对于我们中的许多人来说，虽然拍照、分享和浏览照片已经成了日常生活中的习惯，但我们与图像的频繁接触并未培养我们在视觉表达上的素养。 这个课程的目的在于通过介绍影响摄影作品的创意、手段与技术，讨论观看照片与真正理解照片之间距离的问题。 在这个课程里，你将近距离观看纽约现代艺术博物馆收藏的照片，聆听从不同角度对照片的解读，以及摄影在将近180年历史中被使用的方式：作为艺术表现的途径、作为科学和探索的工具、作为纪实文献的媒介、作为讲述故事和记录历史的手段，以及作为日益视觉化的文化中一种交流和批评的模式。 学习目标 训练技巧，以便更好地检视和理解照片与摄影图像之间的不同。 发现语境如何影响摄影图像的制作、传播和接收。 学习摄影中各种不同模式的艺术和技术试验和创新。 探讨摄影在日益视觉化的文化中所发挥的作用
6.2 与艺术家 Lucas Blalock 访谈 (可选择中文字幕)
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来自 The Museum of Modern Art 的课程
透过摄影看世界
51 个评分
从本节课中
图像的海洋：摄影与当代文化
许多艺术家转向我们这个充满图像的世界，既作为他们作品的源泉，也作为其作品的主体对象。
与讲师见面
Sarah MeisterCurator
Department of Photography
I often start making a picture by bringing some objects into the studio.
I start by trying to get this object to sort of sing for me.
And that process is in some ways very self-contained.
But then once I've shot the film and
I take it to the processor and get it back and scan it then I'm left with
this relationship to this object that I was attempting to have.
So I was attempting to relate to this thing through
drawing his picture with a camera.
And I think that sometimes there's a gap there,
a space there where there's more that can be done or more that can be considered and
that's where the computer comes in.
Whether I'm making a straight photograph or an unmanipulated photograph or
photographed a lot of manipulation.
This is my process, it goes, camera, scanner, computer.
And so, the computer can be very active.
And so if I see an opportunity within the picture making in the computer,
then I'll go ahead and take it.
>> So you said that you start by bringing some objects into the studio.
How do you choose these objects?
>> I've said before that I really like objects that have a kind of
pathetic quality.
But I think there's some objects that are really made to be looked at,
that that It's sort of in their DNA.
And other objects that really aren't, that refuse that somehow.
That there's still something left to be discovered in,
and I think those are the objects that attract me more than others.
Others.
>> So let's take as an example the Strawberries for instance.
Can you run us through how you made that?
>> Sure.
>> Those two pictures?
>> The Strawberries photographs are two photographs
that start with the same two negatives.
One negative is on top of the other then the other one.
The relationship is flipped.
So it started out by me bringing out these sort of strawberry candies
into the studio.
And sort of arranging them on the table into a field that sort of just took
up a space in front of the lens.
I really like objects that sort of act like photographs.
That are sort of imitators of the things that they're trying to be,
even if they're sort of, I don't know, not so convincing.
And so I made this picture of the candies and they actually sat on my table,
I think, for a day or two.
And it popped into my head that maybe I should replace them with the real thing.
And so I think at that point it's like this problem has gotten set up.
And I did, I went and bought some strawberries, [LAUGH] and
sort of took the candies away and replaced them with the strawberries.
And made another photograph.
And at that point I didn't know whether maybe they would just be
two straight photographs that would hang out together, or
how I would end up drawing that relationship.
But what ended up happening was that I thought
about them through this overlay of one taking the place of the other.
And so.
Their titles are Fresh Forever and Forever Fresh
because the forevers are the candies and the fresh ones are the fresh ones so
in each of the two pictures they have the opposite relationship.
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