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科技让我们将一切都视为理所当然,甚至是虚构出来的形象。完美无瑕的海报女郎、完全违反物理定律的画面,影像当中虚与实的世界都不会再有诸多区分,所以Tim Walker、David LaChapelle的作品虽然几乎全是数码虚构而成,还是被称之为摄影。相比之下,Joel Sternfeld的照片则更有率真的艺术意味。当艺术摄影于上世纪七十年代开始探索色彩的创意时,这位纽约摄影师曾掀起“新色彩”的潮流。那时是彩色摄影艺术的初期阶段,但新色彩摄影则呈现了一种主观的色彩。而Sternfeld的作品不乏看似怀旧但意味丰富的色彩,包装着荒谬但真实的情景。他的作品多是围绕美国的平凡景像,并凭藉《AmericanProspect》作品而在国际间声名鹊起。从建筑物到街头,从绿野到都市景貌,从推着购物车的男生到休憩于街头的学生,他的镜头漫无目的地闪动,也随性地展现世界的色彩。
Technology lets us treat everything as a matter of course, even as a fictional image. Immaculately posed as a poster girl, totally in violation of the laws of physics, there is no longer any distinction between imaginary and real world in images. Therefore, although works by Tim Walker and David LaChapelle are almost entirely digital imaginary, they are still called photography. In contrast, Joel Sternfeld’s photographs are more true artistic meaning. When art photography began exploring the idea of color in the 1970s, the New York photographer set the tide of “new color.” At that time was the early stage of color photography art, but the new color photography showed a subjective color. While Sternfeld’s work is no lack of seemingly nostalgic but rich colors, packaging absurd but real scene. Most of his works focus on the ordinary scenes of the United States, and by virtue of “AmericanProspect” works in the international reputation. From buildings to the streets, from greenfields to metropolitan landscapes, from boys pushing shopping carts to students resting on the streets, his shot flickers aimlessly and shows the world in a casual manner.