#2010S NOSTALGIA AESTHETIC HOW TO#

The students are expected to prepare digital images for critique the next day or process their film and print pictures by themselves.

#2010S NOSTALGIA AESTHETIC HOW TO#

Initial class discussions include how to initiate an idea and approach a subject.

The two days course combines lectures, critique, and individual photographing from Saturday afternoon to, if necessary, Sunday early morning. Furthermore, because of the nature of the workshop’s focus, the imagery could explore ideas of ‘the past’ - immediate or ancient – whether it be photographic, cultural, personal, political, environmental, social, scientific or otherwise. (although Cotton’s essay focuses on the re-emergence of black-and-white, it is important to recognize that color, digital and so on are equally capable of emotional and nostalgic power, if not more so in some cases). The work could be made in any photographic medium – black-and-white, color, Polaroid, digital, found imagery, collage, etc. In this workshop, the participants were asked to create photographic work that consciously deals with concepts of nostalgia and photography’s unique relationship to it the idea was, carefully avoiding overt irony, over-sentimentalization or imitations of ‘retro’, to genuinely engage with this oddly powerful human emotion through the photographic image. Furthermore, as a physical object with a long and diverse history, technological trajectory, cultural presence and social importance, the photograph itself carries with it the potential to both contain and evoke nostalgia. a wistful or excessively sentimental yearning for return to or of some past period or irrecoverable condition.Īs a medium that instantly captures and preserves the present as it transforms into the past, it could be argued that photography inherently possesses varying degrees of nostalgia, both on the part of its viewers and its practitioners. ‘, for cognizant, challenging photography…One of the most important factors…is our visual recognition that the act of making and defining photographic practice in print form is increasingly nostalgic, and perhaps calls for an aesthetics of nostalgia.*’ġ. sentimental recollection: a mixed feeling of happiness, sadness, and longing when recalling a person, place, or event from the past, or the past in general.Ģ.

In her 2007 essay, ‘The New Color: The Return of Black and White”, Charlotte Cotton wrote: Embassy and kim? RigaĢ days | 17 – 18 April 2010 | at kim?, 12/1 Maskavas iela, Riga

2010s nostalgia aesthetic