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A photograph itself is a kind of magic. In its simplest form, it captures a moment gone and preserves a place and time unchanged on its two-dimensional plane. The mechanics of that alone are an astounding feat, where the goal is the image produced and the subject is clearly framed and readily recognized.
A photograph itself is a kind of magic. In its simplest form, it captures a moment gone and preserves a place and time unchanged on its two-dimensional plane. The mechanics of that alone are an astounding feat, where the goal is the image produced and the subject is clearly framed and readily recognized.But there’s another kind of magic; a more familiar one that misdirects and plays with points of view and calls on our imagination to question what it is we see. It is the application of that practice to photography in contemporary art that Charlotte Cotton explores in her new book, Photography Is Magic, her second with Apert
An expert curator of the field for over twenty years at institutions like the Victoria and Albert Museum of London and the Los Angeles County Museum of Art, Cotton selected over eighty artists for the book that she believes to embody the spirit of magic in their work and who lead the conversation about what it means to be an artist or a photographer in our current overburdening image world. “The project is not particularly such a rarified idea of photography,” Cotton says. “I think it’s very much a post-internet position. It’s not about collecting all of these signs and symbols of the big wide world and bringing them back to this rarified world of art and looking at it. These artists have all been operating within the same image environment that we’re all functioning within.”
An expert curator of the field for over twenty years at institutions like the Victoria and Albert Museum of London and the Los Angeles County Museum of Art, Cotton selected over eighty artists for the book that she believes to embody the spirit of magic in their work and who lead the conversation about what it means to be an artist or a photographer in our current overburdening image world. “The project is not particularly such a rarified idea of photography,” Cotton says. “I think it’s very much a post-internet position. It’s not about collecting all of these signs and symbols of the big wide world and bringing them back to this rarified world of art and looking at it. These artists have all been operating within the same image environment that we’re all functioning within.”In surveying the works represented, few made before 2010, it is clear that post-production plays a defining role in each creative process. The image itself is merely a starting point that is distorted and decontextualized and therefore assigned new meaning. “What I do is turn the finished photograph almost back into a scribble,” states artist Florian Maier-Aichen, whose aerial landscapes featured in the book incorporate handmade details to offset their sense of perspective. “Usually a photograph is very finished, precise, and rigorous. It’s an end product.
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