Art History & Film Studies - Concordia University (Canada)

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Concordia University (Canada)Art History & Film Studies

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• 5 Papers
• 19 Researchers

Blue like the Mediterranean: the work of the monochrome in the Atlas Group ArchiveIn the prologue to Walid Raad's Hostage: The Bachar Tapes (2001), the speaker asks that his words appear against a grey background. Or, he continues after a pause, 'use a blue background. .. blue just like the Mediterranean'. Beginning... moreIn the prologue to Walid Raad's Hostage: The Bachar Tapes (2001), the speaker asks that his words appear against a grey background. Or, he continues after a pause, 'use a blue background. .. blue just like the Mediterranean'. Beginning with this colourful riddle, this article investigates the work of the monochrome in the Atlas Group Archive. With this attention to the monochrome as a format, the author's goal is to move away from the categories of documentary and fiction that dominate discussions of Raad and parafictional work more generally, towards the formal infrastructure through which such works command belief and emotion. This attention to the aesthetic form of the archive not only brings into focus the constituent role of design in the construction of knowledge, but it also reveals the transformation of the monochrome in its encounters with the archive, technical media, and the chromatics of affective capitalism.

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• • by Katerina Korola
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  • 2 Contemporary Middle Eastern Art, monochrome art

The Air of Objectivity: Albert Renger-Patzsch and the Photography of IndustryFocusing on Albert Renger-Patzsch’s photographs of the Zollverein colliery, this essay investigates the tension between the clarity of Renger-Patzsch’s aesthetic and the physical reality of the industrial environment in which he worked.... moreFocusing on Albert Renger-Patzsch’s photographs of the Zollverein colliery, this essay investigates the tension between the clarity of Renger-Patzsch’s aesthetic and the physical reality of the industrial environment in which he worked. In doing so, it offers an account of New Objectivity photography that is attentive to both the environment from which it emerged and the way in which photography, in turn, acted upon this environment. Placing particular stress on the clear contours and white backgrounds of these photographs, as well as their material and technical prerequisites, it argues that the radical clarity of Renger-Patzsch’s photographs is best regarded as an active intervention into a compromised environment, in which the photographer was called upon to bring forth clarity from the dust and smoke of industrial extraction.

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• • by Katerina Korola
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  • 3 History of photography, Environmental Humanities, German Photography

Crossing a Man-Altered Landscape: Driving and the Vehicle in the Road Movies of Jim JarmuschAll he needed was a wheel in his hand and four on the road. (Jack kerouac, On the Road)

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• • by Katerina Korola
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  • History

Feather War with the Camera: Women, Bird Protection, and the Films of Hermann HähnleCo-Authored with Katharina Loew

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• • by Katharina Loew and +1Katerina Korola
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  • 4 Nature and Wildlife Films, Early Cinema, German Cinema, Bird Conservation

Verre et poussière: L’hygiène photographique à l’ère industrielleCet article prend l’Élevage de poussière (1920) de Man Ray comme point de départ d’une étude sur l’histoire de la poussière considérée comme un problème photographique. En envisageant la photographie de Man Ray avant tout comme une étude... moreCet article prend l’Élevage de poussière (1920) de Man Ray comme point de départ d’une étude sur l’histoire de la poussière considérée comme un problème photographique. En envisageant la photographie de Man Ray avant tout comme une étude d’un dépôt de poussière sur du verre, l’article examine la manière dont les photographes ont composé avec la poussière sur le plan de la représentation, de la matérialité et de l’environnement. Car si le développement de la photomicrographie a permis d’observer les poussières avec un niveau de détail inédit, la plaque photographique les a rendues perceptibles de diverses manières autrement gênantes. L’accumulation de poussière sur le verre a constitué l’un des défis les plus tenaces pour les photographes, ce qui a conduit au développement de procédures d’hygiène photographique rigoureuses, inscrivant la pratique photographique dans le discours porté par le courant du modernisme hygiéniste émergent. La photographie a contribué à ce discours non seulement en tant que moyen de représentation, mais aussi en tant que pratique hygiénique à part entière, nous incitant à reconsidérer la place de la photographie–et de l’hygiène photographique – dans une écologie plus large de l’extraction, de la production et des déchets industriels.

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• • by Katerina Korola
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  • 4 Modernism (Art History), Environmental Humanities, History and Theory of Photography, Elemental Media

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