These three concepts can be understood as grain sweep and blur. Robert Frank was linked to the context and aesthetics of American abstract expressionism of the midth century. William Klein took this first photographic gesture to an even more aggressive extreme. However the Provoke photographers extended the possibilities of this aesthetic even further than did Frank and Klein. The extreme impasto and contrasts bring these photographs closer to illustration where the pure white of the paper collides with the impasto black of India ink.
Robert Frank had been questioned in the s blaming him for e-commerce photo editing committing formal errors again swipes blurs grain it was nothing more than the seed of the are bure bokeh that would be raised by the Japanese to an aesthetic height that generates a new expressiveness in photography. These are images whose cognitive friction visual power and conceptual depth make them impossible to ignore. It is not strange that today they continue to have an echo in the photographers of the new millennium. Provoke photography art and dissemination Now Provoke 's bet was radical since it also deliberately questioned the notion of photography as art.
On the other hand we venture to think that the very notion of art in Japan comes from a totally different tradition from the West. In this sense perhaps we could say that it was not a position contrary to art but rather to try to understand that symbols. From the semiotic point of view more than just an art photography from Provoke was an authentic system of signs with its own characteristics that did not require the use of words to generate meaning.
發表於 2022-9-25 15:13:19
