Встреча с легендой.

Paolo Roversi Photography at Pace/MacGill Gallery


Kristin Crying, Paris, Studio 9 rue Paul Fort</i>, 1990
Polaroid print 9 1/2 x 7 1/2 inches

http://www.pacemacgill.com/paoloroversi.html

National Portrait Gallery — Face of Fashion

From the early 1980s Roversi has used large-format Polaroid film for most of his photographs, both colour and black-and-white. His use of the Polaroid, and his preference for the studio, has resulted in portraits that are both tender and respectful. Informed by a wide knowledge of the history of photography, they are sometimes closer to work of the nineteenth century than contemporary fashion.

Аудио:
http://www.npg.org.uk/fashion/downloads_audio.php

http://www.npg.org.uk/fashion/roversi.php

паоло роверси



http://m0desta.livejournal.com/40218.html

Paolo Roversi

… In Paris Paolo started working as a reporter for the Huppert Agency but little by little, through his friends, he began to approach fashion photography. The photographers who really interested him then were reporters. At that moment he didn’t know much about fashion or fashion photography. Only later he discovered the work of Avedon, Penn, Newton, Bourdin and many others.

The British photographer Lawrence Sackmann took Paolo on as his assistant in 1974. « Sackmann was very difficult. Most assistants only lasted a week before running away. But he taught me everything I needed to know in order to become a professional photographer. Sackmann taught me creativity. He was always trying new things even if he did always use the same camera and flash set-up. He was almost military-like in his approach to preparation for a shoot. But he always used to say ‘your tripod and your camera must be well-fixed but your eyes and mind should be free’”. Paolo endured Sackmann for nine months before starting on his own with small jobs here and there for magazines like Elle and Depeche Mode until Marie Claire published his first major fashion story.

Весь текст:

http://www.paoloroversi.com/images/pdf/biography.pdf

Тексты:

Appearances, Fashion photography since 1945 (Martin Harrison, London, 1991)
http://www.paoloroversi.com/images/pdf/appearances.pdf

Paolo Roversi (Gabriel Bauret, Galerie Municipale du Château d’Eau, Toulouse, 1994)
http://www.paoloroversi.com/images/pdf/chateaudeau.pdf

Un photographe parmi les anges (Michel Guerrin, Le Monde December 9th 1999)
http://www.paoloroversi.com/images/pdf/lemonde.pdf

On The Mysteries of Light (Susan Reich, Photo District News March 2005)
http://www.paoloroversi.com/images/pdf/ ... strict.pdf

Shots of style, Great fashion photographs chosen by David Bailey
(Martin Harrison, London, 1985)
http://www.paoloroversi.com/images/pdf/shotsofstyle.pdf

Paolo Prince of Polaroids (Ian Philips, The Sunday Telegraph 18 September 1994)
http://www.paoloroversi.com/images/pdf/sundaytele.pdf

Studio (Anne de Mondenard, Transphotographiques 5 « Hors circuit 2005)
http://www.paoloroversi.com/images/pdf/sundaytele.pdf

Angels of desire (Stéphane Wargnier, Vis à Vis International N°4 1993)
http://www.paoloroversi.com/images/pdf/visavis.pdf

См. еще:

Paolo Roversi Technique

Does anyone know how Paolo Roversi gets his unique feel for his photographs? I know he uses an 8x10 Deardorff, 360mm Goerz f 6.8, cross processes 804/809 for chocolate polas. I think he uses some tilt and shift in his shots too. I would enjoy a discussion about his technique and appraoch from forum members who know him or have worked with him. I believe Roversi's work is timeless and stands apart from anything anyone else is doing. Here is a link to one of his Cerruti ads

http://www.vogue.de/vogue/4/models/cont ... /index.php

Ответы:

http://photo.net/portraits-and-fashion- ... rum/00BZkC

(Упоминаемое интервью см. здесь:

http://www.paoloroversi.com/images/pdf/ ... strict.pdf )

http://www.vincentsimonet.com/pages/page-paolo.html

Galleries :

