Imágenes desvanecidas. Develando la fotografía amateur de cambio de siglo a partir de la materialidad de la obra de Josefina Oliver

IF 0.2 0 ART
Clara Tomasini
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引用次数: 0

Abstract

The development of portable cameras, easy to use and faster than their predecessors, allowed, at the end of the 19th century, the growth of a very important group for the history of photography: the amateur photographers. This article proposes to analyze the practice of amateurism in Argentina from the production of photographer Josefina Oliver (1875-1956), composed of photographs taken and copied by herself that she attached to her personal diaries, taken between 1892 and 1956. It will be from the analysis of the materiality of these photographs that we will ask ourselves if it is possible to recognize signs of the amateur practice and, from them, to approach the context of production and circulation of knowledge of the amateur photographic environment during the change of century in Argentina. Although the situations registered in the photographs can help us to know their environment and social context, it will be the materiality of these photographs, in which we include the interventions made on them and the deterioration they present at this moment, that will allow us to reveal their working methods and, therefore, the knowledge and access that Oliver had to the photographic environment of the time.
图像的幻想。从约瑟芬娜·奥利弗作品的物质性中揭示世纪之交的业余摄影
便携式相机的发展,易于使用,比它们的前辈更快,在19世纪末,允许了摄影史上一个非常重要的群体的成长:业余摄影师。本文建议从摄影师Josefina Oliver(1875-1956)的作品中分析阿根廷的业余主义实践,这些作品由她自己拍摄和复制的照片组成,并附在1892年至1956年间拍摄的个人日记中。通过对这些照片的实质性分析,我们将自问是否有可能认识到业余摄影实践的迹象,并从中探讨阿根廷世纪之变期间业余摄影环境知识的生产和传播背景。尽管照片中记录的情况可以帮助我们了解他们的环境和社会背景,但正是这些照片的实质性,包括我们对他们的干预以及他们目前的恶化,将使我们能够揭示他们的工作方法,因此,奥利弗对当时摄影环境的了解和了解。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.40
自引率
0.00%
发文量
35
审稿时长
12 weeks
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