Fotograf Magazine

#16 Photography and Painting

Whereas, at the start of the 20th century photography had an indisputable complex from painting, at the end of the century the tide appeared to have turned.  Many painters took up cameras and began to express themselves through photographs.  

What is the actual bond between photographs and paintings and how does photography differ from its much older partner?  To what limit should it go in an attempt to be as good as painting, or perhaps to exceed the latter artistically?  Does this effort make any sense?  Isn’t photography more powerful thanks to its authenticity, which allows it in contrast to other media to better accent elements such as ethos, spontaneity or the possibility of dissemination thanks to easy reproduction?

#16 Photography and Painting — Profiles

Dryden Goodwin

DC: The relationship between drawing and photography as two means of imaging, but also communication, became the basis of your work. Could you please elaborate on the essence of this relationship? At first glance this can appear to be a difficult connection…

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#16 Photography and Painting — Profiles

Georges Rousse

In abandoned buildings across the world, before their destruction or their renovation, Georges Rousse has worked and installed his darkroom for more than 20 years. He has set up his nomad workshop in places into which he has infused new life and given it a new history…

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#16 Photography and Painting — Profiles

Rafał Bujnowski

The phenomenon of “new painting from Poland” was born more than a decade ago. And despite the fact that it does not cultivate any unified style, that it does not create a group and that it works in a diffused manner, on the international scene it is brought together by its special humour and high quality…

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