New York
www.pacemacgill.com

Paris
www.galeriecameraobscura.fr

Milano
www.galleriacarlasozzani.org

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См. еще:

Natalia Vodianova in ‘Sea Princess’ by Paolo Roversi


См. еще

Vogue с Натальей Водяновой (специальный выпуск)

http://www.etoday.ru/2008/03/natalia-vo ... y-girl.php

Видео:

Pix Channel :: What Makes Photographers Click

Pix Channel is an ongoing series of vignettes that explore the creative process of iconic photographers in their own words. It has been a collaboration between photographer Randi Lynn Beach and graphic designer Doug Beach. The project began out of Randi’s passion for photography and desire to capture the thoughts and motivations of historic photography figures.

http://www.pixchannel.com/flash/index.html

Auction Results:
Spring 2008 — New York
Analysis by Brian Appel

Sotheby’s

“The Quillan Collection of Nineteenth and Twentieth Century Photographs” at Sotheby’s, a single-owner sale with roughly 70 pictures, kicked off the spring 2008 season with an $8.9 million payday easily surpassing pre-sale estimates of $4.5 to $7 million. Defying recent economic jitters, the sixty-three lots that were sold – each by a different photographer – produced 18 world auction records for their artists.

A rare and exquisitely rendered vintage print by Edward Weston entitled “Nude” from 1925, took the top spot at the house ($1,609,000) easily trumping his previous Oct. 15, 2007 world auction record of $1,105,000 for “Nautilus”, 1927. Measuring just 5 1/8 by 9 1/4 inches, the gelatin silver print set the bar as the most expensive photograph at auction this spring. Framed so that the figure has no recognizable identity, the image has a timeless, formal simplicity that suggests a poetic rendering of a cloud formation in the sky…

…“A Family On the Lawn One Sunday in Westchester, N.Y.” from 1968, a rare vintage Diane Arbus print, with deep, inky blacks and sparkling whites, was the star of the Sotheby’s various owners “Photographs” sale, setting a new world auction record at $553,000…

Christie’s

Christie’s spring season offered the greatest breadth and scope of photographic material to the market with 412 print lots sold as compared to 274 at Sotheby’s and 154 at Phillips de Pury & Company. Print sales grossed just over $15 million as compared to Sotheby’s $17.3 million but adding their first sale dedicated to a single owner’s commitment to the history of the photographic book (183 lots sold) their gross sales topped $17.6 million.

“Photographs from the Collection of Gert Elfering” jump started the print auction sales at Christie’s with Helmut Newton’s surreal diptych “Sie Kommen (Naked and Dressed)” from 1981 taking the top spot. Welding portraiture, fashion and the erotic, it landed at $241,000. It performed strongly against a pre-sale low/high estimate of $140,000-$180,000.

Two stage-managed photographs from Irving Penn – “Mouth for L’Oreal, N.Y., 1986” ($205,000), and “Gisele, New York, April 1 1999” ($193,000) took the 2nd and 3rd spots with an early print of Richard Avedon’s “Bridget Bardot” (exposed in 1959) landing at 4th with $181,000…

…Another milestone was met in the guise of a vintage Henri Cartier-Bresson photograph entitled “Hyeres, France”. A perfect example of the artist’s renown ability to freeze life’s most ‘fleeting instants’, the image records a cyclist racing through the street as seen from the camera’s elevated viewpoint at the top of a winding wrought-iron staircase. The gelatin silver print – exposed in 1932 and printed before a 1933 exhibition – set a new world auction record for the artist at $265,000. The same image, but printed “no later than 1979”, sold at Sotheby’s three days earlier for $13,750.

