Встреча с легендой.

Bill Jay Portraits, портреты фотографов, знаменитости во множестве…


Weegee the Famous at home in New York, 1968

http://www.billjayonphotography.com/thumbnails.html

Robert Heishman



DEKTOL, 2007, archival inkjet print, 20"x24"
HYPOCLEAR, 2007, archival inkjet print, 20"x24"
RA-4, 2008, archival inkjet print, 20"x24"

http://robertheishman.com/section/30324.html

См. также:

GOALS

http://robertheishman.com/section/16272.html

Robert Heishman / statement for GOALS / 2007-2008

The wind moves the dangling sticks of graphite along the paper like a rhumba dance with an invisible partner, its rhythmically complex markings made from smooth breaths of air currents moving all around. While the wind maps itself on the paper, I sit on the sporting field drawing what I see. My hand follows my eyesight like a blind handshake with the surroundings, seeing and instantaneously drawing—without looking at the drawing—a contour of all that’s around me. Projecting onto the ground glass of my view camera is a sporting goal. Its framing mimics the camera’s and, in photons, draws the image into a sheet of film, a quick death from the shutter’s guillotine. Then, assembled together on a single piece of paper, are all of these experiential representations of atmosphere colliding and expanding the photograph—hinting at a sense of being there.

In my recent series, GOALS, I begin my work on the premise that photography is a medium based on framing and, as a result, about a compression of experience. What lies inside the framing of a sporting goal is meditative—a scene full of a romantic potential, sought after and suggestive, much like a photograph. The sporting goal itself is an icon of immense romance. In a game, the goals are so painstakingly wanted and often times romanticized to a peak of exhaustion, like an unrequited love. Hunted by sweaty and brutish, yet methodical and precise athletes, the photographer is not too different in his pursuits. By performing a dance with his goal, the photographer makes a beautifully, quiet and private performance. In GOALS, I explore not only an end result—a photograph—a requited love—but instead, try to make visible the atmosphere of the site: what is beyond framing.

И еще:

photography (breaths of the word) [for Jeff Eaton]

This is a series of photographs of my own breath saying the word 'photography' into the winter air.

http://robertheishman.com/section/16275.html

Katerina Tumanova (Belkina) на Prix De La Photographie, призы в нескольких категориях, вот «Автопортрет»:

http://px3.fr/winner/zoom.php?eid=4941-08&uid=3227010

Prix De La Photographie

Prix De La Photographie, better known as Px3, had an immensely successful second year of its annual photography competition, having received thousands of incredible entries. Judging in categories in Advertising, Photojournalism, Photographic Books, Fine Art, Nature, and Portraiture, along with numerous sub-categories, the panel selected a First and Second place winner in each. Entries were judged on the basis of originality, creativity, the quality of execution, and overall impact on the viewer. What's more, the People's Choice Award is still open for voting.

The title of Px3 Photographer of the Year was given to Balasz Gardi of Hungary, and his single image "The Valley" was highlighted for particular recognition. The Best New Talent Award went to Ryan Schude of Los Angeles, with his image "The Saturn" also receiving distinct praise. These two photographers, along with the First and Second Place winners in each category, will be featured at the Galerie Acte 2 in Paris June 26-28, 2008, and published in the Px3 Annual Book.

http://px3.fr/winner/?compName=PX3+2008

Виталик Хоружко передает всем привет из Вильнюса. Смотрю — стоит знакомая личность в 128-ой аудитории, глазам не поверил…

Так вышло, кстати говоря, что Виталик сегодня был первым «внешним» свидетелем работы наших дорогих кураторов, Ани, Оли и Юли…

Его впечатления:

Я восторге!!!
Кто бы мог подумать, что случайным образом, встретив Иру Мощенскую, известную в узких кругах как Ирка-Потешка, попал на просмотр «невиданных шедевров Капитана N» вышеназванными кураторами… в самое сердце белорусской старожитной фотографии попал…

И Артур Клинов тут рядом:

Привет из Города Солнца!

