Встреча с легендой. Форум фотографов.

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Валерий Лобко [ 29 янв, 08 22:22 ]

Ola Kolehmainen Galería Senda E.Barcelona, 24 Jan-01 Mar 2008 Вот. Студентка, комсомолка… в смысле, член творческого союза, видная фигура финской школы творческой фотографии: Ola Kolehmainen, one of the most prominent artists of the "Finnish School," graduated in 1999 from the University of Art and Design in Helsinki (TaiK). His work centers on the exploration of contemporary architecture. Concentrating on the basic structure of architectural façades and interiors, and the strict geometrical order of serial forms, Kolehmainen creates nearly abstract images whose aesthetics are rooted in Minimalism. Disturbing details, called "visual noise" by the photographer, are eliminated, yet there always appear to be elements that undermine the concept of a clear, orderly structure, such as tree branches covering a section of a façade or mirrored façades reflecting a fragmented view of the world outside. Composition of Collected Reflections C-print, Diasec (silicon mounted between Plexiglas and Reynobond) 203 x 263 cm., Ed. 6, 145 x 185 cm., Ed. 3 Магия текста: Architecture is the subject matter of Ola Kolehmainen's photographs; however, these are not photographs that document architecture. The building is a source of inspiration. The artist is fascinated by the building's structural compositions, focusing on their details and sequences. This type of architecture abandons the building's three-dimensional quality and transforms it into an abstract object. As well, the facades show reflections, providing a metaphoric meaning that questions the notion of presence and absence. Kolehmainen's photographs are always done on a large scale, allowing them to move beyond their visible parameters, to the point where the eye can no longer see and the imagination takes over. Очень большая подборка работ в Galerie Anhava (Хельсинки): WHO´S AFRAIF OF RED?, 2003 170 x 203 cm, C-print, Diasec, edition of 5 SPACE IN BETWEEN, 2006 C-print, Diasec 180 x 280 cm, 100 x 155 cm Два текста: Minimalism is my great love (Ola Kolehmainen, 2002) In my works I concentrate on what is essential in a space, building or structure, leaving out things that are unnecessary, which I call visual noise. The original forms of my subjects often contain many repeated elements, a single form or material, often the same, in large quantities. When three-dimensional forms of this kind are photographed they tend to become surfaces, planes. The visual cleansing of a theme, its representation in a large-format photograph laminated on acrylic will, however, produce a new kind of multidimensional image of reality… Photography of architecture, new awareness of volume and it´s relationship to space (Timothy Persons, 2002) Ola Kolehmainen’s current project can be broken into three phases. The first being the measurement of the emotional, the second the physical, and the third the sensory perception of a new awareness of volume and its relationships to space… http://www.anhava.com/?http://www.anhav ... dex-a.html Union of Artist Photographers, Photographic Gallery Hippolyte: http://www.hippolyte.fi/en/index.php

Валерий Лобко [ 30 янв, 08 16:18 ]