Phillips de Pury & Company

Phillips de Pury & Company stumbled badly this April with a drop of $7.1 million from their spring 2007 totals due in part to concerns about a recent lawsuit which ended a rare, 27 vintage print Diane Arbus auction. The black-and-white photographs, which came with a pre-sale high estimate of $2.5 million, explored an extended “family” of freak-show performers at a place called Hubert’s Dime Museum in a basement at 228-232 West 42nd Street just off Times Square. Taken by Arbus between 1958 and 1963, these macabre photographs “... captured the indomitable spirit she found in the personalities of that surreal realm” creating a gateway to the masterpiece images she was to take like “Russian midget friends in a living room on 100th Street, N.Y.C.”, and “Jewish giant at home with his parents in the Bronx, N.Y., 1970”…

…The top seller at $325,000 was Peter Beard’s “Giraffes in Mirage On the Taru Desert, Kenya” from 1960 (printed 1998) with a margin painting by Mwangi and Kivoli. The 50 inch high, toned gelatin silver print, set a new world auction record for the artist who had a strong showing at all three houses this spring.

A signed, dated and annotated Diane Arbus vintage print of “Child With a Toy Hand Grenade in Central Park, N.Y.C.” from 1962 (printed 1963) captured second place at $181,000 but would have realized somewhere in the vicinity of $400,000-$500,000 if the print would have been in pristine condition.

Chuck Close’s mesmerizing study of supermodel Kate Moss without make-up (ed.: ‘23/25’) realized $121,000 with a low/high estimate of $120,000-$180,000.

Далее:

TOP 20 PHOTOGRAPHS/ NEW YORK : SPRING / 2008

(Масса любопытной информации, большой материал, советую смотреть все):

http://www.luminous-lint.com/app/vexhib ... _01/2/0/0/

Далее: галерея, 21-а работа >:

Abstract: Viewpoint: Below / Abstract: Viewpoint: Above

Дее интересных сетевых выставки на Luminous-Lint.

"To look up to, to respect; to regard with deference."
[1913 Webster]

Abstract Viewpoint Below, Curated by Alan Griffiths >


*

Within a dictionary "To look down upon" is to treat with contempt or indifference. Within photography "altitudinal advantage" increases distance but also creates a fresh viewpoint.

This online exhibition includes examples showing how George Silk, George Rodger and Alexander Rodchenko used higher vantage points to reduce the individuality of formations of soldiers and athletes to morph them into single formal and yet abstract groups. The less structured shapes created by groups are shown in Margaret Bourke-White's "Hats in the Garment District, New York City" (1930), Marte Previti's "Extension of power" (1940) and Lev Borodulin's "Broke away" (1957).

In 1966 André Kertész took photographs from his apartment window of tracks in the snow in Washington Square in New York City in much the same way as a hunter following a game trail with the curving lines bringing a strong sense of motion to the scenes. The same effect is shown by Klavdij Sluban in his photograph "Finland" (2001) from his series Other Shores - The Baltic Sea (2001-2005).

Increasing the distance from the scene enhances the appearance of abstraction and this is shown in the WWI and WWII aerial reconnaissance photographs. Here we are brought back with a thump to the real world by intervening objects - falling bombs. Within the photographs of David Maisel, William A. Garnett and Mario Giacomelli we see both urban and rural settings where revealed shapes are the key. In satellite imagery the utilitarian purposes can be ignored by those just seeking beauty. Whilst we can look down upon the world at varying scales those with vision don't see it with indifference but rather with wonder.

Abstract Viewpoint Above, Curated by Alan Griffiths >

В копилочку «Вільня, Харэўскі, Раманюк»:

Андранік Антанян: Разграбаючы архівы. 1994.

«Па службе займаюся сканаваньнем негатываў. Учора тэставаў сканер на прадмет сярэдняга фармату. Скануе.

У якасьці тэставай адкапаў старую стужку адзьнятую у верасьні?/кастрычніку 1994 году. Стужка адзьнята на пацаватым апараце любитель-166, магчыма з педагагічнымі мэтамі. Навучыць Раманюка запраўляць сярэдняфарматную стужку ў бачок. Ці каля таго. Іншых вэрсіяў ня маю. Бо гэта, як аказалася, наогул, адзіная стужка адзьнятая мной з гэтым апаратам у Вільні…

…Рэшта стужкі прыходзіцца на фотасэсію з Харэўскім. Хто фатаграфаваў не ўяўляю. Варыянтаў ня так і шмат: Кася Харэўская, Раманюк, а можа і аўтаспуск запусьціў. Як бы там ні было — фокус злоўлены на штанах.



