Встреча с легендой.

Contemporary Works


Crossed Hands, 2005/2005
Kodak Endura Color print, unmounted
16 x 24 in. (406 x 610 mm)
Signed, titled, dated and editioned (24, plus 3 APs) in 16 x 24 in.; also available for $1,800 in edition of 9, plus 3 APs in 20 x 30 in. size. Framing, matting and shipping are additional. For 16 x 24 in. size mounted on board $80; mounted on di-bond $175 additional; for 20 x 30 in. size mounted on board $100; mounted on aluminum $250 additional.
Price: $1,250 (ref. 7822)

Charlie Schreiner

55 иллюстраций:


Mosaic #194, 2005/2005
Kodak Endura Color print, unmounted
16 x 24 in. (406 x 610 mm)
Signed, titled, dated and editioned (24, plus 3 APs) in 16 x 24 in.; also available for $1,800 in edition of 9, plus 3 APs in 20 x 30 in. size. Framing, matting and shipping are additional. For 16 x 24 in. size mounted on board $80; mounted on di-bond $175 additional; for 20 x 30 in. size mounted on board $100; mounted on aluminum $250 additional.
Price: $1,250 (ref. 7823)


Mosaic #221, 2005/2005
Kodak Endura Color print, unmounted
16 x 24 in. (406 x 610 mm)
Female nude. Signed, titled, dated and editioned (24, plus 3 APs) in 16 x 24 in.; also available for $1,800 in edition of 9, plus 3 APs in 20 x 30 in. size. Framing, matting and shipping are additional. For 16 x 24 in. size mounted on board $80; mounted on di-bond $175 additional; for 20 x 30 in. size mounted on board $100; mounted on aluminum $250 additional.
Price: $1,250 (ref. 7828)


Cityscape, 2006/2006
Kodak Endura Color print, unmounted
16 x 24 in. (406 x 610 mm)
Signed, titled, dated and editioned (24, plus 3 APs) in 16 x 24 in.; also available for $1,800 in edition of 9, plus 3 APs in 20 x 30 in. size. Framing, matting and shipping are additional. For 16 x 24 in. size mounted on board $80; mounted on di-bond $175 additional; for 20 x 30 in. size mounted on board $100; mounted on aluminum $250 additional.
Price: $1,250 (ref. 9285)

http://www.contemporaryworks.net/artist ... php/1/3701

harlie Schreiner received his Master of Fine Arts Degree from the Rhode Island School of Design. Since 1972, he has designed office furniture for Herman Miller, Knoll, Haworth, and others in the contract furniture industry. He lives and works along the shores of Lake Michigan. Photography has always been an important tool in his business, and he also uses photography as an artistic medium, in which he now has begun to work more exclusively. He works in both color photography and alternative processes, particularly the daguerreotype.

…Schreiner's daguerreotypes have been exhibited at the George Eastman House in Rochester, NY; Ohio State University; the Tri-Cities Museum in Grand Haven, MI; the New England School of Photography in Boston; the Oakland Museum; the North Light Gallery, University of Arizona; A Photographers Place, New York City; the Atlanta History Center; the Henry Ford Museum; the Nelson-Atkins Museum of Art; Grand Valley State University; Center for Photographic Art, Carmel, CA; 2004 International Fine Art Photography Exhibit, Ft. Collins, CO; Soho Photo, New York City, Best of Photography 2004…

http://www.contemporaryworks.net/artist ... php/1/3701

Charlie Schreiner


Going to Heaven #2 (Sarah), 2005/2005
Kodak Endura Color print, unmounted
20 x 16 in. (508 x 406 mm)
Female nude. Signed, titled, dated and editioned (24, plus 3 APs) in 16 x 20 in.; also available for $1,800 in edition of 9, plus 3 APs in 24 x 30 in. size. Framing, matting and shipping are additional. For 16 x 20 in. size mounted on board $80; mounted on aluminum $175 additional; for 24 x 30 in. size mounted on board $100; mounted on aluminum $250 additional.
Price: $1,250 (ref. 7824)


Fours Hand and Tatoo (Female Nude)
2003/2003
Daguerreotype (1/6 plate)
in full leatherette case
2-3/4 x 3-1/4 in. (70 x 83 mm)
Title, name, date on verso. Mat hides some of daguerreotype.
Price: $1,750 (ref. 7700)


Guinne Reclined (Female Nude), 2002/2002
Daguerreotype (1/6 plate), in glass mount
2-3/4 x 3-1/4 in. (70 x 83 mm)
Title, name, date on verso. Mat hides some of daguerreotype.
Price: $1,750 (ref. 7699)