Чуть возвращаясь. В книге Сергея Хоревского имеется описание фотографий Бенедикта Тышкевича. Того самого, который в такой вот версии «Истории литовской фотографии»: http://samogitia.mch.mii.lt/KULTURA/fotoapzvalga.lt.htm фигурирует как первый литовский фотохудожник: Benediktas Henrikas Tiškevičius Benediktas-Henrikas Tiškevičius — pirmasis fotomenininkas Lietuvoje… А вот — публикация по свежим следам далекого уже 1999-го, был каталог и разворот со снимками в литовской «Республике». Как бы Денис Романюк пишет: Фатограф граф Тышкевіч Сэнсацыйная выстава адкрывае нам аднаго з бацькоў беларускае фатаграфіі «Цэнтар сучаснага мастацтва ў Вiльнi сустракае новае стагодзьдзе здымкамі графа Бэнэдыкта Тышкевiча, які нарадзіўся ў родавым котлішчы Тышкевічаў, Лагойску, а меў маёнткі ў Налібоцкай пушчы й пад Коўна. На выставе прадстаўленыя невядомыя ў Беларусі здымкі працы нашага земляка. Зусім унікальна тое, што большасьць зь іх прысьвечаная беларускім народным тыпажам канца таго стагодзьдзя. Гэтая выстава — агульны праект Музэю фатаграфіі гораду Нэсэфор Н’епс (Францыя) і Цэнтру сучаснага мастацтва. Разам з фота графа Тышкевiча (1852—1935) тут прадстаўленыя творы… нашага сучасьніка, француза Джона Бато, які натхніўся здымкамі нашага земляка. У 1993 годзе музэй Н’епсу выпадкова купіў у парыскага антыквара цудам ацалелы альбом фатаграфіяў Тышкевiча: 86 адбіткаў на кардоннай аснове, якія зафіксавалі разнастайныя мясьціны і людзей Беларусі, Францыі і Італіі. Увогуле, архіў Тышкевiча згарэў пад час першае сусьветнае вайны. Гэткі ж лёс напаткаў і калекцыю твораў мастацтва, што захоўвалася ў беларускім мястэчку Вялаве, што ў Налібоцкай пушчы. Ад усяго, імаверна, застаўся толькі гэты альбом… …Графа Тышкевiча былі забылі ў Беларусі. Хоць яе, свой радзінны край, ён зрабіў несьмяротным у здымках. Тутака і фатаграфіі вяскоўцаў, і местачкоўцаў, і рамесьнікаў. У іх максымальна выявіўся мадэрнізм і рамантызм творцы. Для тагачаснай фатаграфіі былі ўласьцівыя пераапрананьне пэрсанажаў у касьцюмы, не ўласьцівыя часу й сацыяльнаму стану, клясычныя мізансцэны. Фатаграфіі беларускіх сялянаў й вясковых прыгажуняў у строях таго часу, у натуральным асяродзьдзі — гэта сьведчаньне адкрытага сьветапогляду і ўважлівага вока Тышкевіча. Тут і здымкі ягонага палацавага побыту, і інтэр’еры вясковых хатаў і корчмаў, стылёвыя будуары і салёны, сядзібы й кухні, вясковыя сцэнкi і партрэты сваякоў. Прага чалавека таго часу да фатаграфіі рабіла яго адказным перад кожным адбiткам — сярод iх няма выпадковых, а замiлаваньне, зь якім пабудаваныя кампазыцыі, сьведчыць аб вялікім прафэсіяналізме. Ягоныя творы — шэдэўры беларускае фатаграфіі». Полный текст: http://nn.by/1999/34/03.htm * Nicéphore Niépce Museum Exhibition : BENEDYKT HENRYK TYSZKIEWICZ (1852 - 1935) - Les spectres du manoir rouge http://www.museeniepce.com/expositions/ ... kt&lang=us The count Benedykt Tyszkiewicz (Wilno, December 11th, 1852 - France,1935) is a perfect exemple of the affluent landlord resorting to a modern device such as photography in order to record a world considered unchanging, invariable and natural. But beyond a simple pastime, the count-photographer devoted his knowledge of reproduction and his fortune to fiction and to a romantic reconstruction of Lithuania. A posthumous inventory describes a room in the Red Manor that is entirely covered in photographic prints, portraits of relatives and friends. Young Benedykt’s introduction to photography was heightened and punctuated by numerous trips abroad, particularly in France. The earliest attested photographic works date back to 1875. An amateur of antiques and cruises, the count-photographer hired a crew to sail the world and carry out archeological and photographic expeditions in India, China and Japan. He later settled in Madeira and then in France, in his Neuilly residence. His definitive infatuation for photography dates from this period. He developed a particular taste for staged scenes, self-portraits and " antique style " portraits. An aristocrat and photographer of the late nineteenth century, he was simultaneously a view-taker, a chemist, a lab assistant and a collector of images. For Benedykt Tysziewicz, photography was the continuation of the Beautiful, exhibited so well in the art and antique collections at his manor-house. The count’s photographic modernity thus appears as the will to record and save a world of fiction, free from class oppositions and outside history. Time suspended, frozen images. This is why one may still bury oneself in these pictures of things which never existed, save for their author. These images of late nineteenth century Lithuania are taken from one of the count Tyszkiewicz’s original albums, owned by the musée Nicéphore Niépce since 1993. Tyszkiewicz Fotografijų albumas / Photographies Leidykla: Baltos lankos ISBN: 9955-00-025-2 Puslapių skaičius: 107 Formatas: 0x0 cm Įrišimas: Kietas Kaina 28.10 Lt http://super.balsas.lt/index.php?cid=34 ... yszkiewicz Prieš šimtą metų Tyszkiewicz. Fotografijų