(Это у Артура была лекция и презентация «Партизана» и книги в университете вот сейчас…)

Так что вот такие приятные встречи в конце дня… Досталась мне книга с автографом, «Малая падарожная кніжка»…

В городе:

Darius Kuzmickas. "camera obscura: modernus primityvizmas"

http://www.photography.lt/en.php/Exhibitions?id=268

Выставка, о которой уже был разговор:

Tomas Vyšniauskas. Subjectum?

http://www.photography.lt/en.php/Exhibitions?id=266

Еще:

Йорг Кольберг настоятельно рекомендует читать вот этот текст:

The critic bites back

This article is extremely interesting for a large variety of reasons, one of which is that it is very well and intelligently written and honest. It's maybe the most useful and detailed discussion of comments on blogs I have seen in ages, with the money quote being "The real danger confronting criticism on the web is that, in the name of 'anti-elitism' and 'the voice of the people', real dissent (which looks elitist because it is rare) will be drowned out by posturing mobs."

Truth and consequences

US critic Lee Siegel got into trouble for posting flattering replies to his own blog under a false name…

The web is only about 15 years old, but already the conversation about it runs along tired old lines. Elites vs the people, amateurs vs professionals, hierarchy vs democracy - and on and on. For a medium supposedly defined by its transparency and openness, the critical discourse is surprisingly restricted…

· Lee Siegel's Against the Machine: Being Human in the Age of the Electronic Mob is published in the UK by Serpent's Tail

http://arts.guardian.co.uk/art/visualar ... 09,00.html

Portfolio Catalogue — Issue 47

Edward Burtynsky


Edward Burtynsky, Shipbreaking 9a and 9b, Cittagong, Bangladesh, 2000

This issue features Edward Burtynsky’s monumental photographs of landscapes transfigured through the extraction of resources – stone, oil and minerals – and includes a selection from his most recent work on Australian minescapes. Burtynsky’s visual spectacles embody the labour inherent in processes of industralisation and the effect of our dependence on nature to provide materials for our ever-increasing consumption. In an accompanying essay, Duncan Forbes traces 18th and 19th century landscape traditions and discusses the ways in which Burtynsky’s vision presents a radically different relationship between humankind and nature…

Ebru Erülkü


Ebru Erülkü, Ravens Flying up River, 2005

См. там же: In Ori Gersht’s two new series – Blow Up and Time After Time – flowers, often the symbols of peace, have become victims of violence, resulting in an uncomfortable sense of beauty…

http://www.portfoliocatalogue.com/47/index.php

BLACK & WHITE MAGAZINE | Contest

2009 Single Image Award

http://www.bandwmag.com/contest/index.html

Такая вот подборка ссылок, чтобы поближе искать, если что:

CameraArts

Для загрузки:

4/7/2008
Extended PDF gallery:
Palm Springs Photo Festival 2008
Click here to see all photographs from Tim's trip!

4/3/2008
Exclusive web portfolio:
Palm Springs Photo Festival 2008!
Click here

3/18/2008
Exclusive web portfolio of
Susan Burnstine

(крупные версии снимков, в самом начале — ее самодельно доведенная камера)

http://www.cameraarts.com/

LensWork

Объемный пример портфолио:

http://www.lenswork.com/enhanced/lxtenhanced2.pdf

Как делается (одна страница) и печатается журнал (много страниц):

http://www.lenswork.com/enhanced/lwqenhanced3.pdf

Различные весомые ресурсы для загрузки:

http://enhanced.lenswork.com/#LWQ1

(фрагменты журнала, демо видео…)

http://www.lenswork.com/

Photo District News

www.pdnonline.com

View Camera
The Journal of Large-Format Photography

www.viewcamera.com

Scheinbaum and Russek LTD — Fine Art Photography Dealers

Есть раздел портфолио.

http://www.photographydealers.com/siteindex.html

Сергей Михаленко спрашивает на соседней ветке:

«смс-ка пришла от Виталика Хоружко из Вильнюса:
Видел фотки Валеры Лобко в ЕГУ, огрмная аудитория устлана ими. Выставка будет тут в июне, в Вильнюсе. Виталик».