»

http://antanian.draniki.com/2007/11/26/303/

Miguel Garcia-Guzman:

What a wonderful discovery. Paul Demare, shared with me the link to Purpose, a great online photo-magazine. Check out the most recent issue here, and you will understand why I am both glad to learn about it and surprised that I did not discovered it until now. Purpose is published/edited in France but with text both in French and English so that it covers a large audience of readers.

"The margin is what holds together the pages of a notebook." Jean-Luc Godard gave this response when he was called a marginal artist. The most pioneering artistic movements are indeed found at the margin, where they guarantee the vitality of creation against the stagnation of the academy. The artist who holds himself apart from dominant trends shines light on other possible paths; he invites us to be part of the invention, deconstruction and reconstruction of the world." — Purpose

http://www.purpose.fr/

http://www.purpose.fr/home.html

На Exposure Compensation также имеется ссылка на Pix Channel, эта информация появилась на разных блогах, а вот такая новость имеется там про новый проект:

A new website, The Raw File, founded by photographer Brenda Ann Kenneally, a photojournalist focused in urban stories, and by multimedia producer Laura Lo Forti.

The Raw File is a digital multimedia show aimed to host stories that are not sponsored by commercially media…

http://www.therawfile.org/

VU Mag

А вот эта информация, относящаяся к началу месяца, пока у господ известных обозревателей не попадалась. А появился очень интересный французский журнал, двуязычный…

Vincent Marcilhacy, Responsable de la Publication, the creator of Vu Mag looks on as the first edition of the new twice yearly magazine is examined at its launch party in the French Cultural Institute in Madrid. 05 Jun 2008.

Photographie | VU MAG : Nouveau magazine | Numéro 1



Photographies de Per Barclay, Johann Bergström, Alain Bizos, Charles Bodmer, Bruno Boudjelal, Juan Manuel Castro Prieto, Jean-Luc Chapin, Denis Darzacq, Désirée Dolron, JH Engström, Bernard Faucon, Cédric Gerbehaye, Pierre Gonnord, Jean-Baptiste Huynh, Arja Hyytiäinen, Laurence Leblanc, Pedro Paiva et Joao Maria Gusmao, Anders Petersen, Rosangela Renno, Jeffrey Silverthorne, Edward Steichen, Christer Strömholm, Lars Tunbjörk , Guy Tillim.

Пролистать:

http://www.agencevu.com/vumag/index_vum ... t=extraits


*
VU MAG : Nouveau magazine
Éditeur : Filigranes Editions
Dimensions : 220 x 280 cm
Pages : 176 pages
Présentation Magazine — 5000 exemplaires
Prix : 25 €

Подробности и информация об авторах:

http://www.photographie.com/?prdid=118225

*

FILE 7/17:



VU Mag launched in Madrid

*
Из первых рук:

Why VU MAG ?


The creation of the review VU MAG opens a new chapter in the history of VU' Agency and Gallery’s commitment for author photography.

The review will offer twice a year a space to explore the possible relations between photography and printed material, a new opportunity to enhance the role of discoverer and mediator linked to the Agency since its creation.

At a time when anyone can make an image and transfer it immediately, at a time when we are overwhelmed by a flow of alternatively recreational, informative, testimonial or commercial images, the relevance of particular point of views, attempting to question and understand the world, is more than ever essential. Because they don't stick to imagery, because they ask us to look further and to see better.

If it's necessary to tell the facts, the chaos, the pains, the dramas of the planet, it's just as necessary to question and to visualize the complex feelings that drive people confronted to a world more and more difficult to understand and to live in. Through their rigorous approach, because they are moved by a deep necessity, the photographers of both Agence and Gallery VU' belong to a long tradition of photography, the documentary approach that founded one the values that we need more than ever, humanism.

