The Idiom in Photography As the Truth in Painting
Bibliographic Data
| ID | 4438829 |
|---|---|
| Authors | Rosemary Hawker (corresponding author) |
| Year | 2002 |
| Volume | 101 |
| Issue | 3 |
| Pages | 541-554 |
| Publication date | 2002-07-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | South Atlantic Quarterly (JOURNAL) |
| Journal identifiers | ISSN: 0038-2876 • E-ISSN: 1527-8026 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/00382876-101-3-541 |
| OpenAlex | W1985470129 |
| Language | EN |
| Citations received | 2 |
| References cited | 3 |
Richter is known for the diversity of his oeuvre, his so-called photo-paintings evidence a persistent return to the relationship of two traditionally opposed media.Often star tling in their visual effects, these images rely on a highly rhetorical attem pt to tran scribe what I will label "photographic idiom" into the med ium of paint ing.In some of Richter's works, this photographic reference appears as a high realism, one that we take for granted in the veracious medium of photography, yet cannot help but be imp ressed to find in painting.Richter's paintings, however, have most to say about photography in their oblique reference to the medium .Richter refers not to the visual plenitude and truth that we usually associate with photography, but rather to its moments of representat ional inadequacy, to photographic blur and lack of focus that results in deliberatelyobscu red imagery.In these works-of which useruk (1999 ) (Figure I) is a good example-the space between photography and paintin g is at once closed and reopened.In emphasizing what is idiomatic to photography.Jam drawing on the discussion of idiom thaiThe Soulh AlI"nfi
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| Unique citing works | 2 |
|---|---|
| Citations per year | 0,11 |
| Citation span | 2008 - 2010 (3) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |