SELF-SUFFICIENCY OF PHOTOGRAPHY IN THE CONTEXT OF THE FUNCTIONING OF CONTEMPORARY ART
UDC index:
77.04
DOI: 10.31773/2078-1768-2024-68-166-174
Article ID in the RSCI:
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Information about authors: Guk Alekxey Aleksandrovich, Dr of Philosophical, Associate Professor, Professor of Department of Photovideoart, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: guk56mai@mail.ru
Annotation: Photography at a certain stage of its development has become in demand by representatives of contemporary art. Plunging into his space, photography changed its status – now it was already the basis for an artistic statement, but not the statement itself as such. The author considers the problem of self-sufficiency of photography at various levels: subject-authorial; professional-activity; productive. In the space of modern art, there is a desubjectivization and demythologization of the photographer as an author's personality. The implementation of an art project through a photographic presentation often does not require high professional skills from the photographer, in many cases photographers deliberately "curtail" the palette of possible visual and expressive means, imitating absolute objectivity and dispassion. The artistic process unfolding in the field of contemporary art involves playing with photographic material. Photographs as material objects serve to activate the intellectual potential of the viewer, to unravel the meaning/idea that lies not in the space of the photograph itself, but outside it. Losing self-sufficiency, "modern photography" acquires conceptual qualities. However, the peripheral position of photography as a work is only one of its possible states due to the postmodern context. Gradually freeing itself from the radicalism of the principles of modern art, art photography increasingly acquires signs of a self-sufficient aesthetic existence. In conclusion, the author comes to the conclusion that: 1. The functioning of photography in the space of modern art has an active influence on it. This causes a significant deformation of the principles and values of the previous model of photography; 2. The above-mentioned deformation concerns, first of all, the role and importance of the photographer in an art project, the activity of using a system of visual and expressive means in the process of creating photographic content, the functions of a photographic work to ensure an artistic and communicative situation; 3. If photography acts only as a material of modern art, then its status as a self-sufficient phenomenon is almost completely leveled. However, if a photographic project relies on the aestheticization of a photographic image, on its ability to at least partially "speak for itself", then the degree of self-sufficiency of such a photograph as a whole inevitably increases, and its role as an artifact increases.
Keywords: self-sufficiency, art-photography, modern art, artistic functioning
DOI: 10.31773/2078-1768-2024-68-166-174
Article ID in the RSCI:
Article file: Download
Information about authors: Guk Alekxey Aleksandrovich, Dr of Philosophical, Associate Professor, Professor of Department of Photovideoart, Kemerovo State University of Culture (Kemerovo, Russian Federation). E-mail: guk56mai@mail.ru
Annotation: Photography at a certain stage of its development has become in demand by representatives of contemporary art. Plunging into his space, photography changed its status – now it was already the basis for an artistic statement, but not the statement itself as such. The author considers the problem of self-sufficiency of photography at various levels: subject-authorial; professional-activity; productive. In the space of modern art, there is a desubjectivization and demythologization of the photographer as an author's personality. The implementation of an art project through a photographic presentation often does not require high professional skills from the photographer, in many cases photographers deliberately "curtail" the palette of possible visual and expressive means, imitating absolute objectivity and dispassion. The artistic process unfolding in the field of contemporary art involves playing with photographic material. Photographs as material objects serve to activate the intellectual potential of the viewer, to unravel the meaning/idea that lies not in the space of the photograph itself, but outside it. Losing self-sufficiency, "modern photography" acquires conceptual qualities. However, the peripheral position of photography as a work is only one of its possible states due to the postmodern context. Gradually freeing itself from the radicalism of the principles of modern art, art photography increasingly acquires signs of a self-sufficient aesthetic existence. In conclusion, the author comes to the conclusion that: 1. The functioning of photography in the space of modern art has an active influence on it. This causes a significant deformation of the principles and values of the previous model of photography; 2. The above-mentioned deformation concerns, first of all, the role and importance of the photographer in an art project, the activity of using a system of visual and expressive means in the process of creating photographic content, the functions of a photographic work to ensure an artistic and communicative situation; 3. If photography acts only as a material of modern art, then its status as a self-sufficient phenomenon is almost completely leveled. However, if a photographic project relies on the aestheticization of a photographic image, on its ability to at least partially "speak for itself", then the degree of self-sufficiency of such a photograph as a whole inevitably increases, and its role as an artifact increases.
Keywords: self-sufficiency, art-photography, modern art, artistic functioning