albumas. Vilnius, "Baltos lankos", 2002, 107 p. Tyszkiewicz. Be pavadinimo (Tyszkiewicziaus dukra Elisabeth Marie de Tyszkiewicz) http://www.culture.lt/7md/?kas=straipsn ... st_id=2006 Еще: 27.09.2005 Традыцыі беларускага фотамастацтва Вячаслаў Ракіцкі, Прага Перадача 1-я. Фатографы-арыстакраты http://www.svaboda.org/PrintView.aspx?Id=800446 (Ракіцкі: ) …каго з той плеяды фатографаў-арыстакратаў у Беларусі пакуль зусім ня ведаюць?” (Харэўскі: ) “Я найперш назваў бы графа Бэнэдыкта Тышкевiча, які нарадзіўся ў родавым котлішчы Тышкевічаў, Лагойску, а меў маёнткі ў Налібоцкай пушчы і пад Коўнам. У 1999 годзе ў Вільні адбылася выстава ягоных твораў. Гэта была сапраўдная сэнсацыя, незаўважаная тады ў нас. Зусім унікальна было тое, што большасьць зь іх прысьвечаная беларускім народным тыпажам канца ХІХ стагодзьдзя. А выставу зрабіў Музэй фатаграфіі гораду Нэсэфор Н’епс, гэта ў Францыі, дзе Бэнэдыкт Тышкевіч правёў свае апошнія гады (ён дажыў да 1935 году). У 1993 годзе музэй Н’епсу выпадкова купіў у парыскага антыквара цудам ацалелы альбом фатаграфіяў Тышкевiча: 86 адбіткаў на кардоннай аснове, якія зафіксавалі разнастайныя мясьціны і людзей Беларусі, Францыі і Італіі. Увогуле, архіў Тышкевiча згарэў у часе першай усясьветнай вайны. Гэткі ж лёс напаткаў і калекцыю твораў мастацтва, што захоўвалася ў ягоным беларускім маёнтку Вялаве, што ў Налібоцкай пушчы. Ад усяго, імаверна, застаўся толькі гэты альбом. Шкада што тая выстава не даехала да Беларусі.” (Ракіцкі: ) “Сапраўдная сэнсацыя! Паколькі для бальшыні нашых слухачоў гэтае імя гучыць упершыню, то хацелася б даведацца крыху больш пра гэтую асобу – пра Бэнэдыкта Тышкевіча.” (Харэўскі: ) “Бэнэдыкт Тышкевіч быў заможным арыстакратам, які атрымаў у спадчыну шмат нерухомасьці і капіталу, знаходзіў радасьць ня толькі ў шляхетных паляваньнях і балях, але і ў археалёгіі і фатаграфіі. Граф арандаваў караблі, каб зьезьдзіць у экспэдыцыі, аб’ехаў Індыю, Кітай, Японію. Аднаго разу нават вакол сьвету на яхце пусьціўся. Свае лепшыя здымкі ён экспанаваў на выставе ў Філядэльфіі, у Амэрыцы (1876). У іх максымальна выявіўся мадэрнізм і рамантызм творцы. З таго часу да яго прыходзіць усясьветная слава фатографа-падарожніка. У 1883 годзе, калі памірае жонка, граф з трыма дзецьмі вяртаецца ў Францыю, уладкоўваецца ў сваім маёнтку ў Нёі, дзе цалкам прысьвячае сябе фатаграфіі". (Ракіцкі: ) “Фатографа графа Тышкевiча ня ведаюць у Беларусі. Вы кажаце пра ягоную вядомасьць па-за межамі Беларусі. Проста так слынным у мастацтве ня станеш. Што ўласьціва было ягоным здымкам, якія яго праславілі?” (Харэўскі: ) “Па- першае, ён адчуваў адказнасьць перад кожным адбiткам — сярод iх няма выпадковых, а замiлаваньне, зь якім пабудаваныя кампазыцыі, сьведчыць аб вялікім прафэсіяналізьме. Ягоныя творы — сапраўдныя шэдэўры беларускай фатаграфіі. Тутака і фатаграфіі вяскоўцаў, і местачкоўцаў, і рамесьнікаў. Фатаграфіі беларускіх сялян і вясковых прыгажунь у строях таго часу, у натуральным асяродзьдзі — гэта сьведчаньне адкрытага сьветапогляду і ўважлівага вока Тышкевіча. Бо для тагачаснай фатаграфіі былі ўласьцівыя пераапрананьне пэрсанажаў у касьцюмы, не ўласьцівыя часу і сацыяльнаму стану, клясычныя мізансцэны. Тут і здымкі ягонага палацавага побыту, і інтэр’еры вясковых хат і корчмаў, стылёвыя будуары і салёны, сядзібы й кухні, вясковыя сцэнкi і партрэты сваякоў. Гэта наша сапраўдная клясыка! Ён увасобіў у фота найважнейшыя характарыстыкі Беларусі і беларусаў таго часу.” (Ракіцкі: ) “Тое, што Вы расказваеце, надзвычай цікава і захапляюча. Але гэта толькі словы, якімі мастацтвазнаўца пераказвае тое, што адлюстравана на старых здымках. Дзе іх можна было паглядзець? Гэта першае. І яшчэ. Фатаграфія захоўвае прыкметы часу, тыпы людзей. Яна і хроніка. Ці выкарыстоўваліся гэтыя і ім падобныя здымкі старых беларускіх майстроў фатаграфіі гісторыкамі, культуролягамі, мастацтвазнаўцамі?” (Харэўскі: ) “Ажно ў 1863 годзе менавіта ў Менску выйшаў у сьвет падвойны нумар (№ 8/9) адзінага тады ў Расеі мастацка-літаратурнага часопісу “"Фотографическая иллюстрация" (ранейшыя выходзілі недзе ў Цьвяры). У тым менскім нумары былі зьмешчаныя краязнаўчыя артыкулы пра творчасьць аднаго з заснавальнікаў нашай фатаграфіі Прушынскага і самы раньні, зь вядомых, фотаздымак Менску. А ў 1894 годзе ўжо быў выдадзены першы беларускі мастацкі фотаальбом “Белавеская пушча”, пад рэдакцыяй Вешнякова. Здымкі Банольдзі, Чаховіча, Прушынскага шматкроць рэпрадукаваліся ў нашай краязнаўчай літаратуры, у артыкулах Кісялёва, Каханоўскага, Янушкевіча. Але не зварачалася адмысловай увагі на аўтарства здымкаў. Безьліч здымкаў Яна Булгака і Яна Балзункевіча зьмяшчаліся ў даведніках, энцыкляпэдыях, кнігах і публікацыях Пазьняка, Дзянісава, Шыбекі. Але ўжо ў нашым стагодзьдзі тыя фотамастакі дачакаліся і сваіх уласных кнігаў у Беларусі. Нямала для вяртаньня імёнаў славутых беларускіх фатографаў было зроблена дзякуючы часопісам “Мастацтва” і “Спадчына”, галерэяй “NOVA”, тое-сёе маем цяпер і ў Інтэрнеце. Але відавочна гэтага замала.”