As an allusion to the combined history of press and photography, 60 years after the illustrated weekly Vu, VU MAG opens a new page in the history of photographic commitment of VU' Agence and Gallery. For its first issue, VU MAG has obviously chosen the theme of filiations and photography.

- Jean-Luc Chapin
- JH Engström
- Paolo Roversi
- Anders Petersen
- Christer Stromhölm
- Lars Tunbjörk
- Other authors...

Содержание:

VU' by Roversi
Invited to look at VU', Paolo Roversi, guided by his instinct brings us to this suggestion of an imaginary reality. We feel that physical condition, that state of mind, showed to us in his book and in his exhibition Studio. Exhibition of Paolo Roversi called « Studio »from the 8th of july to the 14th of september, as part of the Rencontres d'Arles.

Tribute by Jeffrey Silverthorne
When he claims his status of novelty and breaker , the photographer accept the reference to the passed works and speeches ; thus, neither a offshoot , nor a primary father, he's innovative and singular only in the assumed path of a legacy... Jeffrey Silverthorne pays tribute to his fathers.

The Portion of the text
Taken up all over by the text, by the words, Jean-Luc Chapin calls « serious » the image that will know how to restitutes that portion of the text that literaly drives the way of the composition, the shutter release, the spirit and the photographic way to tell. Conversation with Eric Audinet, writer and editor…

Вот такие еще материалы:

Aesthetic & Politic
Photography as a tool to create an objective vision of the world. The weekly illustrated VU stirred up in the 20's the concept of illustration. It opens a path, followed by others where aesthetical researches and notions of commitments live together with the concern of efficiency of photographies in the human eye. Text by Cédric de Veigy, teacher-researcher in photography and cinema.

Jano. The double face of photography
From pictorial photography till the end of the 19th century, the photographer never stopped to turn around colour and portrait, trying to adopt the most important feature of painting : « to be or not to be, painter or photographer ». Text by Catherine Coleman, Photography conservator at the Museo Nacional Centro de Arte Reina Sofia. Extract of the exhibition catalogue « Jano. La doble cara de la fotografia. » presented by the museum from the 9th of October to the 30th of september 2007.

http://www.agencevu.com/vumag/index_vum ... cat=spirit

Попутно:


A small section of the W Eugene Smith exhibit at PHE08. This room shows Smith's Pittsburgh Project

Еще:

Agence VU — Focus

VU MAG, Contemporary Photography Journal, available 19th june 2008…

В «Фокусе» — ряд роликов, включая Lars Tunbjörk — Beyond Backstage, Anders Petersen — Le noyé, le noir et l'idiot (English subtitled versions):

http://www.agence-vu.com/focus/medias.p ... d_femis=33

http://www.agence-vu.com/focus/medias.p ... d_femis=29

См. еще попутно:

Vanessa Winship, UK, Agence Vu >

Несколько ссылок на разные ветки:

Image Fulgurator, РЕВЕРСНАЯ КАМЕРА:
http://forum.znyata.com/viewtopic.php?t=5498

Волновая теория света подтверждена визуально:
http://forum.znyata.com/viewtopic.php?t=5486

21-й век — век биологии
http://forum.znyata.com/viewtopic.php?p=35559#35559

*

Помнится мне, когда-то разговор с В. имелся, велся в отношении того, что нужен специальный сервис, который на весьма взаимовыгодных условиях помог бы сохранить наследие авторов, которое сейчас либо вообще не представлено, не имеется в «тезаурусе» белорусской фотографии, что обедняет и без того нищие высказывания в отношении той же истории, либо уже просто потеряно навсегда в силу обстоятельств. Человек большого бизнеса вдохновился, но на короткое время, решив, что синица в руке — важнее…

А ведь это особенно актуально для наследия пленочных авторов — шансов на классическую печать известных и вообще неизвестных работ в негативах и слайдах, которые в давние времена могли просто не рассматриваться как вещи стоящие, просто никаких нет. Каждый год убирает вчерашние шедевры со сцены истории, каждый год придает все большую ценность работам, которых и вовсе не было на сцене творческой любительской и заказной парадной фотографии…

Собственно, эта же идея несколькими годами позже была передана Юрию Элизаровичу — в момент, когда готовился съезд фотохудожников. Я задался тогда простым вопросом — а что будет объединять достаточно разные интересы авторов в пределах общественной структуры?

