Secondo Yi-Fu Tuan, uno dei massimi teorici della prospettiva umanistica, la geografia ha come scopo principale quello di studiare il sentimento e le idee spaziali dell’uomo nell’insieme dell’esperienza, attraverso sentimenti, sensazioni e percezioni nei confronti di spazi e luoghi.
Egli evidenzia come il concetto di luogo, e la differenziazione tra questo e lo spazio, sia uno dei punti chiave della nuova prospettiva umanistica della geografia.
L’interpretazione dello spazio può essere attuata attraverso una struttura di pensiero astratta, il linguaggio della matematica e dati quantificabili. Il concetto di luogo ha invece diversi significati in base all’approccio utilizzato nell’osservare la realtà, può essere rapportato alla localizzazione, ma a differenza di questa però, il luogo è un’entità unica, ha una storia ed un significato, è una realtà che va compresa attraverso la visione delle persone che gli hanno attribuito, e gli attribuiscono, un valore.
Anthony Zinonos is a collage artist and illustrator currently based in Oakland, U.S.A. He has applied his unique collage style to a wide range of editorial, advertising, book illustration, murals, animation and 3D work .
Selected client Clinique, Nestea, Kate Spade, Chanel, Mens Health magazine, More magazine, Alfa Romeo, Emirates: Open Skies magazine, London Fashion Week daily, Rubbish magazine, Pandora jewellery, Ling magazine, Neon magazine, Viewpoint magazine, M le magazine du Monde, Casio Gshock, BBH london, Elle collections, Wall Street Journal magazine, Ace Hotel, Three Mobile, Cico Books, Crabbies, Granta Magazine, Protein Journal, Buzzfeed
Whether household wares or store-bought novelty items such as key-chains, mugs, and ashtrays, much of Barbara Astman’s work involves the use of objects, which she imbues with memories and histories in an attempt to “dematerialize” her materials and make personal the impersonal. In installations such as Clementine Suite (2006) and Enter Through the Giftshop (2011), or series such as “Newspapers” (2006) and “The Red Series” (1981), she explores the role that mundane objects play in forming our personal and collective histories while commenting on our consumer culture. Astman was one of the first artists to use the Polaroid in her art, treating the medium more like a three-dimensional, malleable material than a flat, two-dimensional surface. She often photographs self-portraits that have been carefully choreographed, so that her image becomes abstracted, a symbol of a constructed memory. Then, in a process of scratching into, enlarging, xerox-ing or printing over, she manipulates the photograph, emphasizing its quality as an object even further
Steeped in African-American history, Carrie Mae Weems’s works explore issues of race, class, and gender identity. Primarily working in photography and video, but also exploring everything from verse to performance, Weems has said that regardless of medium, activism is a central concern of her practice—specifically, looking at history as a way of better understanding the present. “Photography can be used as a powerful weapon toward instituting political and cultural change,” she has said. “I for one will continue to work toward this end.” She rose to prominence with her “Kitchen Table Series” in the early 1990s, whose photographs depict the artist seated at her kitchen table and examine various tropes and stereotypes of of African-American life. Most recently, her achievements were recognized with a “genius grant” from the MacArthur Foundation.