«два вопроса...
когда и где будет выставка? /возможно буду в Вильнюсе в июне, хотелось бы посмотреть…
а доедет ли выставка до Минска? /думаю, не мне одному хочется увидеть.../»

*

Это кураторский проект наших студентов; отбор и формирование концепции на ходу — их. Я помогаю, предоставляя работы, я бы по-другому выбирал, но тут интересен как раз этот взгляд свежий и самостоятельные действия.

Т.е. выставка — такое значимое учебное упражнение, но побочная выгода разная уже ощущается. Скажем, по той уже причине, что ранние работы едва ли кто видел даже из студийцев старой школы, а их не только рано списывать в архив, но в определенном смысле даже рано еще извлекать… Чуть ниже об этом.

Сам проект — возможная серия интервью и выставок, реальных и экранных, как начальный этап культурно-визуальных исследований в области тех прецедентных, преобразовавших культурный ландшафт и просто заметных вещей.

Тем было довольно много; остановились на фотографии — главным образом по той причине, что под руками была публикация в «Монологе», часть текстов доступна в Сети, да и я довольно часто под руками для справок и уточнений. Поэтому в условиях дефицита времени с учетом прогнозируемой сложностью подбора работ — самое то.

*
Собственные ощущения по поводу набравшихся для этого случая фотографий — если небольшую часть снимков отбросить из студенческих еще работ, т.е. самого начала 70-х, а потом еще кое-что почистить, то очень даже прилично.

Я попробую сам потом подборку сделать, поскольку тут как раз очень интересно наблюдать феномен, когда имеются работы, которые запросто переживают время… а были в какой-то момент не очень выигрышными по отношению к какой-то собственной и чужой попсе.

И это как раз те работы, с которыми я пришел в фотографию, вот что важно… Т.е., к счастью, те вещи, которые спокойно можно опускать, мало что меняют, а снимки, которые были дороги тогда, действуют и теперь. И это не та журналистская фотография из того же примерно периода, которая поднимается благодаря флеру времени, и не те картинки, которые жили в любительском пространстве, вот что самодостаточно интересно.

Поскольку проблема в том, что добытые тяжким трудом в те годы за несколько лет снимки часто теперь можно получить за одну «сессию»… что тогда остается от автора, который был известен в тот период, выступая в качестве «середнячка»?

Или автора, который успешно проявился в любительской фотографии на конкурсах-салонах? Или от автора, монтажи которого смотрелись ранее как откровение и невиданный взлет технического умения, а теперь от них осталось только то, что как раз и может быть отнесено к фотографической составляющей?

Виталик видел в 129-ой то, что мне не удалось посмотреть — когда, видимо, все снимки, которые я привез, были разложены полностью. Я захватил большую, но уже отобранную часть этих работ.

Но в целом я примерно представляю, что можно теперь восстановить из комллектов, как примерно это выглядит в подборках.

Практически нет деревенской, более поздней серии (буквально выборочно; с другой стороны, из тех репортажей печатались только выборочные работы, а часть небольших, видимо, потеряна… подозреваю, где и когда.

Нет серии «Люди в транспорте» (одна черновая работа), и «Портретов», т.е. в целом серии и работы середина 70-х, конец 70-х и начало 80-х просто выпали.

Какая-то часть ранних работ, видимо, имеется в фотоклубе, мне Е. Козюля как-то говорил — но это студенческие вещи, жалкие потуги в графике и несколько работ середины 70-х, что погоды, в общем, не делает. Но из оставшегося, к счастью, формируется достаточно значимый комплект, что, в общем, не ожидалось.

Я попробую сделать подборку на диске. Возможно, удастся это до начала показа сделать, а нет — то потом еще неделя остается.

… — была как-то версия тонированных слайдов, но я сейчас их тоже не вижу, хотя, кажется, в коробке одной могли сохраниться…

разгребая как-то свои авгиевые фотоконюшни, нашел демо-материалы, возвращенные когда-то после выставки в берлинской IFA-галерее - как раз маленький кляссерчик с вашим коричневыми слайдами...

готов великодушно вернуть их на родину героя!