Агентство, работающее и как сетевой фотобанк с упором на креативную фотографию нашего региона, и как «действующий» архив с агрессивной политикой продвижения авторской фотографии (на дисках) могло бы стать тогда своеобразным ядром накопления важных визуальных ресурсов, такой своеобразный фонд «Наследие», способствуя развитию выставочных программ за пределами страны, поддерживая их, и главное, противодействуя ситуации «отброшенной» истории.

2008. Фатограф і квадратны метар

http://forum.znyata.com/viewtopic.php?t=5514

Michael Jang

michael jang
photographers in focus: video interview
episode 1 of 12

http://www.livebooks.com/community/inte ... /index.php

Welcome to the Photographers in Focus video series.

Once a month in this series we will bring you behind the imagery straight to the heart of what makes leading photographers tick. Each video uniquely portrays the personality of the featured photographer so much so that these photographers have all said "wow that is really who I am." You may love some and hate others, the goal is that you enjoy the series overall.

What does it take to really capture those unique authentic moments in life? Michael Jang is known for just that. Watch and listen as this San Francisco based photographer takes you through a journey of his career and reveals how he feels he has uniquely defined himself and his work.
Черно-белые квадраты:

the west, half notes, heroes, trailers

www.michaeljang.com

Blog:

The City of Krakow hosted a month long Photography Festival and chose my Garageband series as one of the exhibits. They flew me in, put me up in a hotel, and even printed the show. It doesn’t get much better than that. Big red banners and flags were all around the city announcing the event. Here are pictures from the EXHIBITION. Call me an idiot but I never went into an old church or museum. I was content to just walk around observing the little things. This is what I saw in and around the various Streets. For those of you who will probably never set foot in Auschwitz but are curious, take the Auschwitz tour. Whenever I see a NO CAMERAS sign, I take that very personally.

http://michaeljang.wordpress.com/

krakow

Photography Festival

by Michael Jang

http://www.flickr.com/photos/32691345@N ... 130925478/

VU MAG : Juan Manuel Castro Prieto

Juan Manuel Castro Prieto
Exposition : Extranos
Du 16 mai au 6 septembre 2008


http://www.agencevu.com/galerie_vu/

Juan Manuel Castro Prieto

Represented by Gallery VU'

Spanish, Born in 1958 in Madrid. Lives in Madrid.

A scientist by training and a lover of photography, he has managed to combine her passions and become one of the most aware, demanding and subtle European photographers. After having, in Cuzco, created from original glass plates shots by Martin Chambi which gave us the chance of discovering this hugely important portraitist from the thirties, he developed a passion for Peru. Ten years later, he crossed the country on a “journey to the sun” , during which, allowing himself use of all approaches and all techniques, he portrayed with finesse his tenderness for the people, the beauty of the landscape, his curiosity for an often unspoilt culture, and the poverty which accompanies this condition. He then grouped together the trange “images he developed twenty years ago, of bare landscapes and nature morte, an exploration of the limits of photograph which involved, with an in depth knowledge of light, the tension between fiction and representation. He has also worked with colour, recently, using highly personal tonality which, from Ethiopia and India, has allowed him to create visions which are both mental and based on a troubling realism, a form of travel, between dream and materiality, based on the delicacy of impossible shades.

http://www.agencevu.com/photographers/p ... php?id=105

Портфолио:




Портреты:



Серии / Stories



Extranos (2008)

These « extranos » Juan Manuel Castro Prieto is acquainting us are the result of experiences, explorations, purely photographic researches he’s been doing for years. In black and white and in square format, he does not have another “ theme” than the photography in itself. No matter how they are portraits, nudes, landscapes, still life photographs or the interpretation of a painting, he revels in an obvious pleasure to show and prove that, in photography, operating light is the bottom line. Playing with the shutter speed, the mixing of natural and artificial light, he toys the “pseudo” realism of the silver photography and drags us in a universe both poetic and disturbing. Like a...