Валерий Лобко [ 31 янв, 08 16:40 ]

В поисках альбома Тышкевича обошел сегодня несколько крупных магазинов, включая специализированный Humanitas. Увы. Видел зато очень красивую стилизацию, похоже, булгаковского Вильнюса. Но только впечатление — формат, тональность, нужно внимательно смотреть. Речь идет о работах и новой книге Arūnas Baltėnas. VILNIUS Rėmėjai: Lietuvos Respublikos kultūros ministerija The Westerly Trust, Londonas Dailininkas / designer Izaokas Zibucas Vertėja / Translator Aušra Simanavičiūtė R. Paknio leidykla Vilnius, 2007 ISBN 9955-736-02-X Еще попутно: The Most Beautiful Lithuanian Books’2000 Dagerotipai, ambrotipai, ferotipai Lietuvos muziejuose First prize Dagerotipai, ambrotipai, ferotipai Lietuvos muziejuose Sudarytoja / editor Margarita Matulytė Dailininkas / designer Eugenijus Karpavičius Fotografas / photographer Kęstutis Stoškus Lietuvos nacionalinis muziejus / National Museum of Lithuania Spaustuvė / printer Sapnų sala Еще попутно: Vilnius-photo.net The Photographs of Dz. Ramaniuk http://www.vilnius-photo.net/bw/e/01.html http://www.vilnius-photo.net/clr/e/01.html Born in 1970 in Minsk, Belarus. 1984-1988 studies in the Ahremtchyk National boarding school of music and fine arts. 1988-1992 studies in the Belarusian Academy of Arts. 1992-1995 studies in the Vilnius Academy of Arts. 1995-1999 teacher in the Belarusian Culture University. Since 1996 member of the Belarusian Artists Union. 1996: personal exhibition "Mroi" ("Visions") at the National Museum of Belarusian History and Culture. Since 1997 continues the work of his father, professor Mikhas Ramaniuk, concerning the study of the folk culture and ethnography of the Belarusians. He realizes dozens of independent expeditions throughout the country. The found materials are shown at exhibitions, published and used in books, radiobroadcasts, periodicals and newspapers in Belarus and beyond. 1998 fellow of the Belarusian Journalists Association. 1997-2000 works on the edition of Mikhas Ramaniuk’s monograph "Belarusian popular crosses". 2001: personal photo exhibition "Autapartret na fonye Vilni" ("Self-portrait against a background of Vilnius") at the Museum of Contemporary Art in Minsk. 2001: personal photo exhibition "Stary horad" ("Old Town") at the National Library in Tallinn, Estonia. 2001-2002 creates and publishes the “Belarus” album. 2002-2003 creates and publishes the “Belarusian national Dress”album, the “Igor Barkhatkov” album and the “Belarus” photograph album. 2004 fellow of the “PhotoArt” association. 2004-2006 creates and publishes the “Chernobyl” art and publicistic album dedicated to the 20th anniversary of the disaster at the Chernobyl Nuclear Power Plant. 2006 Personal photographic exhibition dedicated to the 20th anniversary of the disaster at the Chernobyl Nuclear Power Plant at Bundestag, Berlin. Personal photographic exhibition “Tragichnaja prygazhosc” (“Tragic beauty”) and presentation of the “Chernobyl” album at the city hall of Vilnius, Lithuania. Participant of an exhibition “20 Years after Chernobyl: From Tragedy to Recovery” at the UNO office, New-York. * Dzianis Ramaniuk works as a publisher, ethnographer, photographer, and artist. He took part in dozens of photo and graphic arts exhibitions. Recently, his high-priority research subject is the zone damaged by the disaster at the Chernobyl Nuclear Power Plant. Graphic and photographic works of Dzianis Ramaniuk are found in the Museum of Belarusian Contemporary Art, the National Museum of Belarusian History and Culture, Hrodna Museum of History and Culture, the State Gallery of Lodz (Poland), the Agency for the Restoration of the Old Town (Vilnius, Lithuania), etc. * Awards: Grand Prix at the 3rd International Contest «Book Art» for C.I.S countries for the “Chernobyl” album. Three major awards and the “Book of the year” for the creation and publishing of Mikhas Ramaniuk’s monograph “Belarusian Folk Crosses” at the Belarusian National Contest “Book Art 2002”. Bronze statuette of the Belarusian Association of Book Publishers for the best embodiment of the Belarusian theme. I level award for the publishing of Mikhas Ramaniuk’s book “Belarusian national Dress” at the Belarusian National Contest “Book Art 2004”. ІІ degree award in the “Triumph” nomination at the Moscow International Contest “Book Art 2004” for the creation and publishing of the album “Belarusian Folk Dress”. "Best design publication 2003" by the Belarusian Union of Designers for the creation and publishing of the album "Belarusian National Dress". Special award «For contribution to preserving spiritual heritage» at the Belarusian National Contest “Book Art 2004”. I level award for polygraphic design at the Belarusian National Contest “Book Art 2002". ІІ level award for polygraphic design at the Belarusian National Contest “Book Art 2005”. II place at the Minsk posters contest “Our pain – Kurapaty” for the poster “First words”, 1990. II place at the National contest exhibition “White Art Festival”, for the work “The plant planet Man”, 1995. II level award for the creation and publishing of the "Belarus" album at the Belarus National contest "Book Art 2003". Special award “For high publishing standard” for the creation and publishing of books “Belarusian national Dress”, “Belarus”, and "Igor Barkhatkov" at the Belarusian National contest “Book Art 2004”.

Валерий Лобко [ 31 янв, 08 23:09 ]

Ссылка на сообщение в соседнем разделе («Фотографическое образование») на маленький отзыв по горячим следам и снимки с отчетного просмотра результатов курса (терминология на немецком, французском, английском). Английский, насколько я понимаю, общий, французский и немецкий разделены. В данном случае просмотр был на курсе немецкой терминологии, подробности см. здесь: http://forum.znyata.com/viewtopic.php?p=24777#24777 Возможно, легенды рождаются на глазах — в нескольких исследовательских проектах использовались свои фотографии…

Валерий Лобко [ 31 янв, 08 23:43 ]

Stills Gallery открывает сезон очень интересной экспозицией: Hutchison. Mansfield. McKeich Stills Gallery AUS. Sydney, 06 Feb-01 Mar 2008 Murray McKeich dvn 18:21, 2005 from dvn pigment print 43.5 x 68cm, edition of 5 +AP Eliza Hutchison, Deb Mansfield and Murray McKeich engage the organic. With an unavoidably Surrealist edge, they each disrupt the age-old belief system that couples Nature with inherent Truth or Goodness. These artists explore the unique aesthetic possibilities of new media and interdisciplinary forms, confusing and contradicting the traditional subject matter of rolling hills and overflowing fruit bowls. См. обязательно весь текст: http://photography-now.com/popup_ausst_ ... gen=T58839

