Desde la altura de mis ojos de plata. El fotolibro en la era digital a través de la perspectiva de género.
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Publication date
2024
Defense date
08/07/2024
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En este Trabajo Fin de Grado nos acercamos a la noción del fotolibro como proyecto artístico en la era digital, desde la perspectiva de género. Previamente haremos un breve repaso de algunos conceptos que se han modificado en el nuevo espacio de comunicación de la red, como el de imágen, retrato, autorretrato y fotografía, que enmarcan dicha práctica. Presentaremos diversos ejemplares localizados en nuestra investigación junto a otros ya catalogados por editoras especialistas, con el fin de contrarrestar de alguna medida las lagunas que existen en la historiografía del fotolibro realizado por mujeres. La revisión de este soporte tradicional, que se muestra como una formalización versátil y enriquecida gracias a las nuevas tecnologías, se entrelaza con la mirada de la mujer que estudia arte en su edad madura y refleja su experiencia en un proyecto de fotolibro.
In this Final Degree Project, we approach the notion of the photobook as an artist project in the digital age, from a gender perspective. Previously we did a brief review of some concepts that have been modified in the new communication space of the network, such as image portrait, self-portrait and photography, which frame this practice. We will present various copies located in our research along with others already cataloged by specialist editors, in order to counteract, to some extent, the gaps that the history of the photobook made by women presents. The review of this traditional support, which is shown as a versatile and enriched formalization, is intertwined with the gaze of a woman who studies art in her mature age and reflects her experience in a photobook project.
In this Final Degree Project, we approach the notion of the photobook as an artist project in the digital age, from a gender perspective. Previously we did a brief review of some concepts that have been modified in the new communication space of the network, such as image portrait, self-portrait and photography, which frame this practice. We will present various copies located in our research along with others already cataloged by specialist editors, in order to counteract, to some extent, the gaps that the history of the photobook made by women presents. The review of this traditional support, which is shown as a versatile and enriched formalization, is intertwined with the gaze of a woman who studies art in her mature age and reflects her experience in a photobook project.