Rhein II or notes about the construction of the visibility of photography within contemporary art

Authors

  • Fernando do Nascimento Gonçalves Universidade do Estado do Rio de Janeiro (UERJ)

DOI:

https://doi.org/10.15448/1980-3729.2016.3.22531

Keywords:

Photography, Contemporary Art, Production of Sense

Abstract

The paper addresses the case of Rhein II, a photograph by German artist Andreas Gursky, sold in an art auction for about four million dollars and considered until recently as the most expensive photograph in the world. Based methodologically on the NetworkActor Theory, the paper analyzes the processes of construction of the meaning and the value assigned to Rhein II and aims to evince that they set not only the experience of art and of its objects but also draws attention to the issue of representation in the domain of images and to the changes in the functions and patterns of production, circulation and legitimation of the photographic image in art and in the forms of Organization of our aesthetic experience in this context.

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Author Biography

Fernando do Nascimento Gonçalves, Universidade do Estado do Rio de Janeiro (UERJ)

Mestre e Doutor em Comunicação pela UFRJ. Realizou pesquisa de Pós-Doutorado em Sociologia do Cotidiano na Universidade Paris V- Sorbonne (2008) com apoio da Capes. Em 2002 foi pesquisador visitante na Tisch School of the Arts (New York University) com apoio do CNPq. Atualmente é professor associado da Faculdade de Comunicação Social da UERJ e pesquisador do CNPq. É artista visual, fotógrafo e líder do grupo de pesquisa Comunicação, Arte e Redes Sociotécnicas. Suas pesquisas têm como temas principais arte, fotografia, tecnologia, sociabilidade e produção subjetiva.

References

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Published

2016-07-07

How to Cite

Gonçalves, F. do N. (2016). Rhein II or notes about the construction of the visibility of photography within contemporary art. Revista FAMECOS, 23(3), ID22531. https://doi.org/10.15448/1980-3729.2016.3.22531

Issue

Vol. 23 No. 3 (2016)

Section

Communication Science

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