Contact Proofs — Identification of typologies of photographic appropriation in popular music album covers. Contributions for a classification.

By recognising the presence of historical images in record covers of popular music, this thesis questions the principles of photographic circulation that sit outside ordinary distribution networks, namely in publications, or more recently, on the internet.
After defining the universe of study, the first chapter explores André Malraux’s theory developed in The Museum Without Walls to rethink the model of perceiving an artistic object within a space outside its existence. Thus, we followed a framework close to the reproducibility theme announced by Walter Benjamin.
This method of navigating in the History of Photography through relationships established between images led us to the archival theory proposed by Aby Warburg in his Atlas-Mnemosyne. However, that perceptual way of attaching images did not fit the selection of our case studies. Nonetheless we throught the investigation purporting Mieke Bal’s assumption that suggests that a collection contains narrative principles. In summary, the understanding of the collector’s activity sustained the gathering of a significant sample for analysis.
After selecting the record covers, we acknowledged that often the original images had suffered considerable alterations. As such, we opted for an expansion of the investigation onto the identification of typologies of photographic appropriation embedded in the case study objects. Objectively,we focusedthethesisonthecomparativeanalysis between the original photographs and the way in which those images have been transformed in reference to the sound recordings.

Photography, Music, Record Sleeves, Appropriation, Archive, Collection, Manipulation, Narrative.

Year 2014
Type Thesis
Institution Faculdade de Belas Artes da Universidade do Porto
Degree PhD
Supervisor(s) Professor Doutor Heitor Manuel Pereira Pinto da Cunha e Alvelos
Language Português
Field Graphic Design, Photography, Music