把脚变成自己的鞋子，直接在脚上系鞋带，来一场真正意义上的徒步旅行；把手变成拳击手套，去证明自己拥有超乎常人的力量……出生在洛杉矶的摄影师胡弗克莱斯科奠（Hugh Kretschmer）是超现实主义摄影的先驱，他深受二十世纪绘画和雕...把脚变成自己的鞋子，直接在脚上系鞋带，来一场真正意义上的徒步旅行；把手变成拳击手套，去证明自己拥有超乎常人的力量……出生在洛杉矶的摄影师胡弗克莱斯科奠（Hugh Kretschmer）是超现实主义摄影的先驱，他深受二十世纪绘画和雕塑作品影响，对丰富的材质运用拥有无限的灵活和包容性，并通过有趣的艺术创作实验，造就了充满奇幻色彩的超现实主义世界。1984年，胡弗从帕萨迪纳设计学院（Art Center College of Design）获得了摄影专业的学位，作品一经发布，就被业界人士称为“恐怖之父”。但如果你仔细观察他的摄影作品，很快就会发现其中流露出生活化的幽默和想象力。胡弗模糊了艺术与商业之间的界限，他的作品也广泛地应用于广告与平面设计领域。展开更多
The article describes the activity of two Italian photographers： Carlo Bavagnoli （1932） and Mario Dondero （1928） In particular, it focuses on their debuts in the world of photojournalism in Italy since the early ...The article describes the activity of two Italian photographers： Carlo Bavagnoli （1932） and Mario Dondero （1928） In particular, it focuses on their debuts in the world of photojournalism in Italy since the early 1950s. First, it offers an overview of the national photographic research in the post-Second World War, underlining a significant evolution compared with the past and the complexity of the directions undertaken. Then, in the outlined context, it studies the work of the two photographers and their approach to a socially active photography, dwelling mainly on the relationships interwoven with the ruling publishing system. It also underlines the elements characterizing the nature of their reportages and the distance from an idea of image exploitation, derived from an always increasing interference of the political control over the images destined to mass communication. Both Dondero and Bavagnoli avoid any tendency to spectacularization and to the representative models typical of the common neorealist orientation, proposing an information founded on the effectiveness of narration, on the concreteness and immediacy of evidence; the first collaborations with the most progressive magazines testify the peculiarity of a method that both will coherently develop in the experiences matured outside the Italian context.展开更多
文摘把脚变成自己的鞋子，直接在脚上系鞋带，来一场真正意义上的徒步旅行；把手变成拳击手套，去证明自己拥有超乎常人的力量……出生在洛杉矶的摄影师胡弗克莱斯科奠（Hugh Kretschmer）是超现实主义摄影的先驱，他深受二十世纪绘画和雕塑作品影响，对丰富的材质运用拥有无限的灵活和包容性，并通过有趣的艺术创作实验，造就了充满奇幻色彩的超现实主义世界。1984年，胡弗从帕萨迪纳设计学院（Art Center College of Design）获得了摄影专业的学位，作品一经发布，就被业界人士称为“恐怖之父”。但如果你仔细观察他的摄影作品，很快就会发现其中流露出生活化的幽默和想象力。胡弗模糊了艺术与商业之间的界限，他的作品也广泛地应用于广告与平面设计领域。
文摘The article describes the activity of two Italian photographers： Carlo Bavagnoli （1932） and Mario Dondero （1928） In particular, it focuses on their debuts in the world of photojournalism in Italy since the early 1950s. First, it offers an overview of the national photographic research in the post-Second World War, underlining a significant evolution compared with the past and the complexity of the directions undertaken. Then, in the outlined context, it studies the work of the two photographers and their approach to a socially active photography, dwelling mainly on the relationships interwoven with the ruling publishing system. It also underlines the elements characterizing the nature of their reportages and the distance from an idea of image exploitation, derived from an always increasing interference of the political control over the images destined to mass communication. Both Dondero and Bavagnoli avoid any tendency to spectacularization and to the representative models typical of the common neorealist orientation, proposing an information founded on the effectiveness of narration, on the concreteness and immediacy of evidence; the first collaborations with the most progressive magazines testify the peculiarity of a method that both will coherently develop in the experiences matured outside the Italian context.