http://www.agencevu.com/stories/index.php?id=415&p=105

BLANCA BERLIN GALERIA FOTOGRAFICA

Juan Manuel Castro Prieto









http://www.blancaberlingaleria.com/arti ... index.html

*

Биография, галерея:
http://www.hispanart.com/hispanartfoto/ ... ia_net.htm

Интервью (исп.) >

JUAN MANUEL CASTRO PRIETO. MIRAR PARA VER.10
http://antoncastro.blogia.com/2007/0512 ... ver.10.php

http://es.wikipedia.org/wiki/Juan_Manuel_Castro_Prieto

Verticals

Van Zoetendaal
NL. Amsterdam, 28 May-15 Sep 2008

Yuki Onodera, Koos Breukel, Paul Kooiker, Annaleen Louwes, Kyungwoo Chun:

(Entitled 'Verticals', the exhibition will comprise a selection of works by a number of artists attached to the gallery plus photographs from Van Zoetendaal's own collection).

Вот такой подход к экспозиции:

The lay-out of the exhibition will be subject to constant change as works are replaced and new ones added. Visitors to the newly designed website will be able to view the exhibition via floor plans and installation overviews, and can even zoom in on individual works.

In addition to the group shows at the Oude Schans gallery, frequent solo exhibitions will be held in a new 'space' on the gallery's website: a large rectangular gallery 16m long x 12m wide x 5m high, to be known as Artist's Territory. Artists attached to the gallery and invited guest 'curators' will be given a free hand to organise this space as they wish and the public will be able to pay virtual visits to the resulting solo exhibitions.

На странице галереи можно пролистать презетацию с фрагментами экспозиции.

http://www.vanzoetendaal.nl/

CHEN CHUNLIN
"Lessons Learned in One Day"
Solo Photography Exhibition
June 28-August 21, 2008


Exhibition installation view


Lhasa


ChunxiRd

m97 Gallery Shanghai is pleased to present ’’Lessons Learned in One Day,’’ the first solo exhibition of photographic works by Sichuan-based artist Chen Chunlin. ’’Lessons Learned in One Day’’ is a series of portraits taken over the course of several years all across China in an effort to study the changing ’’face’’ and appearance of contemporary Chinese society. From major metropolitan centers like Shanghai and Beijing to remote regions of Shaanxi Province and Yunnan Province, the artist used photography as tool for documenting the changing physical appearance of people and places across the country.

Each photograph comprises a series of photographs taken in the exact same location over the course of one day. ’’One day might seem short, but inspired by the Buddhist belief behind William Blake’s poem ’To see a world in a grain of sand and heaven in a wild flower’, I thought that one day of photographing will hold both certainties and uncertain coincidences,’’ says Chunlin. With the goal of exploring the changing face of China through the observation of its people, Chen Chunlin started this photographic project in his hometown of Chengdu in 2003 and soon curiosity took him to other cities in Sichuan and later to other provinces and remote areas around China.

As the Chinese title of this body of work implies (’Xiang’ 相) Chunlin’s work is about the process of mutually interacting with people in a certain place and time, using photography as an almost scientific tool of measurement to take a reading of the ’’face’’ of China. In this sense, his montages become an anthropological study, or a more mystical ’’face reading’’ of the face of China as also implied by the Chinese word ’’面相’’ (mian xiang).

