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[No official title].

Rentsch, Andreas.

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[No official title].

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	[No official title]./
作者:	Rentsch, Andreas.
面頁冊數:	49 p.
附註:	Source: Masters Abstracts International, Volume: 52-03.
Contained By:	Masters Abstracts International52-03(E).
標題:	Fine Arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1546659
ISBN:	9781303463921

[No official title].
Rentsch, Andreas.

[No official title]. - 49 p.

Source: Masters Abstracts International, Volume: 52-03.

Thesis (M.F.A.)--State University of New York at Stony Brook, 2013.

As my work has extended into other mediums such as painting, drawing and performance art, I will explore in the first chapter of my thesis how this art practice fits in the art historical context of expanding the boundaries of the photographic medium. I am also interested in contemporary discourse of medium specificity, as it relates to my art and the work of other artists. I will use Michael Fried's provocative claim of the emergence of Jeff Wall as a painter and Gerhard Richter (1) as a photographer as the basis for a critical argument regarding photography. As photography has become the most democratic of all mediums through the accessibility of easy to use and low cost digital cameras, the second chapter will discuss the proliferation of imagery, dealing with pictures of horror, and the virtue of empathy. This portion of my paper includes elements drawn from my personal history that have shaped my interest in existential and humanistic issues as well as inform my art practice.

ISBN: 9781303463921Subjects--Topical Terms:

891065
Fine Arts.

[No official title].
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520 $a As my work has extended into other mediums such as painting, drawing and performance art, I will explore in the first chapter of my thesis how this art practice fits in the art historical context of expanding the boundaries of the photographic medium. I am also interested in contemporary discourse of medium specificity, as it relates to my art and the work of other artists. I will use Michael Fried's provocative claim of the emergence of Jeff Wall as a painter and Gerhard Richter (1) as a photographer as the basis for a critical argument regarding photography. As photography has become the most democratic of all mediums through the accessibility of easy to use and low cost digital cameras, the second chapter will discuss the proliferation of imagery, dealing with pictures of horror, and the virtue of empathy. This portion of my paper includes elements drawn from my personal history that have shaped my interest in existential and humanistic issues as well as inform my art practice.
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