Year: 2025
Type: article
Abstract: Lorand Gaspar’s black-and-white photography, as seen in Carnets de Jérusalem and Mouvementé de mots et de couleurs, falls into three categories: photography of desert landscapes, photography of architecture and photography of everyday people. In this study we will be focusing on the black in photographs from the first two categories: either the black folds and streaks in desert landscapes, or the shadowy holes in architectural photographs, in contrast with the surrounding brightness. As a result, the referent is lost in the black colour and form of the photographic image, while the discontinuous form of the poetic verse (black on a white background) conversely inaugurates the referent: this will be the problematic issue of the present study, between representation and presentation of reality. The graphic scene of the black and white poem is often self-referential, yet doesn’t it also refer to Lorand Gaspar’s photographic work?
Source: Caietele Echinox
Authors: Université de Lille, France, Jérôme Hennebert
Institution: Université de Lille
Language: English
Topic: Photographic and Visual Arts
Subfield: Museology
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: diamond
OpenAlex ID: W4412640438