No. 1-2 (2024): ART INNOVATION
In 01-02/2023 issue of the Art Innovation journal the authors investigated the history, theory and practice of photography. The issue starts with an article by Anastasia Evdokimova devoted to the analysis of forms of autofiction statements in contemporary art. The author revealed the specifics of the genre in relation to literature, cinema and photography. The researcher focused on autofiction projects in Russian photography, identifying their conceptual and artistic features. In addition, she discussed her own photo project ‘Threshold’ as a result of studying the history and current practice of autofiction.
Irina Chmyreva studied the work of Russian photographer Dmitry Markov. She considered his legacy as a striking example of the Russian documentary photography development in the era of social media. The author traced the main stages of photographer’s creative evolution, conducted a comparative analysis of Markov’s photographs with the works of other photographers, identifying the features of his individual style and revealing significant historical and cultural references in his pictures. She paid special attention to the interpretation of a childhood theme in Markov’s works, which was the most significant topic for him.
Ida Shik explored the work of Vyborg photographer Vladimir Pozdnyakov, who photographed the Monrepos Park for many years, and his unrealized exhibition project ‘Parallel Worlds’. The author revealed the aesthetic and conceptual specificity of the photographs, drew parallels between the photographer’s creative searches and the legacy of Russian and foreign photography, and provided information about the personalities represented in the photographs.
The ‘Translations’ section contains articles by American photographers Clarence John Laughlin and Jerry Uelsmann. In the article ‘Photographic Methods of Approaching Reality’, Laughlin presented a variety of ways of photographer’s interaction with his objects. These methods allowed photography to be not just a ‘mirror with memory’ that impartially records reality but means of authorial expression. The photographer used his own works as an example of the application of different methods described in the article.
In the article ‘Post-Visualization’, Jerry Uelsmann stated the value of experimental photography practices for the history of the photographic medium and the creative development of the photographer. He described his method as ‘post-visualization’, opposing it to the strategy of pre-visualization. This strategy excluded any manipulation of the photographic image in the darkroom. It dominated in American photography in the 20th century and limited the photographer’s self-expression.
The ‘Portfolio’ section presents photographs by Vladimir Pozdnyakov from the collection of the Monrepos Park Museum-Reserve. In these works, he used light as the main means of expression, creating poetic images that magnificently conveyed the unique atmosphere of the park.