Ага, интересно.

Я думаю, будет очень интересно сравнить выборку сегодняшнюю наших кураторов, мой собственный свежий взгляд с тем, что тогда выделялось…

Но дело в том, что из того набора, если я его правильно помню, мало что и останется…

Вот как хорошо после вечера и ночи на Бернардинской не напрягаться, ничего не искать…

Заботами Кольберга:

The master of 'blatant artifice' speaks
Vancouver native Jeff Wall gives Marsha Lederman his personal take on five seminal photographs from a body of work that this week earned him the $30,000 Audain Prize for Lifetime Achievement in the Visual Arts

MARSHA LEDERMAN
From Saturday's Globe and Mail
May 24, 2008 at 11:49 AM EDT

Разговор о работах:

THE DESTROYED ROOM, 1978

MIMIC, 1982

DEAD TROOPS TALK (A VISION AFTER AN AMBUSH OF A RED ARMY PATROL, NEAR MOQOR, AFGHANISTAN, WINTER 1986), 1992

FOREST, 2001


IN FRONT OF A NIGHTCLUB, 2006

IN FRONT OF A NIGHTCLUB, 2006

After spending several evenings documenting the activities outside a Vancouver nightclub, Wall meticulously reconstructed the scene using performers. The final image was constructed from negatives shot in a studio over several days.

"What this began with... was the older person who's selling red roses on the sidewalk. You see these people - they can be younger or older, all different kinds of people - who go around the clubs and restaurants and bars, and they're selling red roses to people who are on a date or something. ... I was fascinated by these people sort of wafting through the crowd, almost unseen, trying to make a sale here and there.

And that's where it began. I wanted to make a picture about that person in the crowd. But as I worked on the picture, I realized that I couldn't just focus on that person and hint at a crowd.

It wasn't working. And the thing just got bigger and bigger until I realized I had to lose him in this big broad swath of the sidewalk.

When you look at the picture, you don't even notice him at the beginning, because he's lost in there. But he's there. So the picture is about him and it's really not about him.

So there's more than one thing happening there. In fact, there are many things - and in a way there's nothing happening. So it's sort of about nothing. About everyday life. Which suits me just fine."

http://www.theglobeandmail.com/servlet/ ... nment/home

We Can’t Paint Blog

http://wecantpaint.com/

Несколько страниц имеет смысл пролистать свежих…


© Semâ Bekirovicl


© Rob Ball

Снимки высокого разрешения, есть и Джеф Уолл:

http://wecantpaint.com/log/?p=1115

Еще:

Deadline extended!

After a couple dozen emails and some wise advice, I’ve decided to extend the deadline for submitting to the magazine and gallery. Effective immediately the deadline to submit for the We Can’t Paint Gallery and Magazine is now:

August 1, 2008

http://wecantpaint.com/log/?p=1114

The Exposure Project напоминает:

The Polaroid Portrait Challenge

JPG Magazine has teamed up with Flak Photo and File Magazine to celebrate the wonders of Polaroid with the Polaroid Portrait Challenge. The website states:

"Polaroid photos are almost magical. The whir of the camera gears moving, the slow process of the image appearing, and the beautiful softness and color palette of the final image all make the process distinct. Even though the days of Polaroid film may be numbered, let's celebrate in style."

All interested photographers have until June 7th to submit polaroids. The chosen images will run as a feature in JPG issue 17.

http://jpgmag.com/themes/100/all/page5


Dragonflies In Flight, Thelma Blizzard

http://theexposureproject.blogspot.com/ ... lenge.html

http://theexposureproject.blogspot.com/

К дискуссии о любителях и профессионалах на соседней ветке… предварим все той же цитатой:

Anyone can take a picture … but …

"Photography is the easiest thing in the world if one is willing to accept pictures that are flaccid, limp, bland, banal, indiscriminately informative, and pointless. But if one insists in a photograph that is both complex and vigorous it is almost impossible"- John Szarkowski

The idea that anyone with a "digital" camera can take a photograph is quite true, but making a good photograph is as difficult today as it was 50 years ago. This reminds me of the pointless idea that the current large volume of digital images has changed in any way what makes a good photograph. Of course it hasn't. Only thing is that digital tools have enabled more people to explore photography as a way to express and discover, and this has led to better chances to create great images by anyone with an artistic "spirit".