Furthering this sense of study is the use of a white backdrop that temporarily isolates the subject from their environment, facilitating a more focused observation, while allowing for a more fair comparison under controlled conditions. At the same time, the photographer allows us a glimpse into the physical appearance of the surrounding environments — often seen around the edges of his studio backdrop (tree branches, a wide lane or the ocean) — to give some indication of the local context and landscape. The large scale of some of these photographs, which stand at 1.8 meters tall and 3 meters long in the gallery installation, give the viewer a sense of intimacy and bewilderment at the often-overlooked people that pass before us each and every day.

http://www.m97gallery.com/exhibitions/?exhi=current

Галерея и авторский текст:


Mizhi, 2008
Northern Shaanxi Province, Hongyawa Village


Sanya, 2007
South China Sea


Lijiang


Chengdu, Sichuan, 2003
Kuan Xiangzi (Wide Lane)


Chengdu 2005

http://www.m97gallery.com/artist/?artist=chen%20chunlin

http://www.m97gallery.com/artist/artist ... hunlin.doc

Добавлю небольшую информацию, автор достаточно неизвестный, несмотря на попадающиеся ссылки на его сайт.

Scott Irvine Biography

Conservation and Restoration The George Eastman Museum of Photography, Rochester, NY
B.F.A Rochester Institute of Technology
Museum Research Program Salzburg College, Salzburg, Austria
Alternative Photographic Processes Art Institute of Chicago, Chicago, IL

Выставки были в 1999-м и 2000-м в Нью-Йорке.

Работает с пленкой:

http://www.sentimentalistmag.com/2007/0 ... exclusive/

Похоже, единственный материал — вот здесь:

Scott Irvine : Dark Beauty

By Jo Ann Duggins



When I first glanced at Scott Irvine's photos, I was taken to another place and almost to another time. Since I am a big fan of the dark side and all it's wonder, I was immediately taken by his images. There is a somber mood in his photos but he captures beauty in another dimension persae. When you look at a Scott Irvine photo you're not really sure when it takes place but you are sure that there is a mystery there...a story.

When he's not playing guitar with his band Moto:Rosa, he is creating this fantastical world of dreamlike seduction. He has shot the likes of bands like Interpol, Dresden Dolls and Still Life Decay and has also done some amazing things with his still life photography. We can only hope to see the world that Scott Irvine is building for the future.

#1 Relationship with photography – About ten years. I have a B.FA degree from R. I T. (Rochester Institute of Technology) for photography. I also studied photography for a year in Europe at The Salzburg College in Salzburg, Austria.

#2 I don’t think that my photographs are necessarily from a “dark place”. The images are inspired by things that I see and people I know. I don’t see them so much dark as from a romantic, nostalgic, half-reality. I was inspired early on by Kafka’s stories where everything was taking place in a reality that had a dream/nightmare quality to it, and the reality was only “half-real”. Within my urban landscapes, I am interested in structures, buildings, and spaces that I find visually interesting, and that I feel can transcend their existing reality and everyday scene. Such places as a mini-golf course, a construction site, or a zoo taken out of context, for me, can take on a new and strange identity.

I am now attracted to the idea of the “strangeness” of objects or landscapes that have become the normal in everyday life. Also along those lines, with my photography, I am interested in the idea of taking something that is either considered ugly, dirty, common or overlooked, and making something visually beautiful and/or intriguing.

#3 Techniques: Right now, all traditional techniques. I spend a lot of time in the darkroom, and use a few different cameras—a few vintage, and a few more “modern”.

#4 Choosing subjects: Well, for people as subjects, I am drawn towards people who have a timelessness quality. I am intrigued by faces that somehow are not indicative of the present time; people who have a strong sense of personal and individual style, and who do not fit into any one “category.” I like to try to create portraits that can transcend the present moment. Sarah Moon’s work was very inspiring to me when I was first getting into photography. I was so confused as to when her images were made!

#5 Challenges: Right now, I feel like one of my biggest challenges with my photography is to remain consistent, yet also evolve and continue to keep my approach and vision “fresh”. I think it is important to me to continue to experiment with new processes both in the darkroom and in the camera. Until now, my work has been done completely using traditional methods. I am excited to incorporate the computer as a tool into my process. I feel like especially Photoshop is an amazing tool if used in a tasteful way. I like the idea of constantly swinging back and forth between digital and traditional, and blurring the lines between the two processes.

http://www.anti-mag.com/scottirvine.htm