Building a fine-art reproduction system from standard hardware

Author(s):  
Jeffrey M. DiCarlo ◽  
Nitin Sampat ◽  
Miheer Bhachech ◽  
Michael D. McGuire ◽  
Gary Dispoto
1987 ◽  
Vol 35 (1_suppl) ◽  
pp. 65-98
Author(s):  
Gordon Fyfe

This paper is a critique of the contribution of William Ivins's Prints and Visual Communication (1953) to an understanding of the meaning of fine art reproductions. Ivins showed that photographic reproduction was constructed in relation to, and displaced, older ways of reproducing art which were carried out by handicraft engravers. His analysis alerts us to the fact that ambiguity characterized art reproduction before photographs. Art reproductions, then, were interpretations in line based on conventional modes of representation – what Ivins calls a visual syntax. In this respect he enhances our understanding of the social construction of the artist. For Ivins the social history of reproduction seems to end with the camera. This completed an individuation of creativity ushered in with the Renaissance, but which was always qualified by the interfering visual syntax of craftsmen-interpreters. It is argued that the value of Ivins's account resides in its reconstruction of the relationship between handicraft engraving, fine art reproduction and aesthetic objects that have long since slipped from our consciousness.


2015 ◽  
Author(s):  
Teun Baar ◽  
Hans Brettel ◽  
Maria V. Ortiz Segovia
Keyword(s):  
Fine Art ◽  

1952 ◽  
Vol 6 (4) ◽  
pp. 375-387
Author(s):  
Robert Bruce Rogers
Keyword(s):  

CFA Magazine ◽  
2010 ◽  
Vol 21 (3) ◽  
pp. 30-32
Author(s):  
Ed McCarthy
Keyword(s):  

Author(s):  
Mariya T. Maistrovskaya ◽  
◽  

The article is the second part of the research that consider and analyze two exhibitions held in recent years at the A.S. Pushkin Museum of Fine Arts named, “Chanel: according to the laws of art” (2007) and “Dior: under the sign of art” (2011), dedicated to the largest fashion designers of our time. The original concepts and artistic solutions of the exhibition design of these exhibitions became events not only in the fashion world, but also in the art of the exhibitiaon. These exhibitions presented various exhibition solutions, vivid artistic images, expressive spatial organization, conceptual and scenographic arrangement of copyright collections in the context of high fine art. The most important conceptual component of the exhibitions was to present the art of fashion designers, juxtaposing, giving rise to associations and building analogies and contexts with visual art, against which unique collections were exhibited and in the circle. With this single conceptual view of their work, and the single space of the museum in which the exhibitions were held, the artistic and architectural strategy of the exhibitions was diametrically opposite, revealing the palette and variety of artistically expressive means and modern exhibition design. Both exhibitions were created by modern foreign curators and designers and represent talented and creative exposition projects, the analysis of which can be useful for domestic environmental design as vivid examples of the exposition as a genre of plastic art, which is considered the modern museum and exhibition exposition at its highest and creative forms.


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