What remains as difficult as it has always been, or even more difficult now, is to repeat one great image after another, to create a cohesive and compelling body of work, to create projects that are unique and have impact ... to create photographic projects that are both "complex and vigorous". This remains a skill limited to few.

Miguel Garcia-Guzman

http://exposurecompensation.com/2008/05 ... cture-but/

От успешной коммерческой карьеры, одной из самых заметных в Китае:

http://www.nytimes.com/packages/html/sp ... lt_00.html

— в художники:

Ma Liang – The Magic Photographer
By Maggie Ma

…Laying down the painting brush he had kept for 11 years, Ma resolutely bade farewell to his loft artist ideals cherished in adolescent years and strode farther and farther into the field of commercial ad industry.

At the end of 1995, Ma left Ogilvy & Mather Advertisement Company where he had worked for one and a half years, for though the company paid him good salaries, he felt depressed working there. After that, this man of idealistic and romantic nature tried to find another outlet for his exuberant passion for creation.

…Ma had spent only three years accomplishing every step many professional photographers had ever dreamed of: from his self-entertaining creation with a camera to his contracting with Yi’an gallery; from his participation in Diaphorama Photography Festival in France, his participation in “The Virtual Salon” of Moca Museum in New York, and his solo exhibitions in Hong Kong, Singapore, Toronto and other places, to his works’ successful access to auction market and being sold at a high price of 150,000 RMB, or about $20,000 dollars, at Sotheby’s auction for a single piece.

“Ultimately I can be called an artist,” said Ma in comfort and relief, “I would create everything I like, and I feel quite happy to live on my art.”

http://www.artzinechina.com/display_vol_aid557_en.html

http://chngyaohong.com/blog/

http://www.artnet.com/artist/424675519/ma-liang.html

И еще одно имя поучительное, как представляется, по этому же поводу, это в связи с рассуждением Сергея Плыткевича о фотографии, галереях, книгах, любителях, профессионалах…

Aranea
Guido Mocafico
Hamiltons
GB. London, 29 May-07 Jul 2008

HAMILTONS proudly announces their forthcoming exhibition, ARANEA by Guido Mocafico. 29 May-20 June 2008. The show comprises eight large format, colour photographs never seen in exhibition before, from Mocafico's acclaimed book ARANEA published by Steidl.



Guido Mocafico, Aranea, Acanthoscurria Geniculata
Guido Mocafico, Aranea, Citharischius Crawshayi

http://www.hamiltonsgallery.com/

(загляните там на Exhibition archive…)

Guido Mocafico выставляется в Hamiltons Gallery в Лондоне не первый раз:

…exhibition of French photographer Guido Mocafico at the Hamiltons Gallery in London. His latest works are large prints of complicated mechanical watch movements including the Chopard Quantieme Perpetuel Phase de Lune above. All 105 cm x 105cm (41+"inches) each.

Guido Mocafico: Movement
1 May-2 June 2007

*

Паучков смотрим здесь:

http://www.mocafico.com/mygales.html

On contextual meaning — здесь:

http://www.mocafico.com/selfservice.html

Man Woman — здесь:

http://www.mocafico.com/wo_man.html

Guido Mocafico

Of Italian descent, Guido Mocafico was born in Switzerland in 1962. A specialist in still life, he works regularly for international magazines such as Numèro, Paris Vogue, Big, The Face, Self-Service, and Wallpaper. He has also undertaken numerous advertising campaigns for Gucci, Yves Saint Laurent, Clinique, Shiseido, and Hermës. Over the past four years, Mocafico has been at work on a personal project related to architecture, and he continues to explore aesthetic and scientific themes in nature. He lives in Paris.

