Women behind cameras expanding street photography with artistic qualities
Matinniemi, Julia (2018)
Matinniemi, Julia
Tampereen ammattikorkeakoulu
2018
All rights reserved
Julkaisun pysyvä osoite on
https://urn.fi/URN:NBN:fi:amk-2018111216961
https://urn.fi/URN:NBN:fi:amk-2018111216961
Tiivistelmä
In this written part of my bachelor’s thesis I present progressive female photographers, who have brought artistic elements and new approaches to street photography in their own time, expanding traditional street photography with features of fine art and contemporary art from the strict definition of early male-dominated street photography.
The discussed thirteen photographers have been active between the early 20th Century and the 21st Century, and they all represent different artistic backgrounds and visual styles. I introduce either one project or a larger body of work that depicts strangers by each photographer, and I analyze them by finding answers to questions such as the following ones: what is the main focus of their work, and is it based for example on visual or political values? What is the photographer’s relationship with the strangers, and is it humanistic? What is the role of urban environment in their work? Besides these questions, I study the motivations and backgrounds that the photographers had when they expanded the genre of traditional strict street documentary towards free artistic expression.
The fourteenth artistic representation of strangers comes in the last chapter, where I present my own artwork Love Is to Share, which is a two-channel video installation where traditional strict street photography has been expanded to the form of video art. Eventually in the end of this paper, I compare the discussed photographers and their artistic approaches with each other, and I ponder on how my own work relates to them.
The discussed thirteen photographers have been active between the early 20th Century and the 21st Century, and they all represent different artistic backgrounds and visual styles. I introduce either one project or a larger body of work that depicts strangers by each photographer, and I analyze them by finding answers to questions such as the following ones: what is the main focus of their work, and is it based for example on visual or political values? What is the photographer’s relationship with the strangers, and is it humanistic? What is the role of urban environment in their work? Besides these questions, I study the motivations and backgrounds that the photographers had when they expanded the genre of traditional strict street documentary towards free artistic expression.
The fourteenth artistic representation of strangers comes in the last chapter, where I present my own artwork Love Is to Share, which is a two-channel video installation where traditional strict street photography has been expanded to the form of video art. Eventually in the end of this paper, I compare the discussed photographers and their artistic approaches with each other, and I ponder on how my own work relates to them.