Валерий Лобко [ 01 фев, 08 0:08 ]

Галерея, которая, как кажется, еще не фигурировала здесь, автор шел одной строчкой в связи с интервью на lens culture. Photo Murals Jeff Cowen Galerie Bernd Klüser D.München, 07 Feb-29 Mar 2008 Staten Island Ferry 1990 Silverprint, mixed media 127 x 95 cm Википедия сообщает: Jeff Cowen (born Jan 9, 1966, New York, New York) is an American art photographer known for painterly photo mural collages and street photography. His work often incorporates elements of collage and painting. He studied photography with Elaine Mayes at the Tisch School of the Arts in New York. Cowen continued his career in photography when he worked as assistant for master American photographers Larry Clark from 1988-1990, and Ralph Gibson from 1990-1992. At the beginnings of their careers, Clark was the assistant of W. Eugene Smith and Gibson was the assistant of Dorothea Lange. From 1988 to 1994, Cowen photographed the tough neighborhoods of New York. He began teaching photography at LEAP in 1994. At LEAP, Cowen met and mentored the young but brilliant illegal immigrant Dan-el Padilla [2] helping him to earn a scholarship to Collegiate School in New York City. Success at Collegiate School led Padilla to a scholarship at Princeton University where he graduated with the highest distinction and was offered full scholarship at Oxford University. Due to Padilla's illegal immigrant status, Padilla and Cowen were both featured in an article in the Wall Street Journal that highlighted some of the absurdity and rigidity of U.S. immigration laws.[1] At age 23, Cowen's images of the Romanian Revolution appeared in: The Manchester Guardian,[dubious – discuss] Tel Aviv Post, Yomiru Shimbun, Asahi Shimbun.[citation needed] Cowen then took up drawing and anatomy (1994-1995) at the Art Students League of New York with the intention of using his drawing skills to further his photographic art. In 2001, he based himself in Paris, France. He was awarded the Thomas Cooke Award for Photography [3]. In 2005, his first monograph was published by Paris Musees [4]. That monograph contains his early New York work and his painterly Mural collages of nudes. In 2007, Cowen collaborated with filmmaker and writer Andre Labarthe founder of the Cahiers du Cinema for his exhibition called The Lotus Eaters [5], inspired by a story in Homer's 'The Odyssey'. Currently, Jeff Cowen is based in Berlin Germany and Paris France. http://en.wikipedia.org/wiki/Jeff_Cowen Вот еще одна иллюстрация из пресс-релиза: Julia 2005 Silverprint, mixed media 127 x 152 cm Вот это — одна их трех ссылок с Википедии, биография и список выставок: http://www.seine51.com/artistes/cowen_bio.htm Логично дополнить ее ссылкой на работы там же: http://www.seine51.com/artistes/cowen.htm Имеется текст и аудиозапись интервью как раз в связи с экспозицией в галерее seine 51: Walking in to Jeff Cowen's solo exhibition at the "seine 51" gallery in Paris, you experience an artist who is in mastery of his work on many levels. The dramatically shifting scale, the rich tones of the printing, the blunt and stunning subject matter, the artful arrangement of groupings of photographs, the sheer intensity and volume of work — it is an exciting discovery. A lot of the images are big, almost larger than life. The prints are beautiful, but distressed. Tone seeps beyond the rough edges of the frame, the paper is folded, ripped, taped back together. Images are torn apart, reconstructed with other images, taped together, photographed and printed again. They are arranged artfully, but simply, tacked to the walls without frames. Seductive, threatening nudes look out of the photos directly into your eyes. There are moments of melancholy, horror, tenderness, beauty, perversion, intellectual meditation. http://www.lensculture.com/cowen.html Там же — галерея работ, в которой еще и несколько снимков выставки: Gallery exhibition, seine 51, Paris, photo by Luca Battaglia Jeff Cowen, cайт автора: Там — дополнительные ссылки на галереи, обзоры на lens culture. Фотографий, похоже, нет. http://www.jeffcowen.eu/

Валерий Лобко [ 01 фев, 08 21:48 ]

Текст и галерея на lens culture: Jeff Cowen, The Lotus Eaters In his latest show of all new work, titled The Lotus-Eaters, Jeff Cowen is exploring complicated ideas with repetition of images, variations on repetitions, double-takes, positives and negatives, organic growth and multiplicity of similar things that are each different and unique yet part of a species or sub-species. Repeating patterns of dots often arise, as do patterns of flowers, leaves, branches and weeds. We see eyes going astray, eyes open and closed, caught between wakefulness and dreaming, veils and shadows. The artwork is abundant with markings: in the settings, on the models, markings on the surface of the print. Scratches, burns, spills, and bits of chaotic randomness flow out here and there over the print and into the edges… Constance, 127 x 173 cm, 2005 Julie 2, 127 x 170 cm, 2001 Весь текст и все снимки: http://www.lensculture.com/cowen-lotus.html

Валерий Лобко [ 01 фев, 08 21:55 ]

Еще на lens culture: Jeff Cowen, Cuba 2005 Seventy-two years after Walker Evans published his groundbreaking photos from Havana, photographer Jeff Cowen delivers his own personal street-level view of Cuba in 2005. In this sampling from Cowen’s recent work, the same Havana light that once captivated the young Evans now reveals faces and artifacts of a far-less vibrant society. Except perhaps for one photo — the back of an elegant young woman in a simple white dress — any sense of glamour, style, or hope that Evans captured in 1933 has mostly vanished… Весь текст и все снимки: http://www.lensculture.com/cowen_cuba.html

Валерий Лобко [ 01 фев, 08 22:50 ]

