograph which looks like a seventeenth-century genre painting by Richard Polak and a cameraless photogram by Henri Berssenbrugge. In this analysis, the attention will be aimed on the fact that these photographs are photographs, by moving to the heart of the medium, and eventually highlighting that within this core, the boundaries are blurred. By combining the earliest theories of photography, with more modern and contemporary arguments considering the medium, new perspectives on the two photographs will be provided, which gives revived attention to the neglected or forgotten early Dutch photography. By taking a different perspective, it is shown that the photographs are more than the reproduction of paintings, or more than just another painterly technique for creating figurative and abstract painting.Show less
Ten American Painters was een bijzondere groep onafhankelijke Amerikaanse kunstenaars die zich in 1898 afscheidde van de Society of American Artists, deze laatstgenoemde organisatie zou te...Show moreTen American Painters was een bijzondere groep onafhankelijke Amerikaanse kunstenaars die zich in 1898 afscheidde van de Society of American Artists, deze laatstgenoemde organisatie zou te conservatief en commercieel zijn geworden. Ten bleef twintig jaar bestaan. De Society was twintig jaar hiervoor om soortgelijke redenen opgericht uit de National Academy of Design. De leden van Ten besloten om elk jaar een groepstentoonstelling te houden. De afscheiding begon bescheiden, zonder manifest of verklaringen maar verliep niet onopgemerkt en publiciteit was onvermijdelijk. Deze publiciteit in de vorm van krantenartikelen uit kranten als de New York Times en recensies in kunsttijdschriften zijn de hoofdbronnen voor de scriptie. Deze primaire bronnen verschaffen voldoende informatie om een helder beeld te scheppen van de receptiegeschiedenis en hoe deze veranderde door de jaren waarin de groep bestond en de jaarlijkse exposities hield. Om de kunstkritiek in context te plaatsen, zijn ook de beschikbare catalogi van de tentoonstellingen gebruikt. Deze contemporaine documenten vormen de belangrijkste bronnen voor dit onderzoek.Show less
