A Diffrent Look at Corona Documentary Photographs: An Analysis Based on Beardsley’s Art Critisim

Documentary photography is known as the only true document and represents what is seen without wanes. The documentary aspect pays attention to the social nature, and the photographer, as the only witness who reports on empirical truth, deals with all human issues. The functions of photography in the documentary genre are numerous and varied; A genre that depicts the human conditions in the face of human with life's problems. According to some experts, it can be said that another function of photography is to make the aesthetic experience. For example, Monroe Beardsley, in an instrumentalist definition, considers the aesthetic experience as aesthetic value. The value of a work of art is determined by objective characteristics such as unity, intensity, and complexity. These features can be considered as aesthetic value in photographs that they encompass corona issues. The aesthetic value of a photograph as a work of art can be demonstrated by making an aesthetic experience. The value of the judgment is given to the critic by the necessary criteria; It is a good work with aesthetic value that has the capacity to make an aesthetic experience, and a bad work does not have such a capacity. We will show these photographs have capacity for the aesthetic experience, of course here it is nessesery capacity in spectators. Documentary photography, In addition to the realistic and documentary aspects that take on various functions such as social documentary, social landscape, journalism and war photography, can be also have aesthetic value. In this article, it is clear that photographs of the corona crisis also have a documentary aspect and express the pain that almost all of us have experienced. However, with all the painful dimensions that these photos have and make us miss non-coronary days, based on Beardsley's view, they can also have aesthetic dimensions and make an aesthetic experience. The experience received in relation to the elements and qualities within the photographs, which produces phenomenological pleasure from the combine of the Phenomenally Objective and the Phenomenally Subjective, that is, a percentage of the capacity of the object (photograph) and the competence of the audience. On this occasion, aesthetic value emerges, and with the passage of man through this crisis, in the future, in addition to the unpleasant feeling that these photographs convey to the viewer, they can also be aesthetically critiqued and make another sense, provided that critics pay attention to their aesthetic dimensions. In this way, by looking at these photographs aesthetically, we can get a capacity in them through their inner quality and features, which requires the passage of time and our deeper look to see them.The done studies in this article can show that these photographies, besides of the documentary and realistic aspects, have aesthetic dimensions which will make them last in the history of photography. The collect data in research is library study and the internet search, then describe and analyze them in accordance with Corona’s the selected works as a case study.