ВОТ, блоггеры проснулись, только успевай смотреть… Julieta Sans, которую вы должны помнить по National Portrait Gallery Photographic Prize: попала в поле зрения Jörg'а M. Colberg'а с серией well read Every unusually disgraceful, utterly degrading, dastardly, and, above all, ridiculous situation in which I ever happened to be in my life, always roused in me, side by side with extreme anger, an incredible delight. I am convinced that I could live all my life as a monk, in spite of the brutal voluptuousness with which I am gifted and which I always called forth. I am always master of myself when I want to be. Stavrogin's Confession, The Possessed, Fyodor Dostoyevsky Вся серия: http://www.julietasans.com/proj01.html Портреты:

Валерий Лобко [ 01 фев, 08 23:01 ]

Реплика Кольберга по поводу Алексея Васильева… который из Алексеев Васильевых, интересно… Study 08-05 © Alexei Vassiliev At Lens Culture, I found the portraiture of Alexei Vassiliev. I'm torn about the photos — while some of them work very well and do indeed look like paintings by Francis Bacon, for me most of the others don't work well at all. Jim Casper пишет: Here and gone: 21st century anonymous portraits photographs by Alexei Vassiliev For moments or hours every day, urban dwellers often find themselves temporarily trapped in enclosed spaces, bathed in artificial light, surrounded by garish colors, and mired in a sluggish state of pause. This can happen in a subway station, a waiting room, an indoor shopping mall, an airport lounge... While the people may be physically present, their minds and spirits are often elsewhere. The blurred portraits of anonymous strangers made by Russian photographer Alexei Vassiliev capture this phenomenon with surprising, emotional force. Some of his subjects look as if they are nervously fluttering inside a hovering mirage. Others appear serene and glowingly transcendent. His photographs convey a sense of physical confinement and spiritual wandering. These strangers (identified only by an arcane numbering system) are unaware of the scrutiny of the camera. They are lost in a limbo of introspection — not aloof, but quietly caged, temporarily suspended, slowed, restricted, waiting, existential… Study 08-05 © Alexei Vassiliev Study 01-02 © Alexei Vassiliev Study 14-09 © Alexei Vassiliev http://www.lensculture.com/vassiliev.html http://pagesperso-orange.fr/vassiliev/

Валерий Лобко [ 04 фев, 08 10:24 ]

Кен Рокуэлл когда давным-давно в своем духовном руководстве «Семь уровней фотографии» заметил, что «Профессионалы не имеют собственных веб-сайтов». http://www.kenrockwell.com/tech/7r.htm Многое с того времени переменилось, и тем не менее, ряд авторов, которых, возможно, и нельзя отнести к 100%-ным профессоналам по классификации Рокуэлла, но и в любители записать невозможно. Céline van Balen, Yesim, Amsterdam 1998. Dans un cadre cassetta espagnol du 17ème siècle Который раз попадается на глаза одна фотография с выставки, в которой была предпринята попытка показать работы голландских авторов в весьма своеобразном обрамлении. Речь о выставке Cadres revistés // Frames Revisited Institut Néerlandais F.Paris, 03 Nov-18 Dec 2005 Masterpieces of Dutch portrait photography shown in old frames from the Frits Lugt Collection La Fondation Custodia and the Institut Néerlandais have invited the gallery owner and exhibition organiser Willem van Zoetendaal to make a selection from the thousand or so old frames from the Frits Lugt Collection. Van Zoetendaal has also chosen a selection from the great contemporary Dutch portrait photographers such as Rineke Dijkstra, Céline van Balen, Bertien van Manen and Koos Breukel. Their work will be presented in the selected frames. The exhibition gives the public a new insight into old frames and contemporary portrait photography, thus creating a fascinating dialogue between the present and the past… В общем, у двух первых из четырех выделенных авторов (список участников выставки достаточно большой) собственных веб-сайтов нет… Céline van Balen, страница ссылок на выставки и избранные работы на G A L E R I E S.N L: Uit serie: Berlin 2000 Céline van Balen (1965) 2000 fotografie http://www.artnet.nu/mnexpo.asp?exponr=3328 Hollands Dagboek, door Céline van Balen : http://www.nrc.nl/W2/Lab/Zeven/dagboek.html

Валерий Лобко [ 05 фев, 08 20:54 ]

Solitude — F. Holland Day. 1901 © Joanna T. Steichen Выставка долгая, да. Фотография поэтому уже которую неделю перед глазами, явный знак, что нужно закладочку сделать, а то не избавиться никак. Lives in Photography / Une épopée photographique Edward Steichen Musée de l'Elysée CH. Lausanne, 18 Jan-24 Mar 2008 Marlene Dietrich. 1934 © 1930 Condé Nast Publications Что-то меня эти цифры смущают… будущее в прошедшем. * Снова в который раз гляжу на записку Нади: http://forum.znyata.com/viewtopic.php?p=25024 И параллельно читаю интервью с Плыткевичем: http://news.tut.by/society/102726.html Собственно, на tut.by забрался, посмотреть, как там с конъюнктурой не то что не легенд, а вообще… на «Требуется фотограф». Две вакансии. Фотоинженер не в счет, а вот «Требуется Помощник фотографа», которого кормят ноги и длинный язык, разыскивается. Желающего поработать со студией «Лето» — приглашают. Но спрос вообще, судя по всему, никакой. Ситуация другая с предложением услуг фотографа — их существенно больше, есть и знакомые имена… Тон довольно заметно задают студенты, имеются и с профильным образованием. Куда их Академия готовит? Так что в целом — грустно. В Киеве посмотрел интереса ради — не так чтобы много вакансий, но — для журналов в основном и т.п. Супермаркету нужен фотограф также… Охо-хо… Похоже, та самая пышущая счастьем страна Беларусь, о которой много пишут, говорят и представляют не менее часто на большущих плакатах — где-то там, за Полесьем, по направлению на юго-восток… * Briquets Douglass Lighters. 1928 L'oiseau dans l'espace. 1926 Текст: http://photography-now.com/popup_ausst_ ... gen=T58277

