文献类型：期刊文献

中文题名：观念摄影作品接受的主观性研究

英文题名：Subjective study of the Acceptance of Conceptual Photography

作者：段筱[1]

第一作者：段筱

机构：[1]新乡学院新闻传播学院

第一机构：新乡学院新闻传播学院

年份：2018

卷号：0

期号：25

起止页码：155-157

中文期刊名：科教导刊

语种：中文

中文关键词：观念艺术;观念摄影;纪实性;主观性;二度创作

外文关键词：conceptual art;conceptual photography;documentary;subjectivity;recreation

摘要：观念摄影属于观念艺术在摄影领域发展出来的一个相对独立的摄影门类,作品具有深刻的隐喻性和普遍的社会内涵。从本质而言,观念摄影具有摄影活动应有的纪实色彩,并在作品中有鲜明的体现。然而它又承载着"传递与表达观念"的特性,因此,长期以来观念摄影的主观性广泛存在,从摄影师的创作过程,到照片欣赏者的接受过程,每一幅观念摄影作品都展现出一种个人化的特质。本文从观念摄影的内涵谈起,结合国内外相关作品,逐步探讨其作品接受的主观性,力求实现对观念摄影更加全面的认识。
Conceptual photography is a relatively independent category of photography as the product of Conceptual Art developed within the field of photography. That photograph has profound metaphorical and widespread social connotation. Essentially, conceptual photography is documentary as photographic art do have in competitions. However it is a kind of media arts with feathers about expressing. Consequently, the subjectivity of conceptual photography is ubiquitous from Arts’ creating process to viewers’ appreciation for a long time. Every photo is startlingly personalization. The paper aims to make some discussions about that subjectivity by focus mainly on connotation of conceptual photography. As a result, we could get an overall view for conceptual photography art.