*
http://singularity.bohoe.com/513/guido-mocafico

http://www.steidlville.com/books/508-Serpens.html

http://dpnow.com/4750.html

http://thingstolookat.blogspot.com/2006 ... afico.html

http://kreatif.com.ua/index.php?newsid=137

Шанс для британских выпускников:



21 June-6 July 2008

This show marks the launch of this annual exhibition, presenting the most dynamic new work by visual arts graduates from BA and MA courses across the UK.

Applications for this year are now closed.

This year our panel of judges are: Melanie Manchot, artist; Sarah Kent, writer and critic; Brett Rogers, Director, The Photographers' Gallery and Marta Weiss, Curator of Photographs, V&A.

http://www.photonet.org.uk/freshfacedandwildeyed08/

Martin Parr's favourite photography books of 2007 :

* Hackney Flowers by Stephen Gill
* The Genius of Photography by Gerry Badger
* I’m a Real Photographer by Keith Arnatt
* The Mother of All Journeys by Dinu Li
* Welcome to Pyongyang by Charlie Crane
* A China Chronicle by Zeng Li
* A Shimmer of Possibility by Paul Graham
* In England by Don McCullin
* An American Index of The Hidden and Unfamiliar by Taryn Simon
* Nein, Onkel (No, Uncle) edited by Timothy Prus and Ed Jones
* Fashion Magazine by Alec Soth
* Magnum, Magnum by all Magnum Photo photographers

Отсюда, где и ссылки:

Reviews of photography books and photo book news Photobook Guide:

http://www.photobookguide.com/

http://www.photobookguide.com/review/ph ... s-of-2007/

* The Genius of Photography by Gerry Badger

Synopsis
Accompanying the first major television history of this ever more influential art form, this landmark book explores the key events and the key images that have marked the development of photography. At the heart of the book is a quest to understand what makes a truly great photograph. What is it that makes a photograph by Nan Goldin or Henri Cartier-Bresson stand out among the millions of others taken by all of us every single day? Why are some photographs elevated to the status of art - even after the event? "The Story of Photography" examines the evolution of photography in its wider context: social, political, economic, technological and artistic. It brings a critical perspective and a strong aesthetic sense to the subject, but above all it is primarily a narrative history. Beginning with the earliest days of the photograph in the 1840s and ending with an examination of the state of photography today and the effect that the 'digital revolution' will have, changing not only how we look at a photograph, but what it is in a physical sense. The book examines all the different genres of photography from art, news and reportage, landscape and portrait photography.

It also tells the great stories behind many of the world's most iconic photographs and reveals the extraordinary characters - from Margaret Bourke-White to Cindy Sherman and from Louis Daguerre to Robert Capa who have made and defined this art form. And it explores the forces and contemporary resonances that have given these images their meaning and power.

Roy Arden

MONTE CLARK GALLERY — VANCOUVER

THE WORLD ETC...
January 31 to March 1, 2008

Opening Reception:
Thursday, January 31st, 8-10 pm

The Monte Clark Gallery Vancouver is pleased to present an exhibition of new work by Roy Arden.

Following his mid-career survey exhibition at the Vancouver Art Gallery, Roy Arden’s exhibition will feature new graphic works and collages.

The World etc… presents Arden’s latest graphic works (archival pigment prints) that are essentially digital collages, as well as recent small paper collages made from printed matter.


Fearsome Symmetry, 2007
archival pigment print, 37.5 x 32 inches

http://www.monteclarkgallery.com/Exhibi ... ARDEN.html

Roy Arden

Поляроиды (давний выпуск Doppelganger magazine):

(Слайд-шоу на Flash)

http://www.doppelgangermagazine.com/roy_arden.html

http://www.monteclarkgallery.com/Artist ... raphy.html

Такая вот фотографичная нефотографическая ссылка, 2007:

Nancy Chan is an artist whose work I first saw in the pages of Hot and Cold, a zine put out by Oakland artists Chris Duncan and Griffin McPartland. Then I got to see those images in person at Eleanor Harwood gallery and realized Nancy was doing something truly unique with figures. They were simple and airy and had this great sense of discovery in them. She recently showed at Receiver Gallery in San Francisco back in September.