Валерий Лобко [ 06 фев, 08 21:23 ]

Photography after Conceptual Art AAH Annual Conference, Tate Britain/Chelsea College of Art, April 2008: http://www2.essex.ac.uk/arthistory/ahrc/speakers.htm Кажется, очень любопытная конференция; забрался на Google посмотреть, насколько все же актуальная тема. Увы. Некоторые ценные ссылки: Conceptual Art and Photography: http://www.metmuseum.org/toah/hd/cncp/hd_cncp.htm The photographic idea: reconsidering conceptual photography (Afterimage, March-April, 1999 by Lucy Soutter) http://findarticles.com/p/articles/mi_m ... i_54421750 См также: conceptual art sucks, by curt cloninger: http://www.spark-online.com/issue24/cloninger.html Цитата: Conceptual art is popular for three main reasons: a) Conceptual art increases the role of curators and art critics, so they choose to promote it and write about it because everybody wants to be more important than they really are. b) Post-modern relativism is afraid to call anything bad, so conceptual art sneaks in the back door and the relativist art critics are bootless to kick it out. c) Conceptual artists are lazy, untalented, or both. They don't want to invest the time to learn the skills to make good art. Or maybe they tried and they just couldn't do it. So they turned to thinking of ideas and writing artist statements. Загляните также на описание команды журнала: http://www.spark-online.com/masthead/aboutspark.html Дигитальные галереи журнала: http://www.spark-online.com/001gallery/index.html * В ссылках попался Дэйв Ницше, до которого, видно, уже никогда очередь не дойдет, все никак не решусь дать студентам в качестве примера: Dave Nitsche \| Conceptual and Fine Art Photography: http://www.davenitsche.com/concept.htm Выскочил и Misha Gordin: Black And White Silver Gelatin Photos http://www.pixiport.com/Gallery-I.htm CROWD, GI6-01 http://www.pixiport.com/Gallery-I06.htm Все разделы автора: http://www.pixiport.com/Gallery-I.htm Пошагово работы лучше смотреть на авторском сайте, они крупнее. В новых работах: http://bsimple.com/ http://bsimple.com/crowdF.htm http://bsimple.com/newcrowd.htm Четыре фазы Луны: http://bsimple.com/P1.htm (All images on this website are assembled & printed in a traditional darkroom)

Валерий Лобко [ 07 фев, 08 0:18 ]

Tate Modern \| Past Exhibitions \| Cruel and Tender Первая крупная чисто фотографическая выставка в Tate, 2003: As such, it signals Tate’s acknowledgement that photography is a key component of contemporary visual culture and now regularly features in the programme of the museum. * ‘Tender cruelty’ is how the writer Lincoln Kirstein described the work of American photographer Walker Evans in the 1930s. Evans’s images were spare and factual, but his interest in the subject matter was always evident. Evans, along with German photographer August Sander, provides the historical axes for this exhibition, which explores the realist tradition within twentieth-century photography. The photographers chosen are united by this sense of ‘tender cruelty’, an oscillation between engagement and estrangement in their work. The result is a type of photographic realism that avoids nostalgia, romanticism, or sentimentality in favour of clear-eyed observation. http://www.tate.org.uk/modern/exhibitio ... efault.htm Thomas Ruff August Sander Bernd and Hilla Becher Thomas Struth Fazal Sheikh Michael Schmidt Robert Frank Stephen Shore Walker Evans Nicholas Nixon William Eggleston Philip-Lorca diCorcia Robert Adams Albert Renger-Patzsch Lee Friedlander Lewis Baltz Paul Graham Garry Winogrand Andreas Gursky Boris Mikhailov Diane Arbus Rineke Dijkstra Martin Parr Видео: http://www.tate.org.uk/modern/exhibitio ... rviews.htm

Валерий Лобко [ 09 фев, 08 18:49 ]

Refusal Of Reality Subjective Positions of Contemporary Photography About the idea behind this book In this catalogue and the corresponding exhibition series, nine photographers develop a contemporary discussion around their medium. These arguments create a bridge from the beginnings of radical positions in the context of contemporary art in the 1920s to the attitudes of the ›Subjective Photography‹ in the 1950s to today. The work itself is located in close relation to the basic idea of ›Subjective Photography‹, and through technical innovations such as colour and digital technology with taking and processing photographs, both enriches and extends this original, subjective positioning. The ensuing discussion is a part of the current dialogues surrounding the photographic medium – moving away from the documentary and realistic representational towards a more metaphorical, visionary, poetic and subjective approach to contemporary photography. The programmatic point of view – represented by a multiplicity of individual artists – was always present. As their significance increasingly becomes the focus of current interests, it manfests itself here and thereby introduces a paradigm change within the discourse of contemporary photography. Professor Dr. Otto Steinert established his class for photography at the Academy for Art and Crafts in Saarbrücken in 1948, which had opened its doors just two years earlier. Within the context of the academy’s teaching methods, together with Prof. Dr. J. A. Schmoll gen. Eisenwerth, Steinert defined the stance of ›Subjective Photography‹. In post-war Germany, they effectively united the contemporary photographic practices into conceptual form, with which they hoped to re-kindle the avant-garde developments existing before the National Socialist dictatorship. Artists and teachers such as Moholy-Nagy and Man Ray supported Steinert’s efforts and for many years made the Saarbrücker Academy a pilgrimage site of European photography. The theoretical and photographic work regarding the development of a contemporary understanding of photography was represented in 1951 in the context of the exhibition Subjective Photography. In the years 1954 and 1958 followed the exhibitions Subjective Photography II and Subjective Photography III. With the accompanying publications they initiated the way for and later achieved acceptance of photography as an autonomous medium for artistic production. With an increasing significance throughout the following decades, ›Subjective Photography‹ took on the strengthened role of a tool, with which artists could illustrate their opposing attitudes to the external world. In September 2005, the Essener Gallery 20/21 opened the exhibition Otto Steinert, Photography 1948-1973 in response to the art-historical interest and undeniable significance of Otto Steinert’s work, the idea of the ›Subjective Photography‹ and its thus influential school… Все введение: http://photo.8kv.de/fileadmin/redaktion ... alogue.pdf Выборочно работы ( http://photo.8kv.de/index.php?id=8 ): Janet Zeugner, Erinnerung Knut Wolfgang Maron, Bilder über Landschaften (Текст: http://photo.8kv.de/index.php?id=52 ) Проект (новости): http://photo.8kv.de/index.php?id=10 Круговые панорамы, Schleswig-Holstein-Haus Schwerin: http://photo.8kv.de/index.php?id=324

