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CONTEMPORARY PHOTOGRAPHY: not only conceptual but also contemporary


Assisted by an impartial analysis of the major forms ofexpression of the first artistic Vanguards, you can test thebonds of contemporary photography with artisticmovements the first decade of the twentieth century that undoubtedlyremain at the base of what will be then the modern period and then completed with thecurrent contemporary cultural era. It is important to specifythat this highlights the links between photography andartistic movements will be carried out through therealization of cultural belonging to the art movement –issues taken into consideration. Finishing with a further lightplace the example of what I described with my status – art –contemporary; I am not and I do not want to be aphotographer, but I’m an artist who creates artistic projects– perfomaces, installations, painting, sculpture, digital artand photography, and I do not share the absurd rivalriesthat often I read between photography and painting, as wellas I condemn the exclusion of photograpgalleria_contemporanea_onlinehy in the traditionof Visual Arts as well as quite often I keep track.


The antipittoricità and happy relationship betweentechnology and art of expressive Duchamps philosophymake almost automatic link between photography andDadaism. Duchamp’s argument is extended to all Dadaistsand in particular from Picabia. Dadaist photography appearsto be strongly consolidated through numerous works, one must rememberwhen early Dadaist Picabia depicted even a camgalleria_arte_modernaera. Thebond photography and Dadaism materializes officially withthe great invention of ready mades processed by Duchampin the early decades of the twentieth century. Briefly itcomfortably synthesize details of ready mades the followingpoints; overcoming the dexterity – exceeding the real with afree handling – the conceptual meaning of the work thatneeds to be handled at the artist’s intuition. The strong bondDuchamp and photography has strengthened the inclusionof the expressive language of photography into theadventure of avant-garde arts which remain the basis for the’ first of modernity and contemporaneity. Also the interest of Dadaism shoot for the technological evolution of the imageis mostly historical, with the determination of thephotomontage that undoubtedly has to be considered thefirst manipulation of an image.

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Pasquale Petrucci

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Posted by: ALINO on Category: contemporary art, contemporary-photography