http://www.fecalface.com/SF/index.php?o ... &Itemid=92

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Все интервью (это, как кажется, для наших дизайнеров полезный ресурс):

http://www.fecalface.com/SF/index.php?o ... &Itemid=92

См. специально:

Blek Le Rat Interview
Written by Manuel Bello
Wednesday, 02 April 2008

This legendary street artist who influenced artists like Banksy has a show opening at Subliminal Projects in LA April 5th. Our NYC correspondent, Manuel Bello interviews…

http://www.fecalface.com/SF/index.php?o ... &Itemid=92

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Фото (журналистика):


// El Gato recovers from a gunshot wound to the head, hospital Escuintla.

Vic Blue Interview
Written by Jesse Pollock
Monday, 22 January 2007

Victor J. Blue is a San Francisco based freelance photojournalist. He has worked extensively in Central America since 2001, concentrating on the post-conflict situation in Guatemala, as well as covering issues of national importance in California and across the country.

His photographs have appeared in Time, Newsweek, US News and World Report, Le Monde, the San Francisco Chronicle, and various newspapers and magazines internationally. He has shown photographs in solo exhibitions and been included in group shows at Juice Design, 111 Minna Gallery, and Yerbe Buena Center for the Arts in San Francisco.

http://www.fecalface.com/SF/index.php?o ... &Itemid=92

http://www.fecalface.com/SF/index.php

Еще:

How to Print B&W Photos
Written by Ray Potes
Wednesday, 05 December 2007

By Ray Potes. Photos by Jesse Pollock.

This is a real basic starting point for printing black and white photographs. You can see how to get your film to this point by checking out the last photo 'how-to' regarding processing your film.



http://www.fecalface.com/SF/index.php?o ... &Itemid=92

Female Trouble
Pinakothek der Moderne
D. München, 18 Jul-26 Oct 2008

Diane Arbus, Katharina Sieverding, Madame Yevonde, Cindy Sherman, Robert Mapplethorpe, Gertrud Arndt, Marta Astfalck-Vietz, Monica Bonvicini, Claude Cahun, Sophie Calle, Julia Margaret Cameron, Contessa di Castiglione, Man Ray , Valie Export, Nan Goldin, Lady Clementina Hawarden, Florence Henri, Hannah Höch, Birigt Jürgenssen, Jürgen Klauke, Astrid Klein, Germaine Krull, Nikki S. Lee, Sarah Lucas, Urs Lüthi, Bjørn Melhus, Ana Mendieta, Tracey Moffatt, Pierre Molinier, Ringl + Pit (Grete Stern + Ellen Auerbach), Pipilotti Rist, Daniela Rossell, Tomoko Sawada, Mathilde ter Heijne, Wanda Wulz, Francesca Woodman, ...

Seit der Erfindung der Fotografie vor nahezu 170 Jahren haben vor allem Frauen das technische Medium genutzt, um sich oder andere in Rollenspielen und Maskeraden zu inszenieren. Neben der experimentellen Lust, das Ich immer wieder neu zu erschaffen, diente die Kamera auch als Möglichkeit, Klischees und Stereotypen weiblicher Repräsentation in Frage zu stellen. Das Spiel mit dem »Ewig« Weiblichen war und ist immer auch eine Auseinandersetzung mit geschlechtlicher Identität, ihrer gesellschaftlichen und politischen Definition sowie deren Überschreitung.

Im Fokus der Ausstellung stehen zeitgenössische Künstlerinnen wie Cindy Sherman, Sarah Lucas, Pipilotti Rist oder Monica Bonvicini, die mit Hilfe von Fotografie und Videokunst das Bild des Weiblichen untersuchen. Die Künstlerinnen gehen dabei der Frage nach, welche Bildmuster das mediale Zeitalter für Weiblichkeit bereit hält und wie diese Bilder die Wahrnehmung von Frauen bestimmen…


Birgit Jürgenssen | Ohne Titel (Olga), 1978 | Sammlung Verbund Wien | © Nachlass Birgit Jürgenssen, VG Bild-Kunst

Весь текст:

http://www.photography-now.com/popup_au ... gen=T57893