Валерий Лобко [ 09 фев, 08 18:53 ]

Refusal Of Reality Subjective Positions of Contemporary Photography Thanh Long, Spiegelbilder Marc Grümmert, Mythen — Work in Progress Janet Riedel, la fin de l'Enchantement Marc Grümmert, Über das Verlieren und Finden

Валерий Лобко [ 09 фев, 08 19:09 ]

Refusal Of Reality Subjective Positions of Contemporary Photography Еще: Katrin Amft, Räume und Welten По сайту если походить, то в новостях вот такая хроника любопытная: Absage an die Wirklichkeit - Galerie am Alten Markt, Heinrich-Böll-Stiftung, Roter Pavillon Bilder vom Aufbau und der Eröffnung

Валерий Лобко [ 09 фев, 08 19:23 ]

Еще: Absage an die Wirklichkeit — Subjektive Positionen zeitgenössischer Fotografie im Münzviertel beim Hühnerposten am Hamburger Hauptbahnhof Концепция (англ): http://photo.8kv.de/index.php?id=9&L=1 Refusal Of Reality; Press kit exhibition in Leipzig; The Dream Of Reality; In Light Of. In Light Of The Subjectivity of the photograph and the Objectivity of the photographer The freedom of sight depends upon the concealment of reality. »For a long time, it was the medium of photography that negated this freedom, rather than serving (the freedom). By furnishing this already crowded world with a duplicate one of images, photography makes us feel that the world is more available than it really is.« The more the world began to dissolve itself into the universe of duplicate images (of itself), the greater became the desire for holding on to the reality that appeared/was presented in the images, which effectively maintained a distance to reality by representing it. Within ›Subjective photography‹ this longing desire is brought to life through the medium itself, which indeed led to its development. To make images of the ›real‹, rather than to present extracts or cutouts of reality is a way to prove or test the freedom of sight. This freedom operates within a parameter that is defined by the paradox that the pictured subject defines its reality: we can make pictures because we must have pictures, since for us nothing real exists outside of a form of acquiring or appropriating something. Seeing does not mean identifying; seeing means searching. Not for the unknown, which, as a given, presents itself to us as an opposition to the real. Someone, however, who looks critically, searches for traces of the unknown, which when coupled with a meaning, lend themselves to creating a piece drawn from the real of our identifiable world. The refusal of a represented reality opens the way to the real. »We do not have a consciousness that, as idealism would have it, constitutes things. Nor do things proceed our consciousness, as realism would have it [...] with our body, with our senses, with our gaze and our ability to understand and to use language, we are provided with the measuring tools to assess being (›das Sein‹), and with dimensions to which we can relate it to, however, we are not equipped with a relationship of direct equivalencies or immanence. Our perception of the world and of its history is the practice of this process of taking measures and the investigation of its discrepancies in relation to our norms.« Digest from "In Light Of" by Andreas Steffens

Валерий Лобко [ 09 фев, 08 20:22 ]

FOTOGRAFIE UN(D)WIRKLICHKEIT Maxhaus D. Düsseldorf, 08 Feb-14 Mar 2008 MICHAEL STRAUSS JANET RIEDEL Текст: http://photography-now.com/popup_ausst_ ... gen=T58810 Michael Strauss и Janet Riedel — из числа авторов проекта Refusal of Reality, Subjective Positions of Contemporary Photography: http://photo.8kv.de/index.php?id=27&L=1 http://photo.8kv.de/index.php?id=21&L=1

Валерий Лобко [ 10 фев, 08 21:24 ]

Не совсем в тему, но весьма актуально, как на мой взгляд… Читаю интервью с Зоей Луцевич; похоже, она там вспоминает давнюю выставку, где были и работы Володи Федорова. «Рыбу» ее помню, здоровенный такой натюрморт был на боковой стене. Важный такой текст: http://nrsm.org/article/307 И вот еще: «Сестра его — жизнь. Памяти художника Николая Селещука»: Тоже, как бы не совсем в тему, но актуально: http://blogs.privet.ru/user/brunettka/39699578 Где-то у меня неформальная должна быть фотография из подвала на Козлова. Виктор Гончаренко снимал наверху в мастерской, двойной портрет в раме, как раз времени серо-дымчатой картины, «Конец сезона дождей» (не уверен, что такое именно название было), практически законченной она была тогда в мастерской.

Встреча с легендой.