WEEK 3 , BARTHES. 14.02.20

WEEK 3 , BARTHES. 14.02.20

Coming off the back of the previous post in reference to Berger’s thoughts about is photography art (he argues not) and the different realms that photography and paintings work in and how they interract, I have just been reading Barthes, image music text and he says “unless perhaps it be recognised that in photography, contrary to the intentions of exhibition photographers, there is never art but always meaning ; which precisely would at last provide an exact criterion for the opposition between good painting, even if strongly representational, and photography.” (Barthes. 1977. pg 24) 

I wouldn’t say that I necesarily agree with this, but it certainly to me, is a lot more informing, relevant, relatable, and indeed readable that Berger. 

“Connotation drawn from knowledge is always a reassuring force – man likes signs and likes them clear.” (Barthes. 1977. pg 29) Given my photography this module has an element of constructed narrative about it, tableaux, and I have been studying the words of Crewdson, and in turn his use of motifs and metaphors , I find this comment very instructive. Crewdson discusses in his 2005 film the aesthetics of repression his use of birds in his photographs as a symbol for , or representing another life that could of been. (Crewdson. 2005)

REFERENCES

Barthes, Roland. 1977. Image music text. The photographic message.  London, Fontana press.

Crewdson, Gregory. 2005. The repression of Aesthetics film.

T~F~:

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