Contemporary Works

Michael Philip Manheim


We the People (From Rhythm from Within Series), 1999/2007
Silver print, unmounted, 8 x 12 in. (203 x 305 mm)
Signed, titled and numbered out of an edition of 25, plus APs on the verso (unmounted/unframed). Also available in 40 x 60 in. size in edition of five, plus APs for $3,500 (unmounted/unframed); and 15-1/2 x 23 in. (on 20 x 24 in. paper) in edition of 10, plus APs for $1,200 (unmounted/unframed). Framing and mounting are additional.
Price: $700 (ref. 9670)


The Agony (From Rhythm from Within Series), 2004/2007
Silver print, unmounted, 8 x 12 in. (203 x 305 mm)
Signed, titled and numbered out of an edition of 25, plus APs on the verso (unmounted/unframed). Also available in 40 x 60 in. size in edition of five, plus APs for $3,500 (unmounted/unframed); and 15-1/2 x 23 in. (on 20 x 24 in. paper) in edition of 10, plus APs for $1,200 (unmounted/unframed). Framing and mounting are additional.
Price: $700 (ref. 9692)


Song (From Rhythm from Within Series)_ 2004/2007
Silver print_ unmounted_ 8 x 12 in. (203 x 305 mm)
Signed, titled and numbered out of an edition of 25, plus APs on the verso (unmounted/unframed). Also available in 40 x 60 in. size in edition of five, plus APs for $3,500 (unmounted/unframed); and 15-1/2 x 23 in. (on 20 x 24 in. paper) in edition of 10, plus APs for $1,200 (unmounted/unframed). Framing and mounting are additional.
Price: $700 (ref. 9693)


Salamander (From Rhythm from Within Series, 2003/2007
Silver print, unmounted, 8 x 12 in. (203 x 305 mm)
Signed, titled and numbered out of an edition of 25, plus APs on the verso (unmounted/unframed). Also available in 40 x 60 in. size in edition of five, plus APs for $3,500 (unmounted/unframed); and 15-1/2 x 23 in. (on 20 x 24 in. paper) in edition of 10, plus APs for $1,200 (unmounted/unframed). Framing and mounting are additional.
Price: $700 (ref. 9685)

Contemporary Works

Michael Philip Manheim


Genie (From Rhythm from Within Series), 2003/2007
Silver print, unmounted, 8 x 12 in. (203 x 305 mm)
Signed, titled and numbered out of an edition of 25, plus APs on the verso (unmounted/unframed). Also available in 40 x 60 in. size in edition of five, plus APs for $3,500 (unmounted/unframed); and 15-1/2 x 23 in. (on 20 x 24 in. paper) in edition of 10, plus APs for $1,200 (unmounted/unframed). Framing and mounting are additional.
Price: $700 (ref. 9684)


Spiderwoman (From Rhythm from Within Series)
2004/2007
Silver print
unmounted
8 x 12 in. (203 x 305 mm)
Signed, titled and numbered out of an edition of 25, plus APs on the verso (unmounted/unframed). Also available in 40 x 60 in. size in edition of five, plus APs for $3,500 (unmounted/unframed); and 15-1/2 x 23 in. (on 20 x 24 in. paper) in edition of 10, plus APs for $1,200 (unmounted/unframed). Framing and mounting are additional.
Price: $700 (ref. 9696)


Shard (From Rhythm from Within Series)
2002/2007
Silver print
unmounted
8 x 12 in. (203 x 305 mm)
Signed, titled and numbered out of an edition of 25, plus APs on the verso (unmounted/unframed). Also available in 40 x 60 in. size in edition of five, plus APs for $3,500 (unmounted/unframed); and 15-1/2 x 23 in. (on 20 x 24 in. paper) in edition of 10, plus APs for $1,200 (unmounted/unframed). Framing and mounting are additional.
Price: $700 (ref. 9676)

Все иллюстрации:

http://www.contemporaryworks.net/artist ... p/1/6520/0

Michael Philip Manheim

Michael Philip Manheim has been a professional photographer since 1969. A chance encounter with photography, at the age of 13, locked him onto a life-long pursuit.

Intrigued with the themes of change and transformation, Manheim developed a signature style of layering whole phases of movement onto a single frame of film. This approach transcends a literal interpretation. He calls this series the "Rhythm from Within".

Michael Philip Manheim's work has been exhibited throughout the United States and in Germany, Greece and Italy. His work has been featured in magazines such as Zoom (U.S. and Italy), Photographers International (Taiwan), La Fotografia (Spain), Black and White magazine, and numerous other publications.

He has been Artist in Residence at Bates College in Lewiston, ME and Phillips Exeter Academy in Exeter, NH.

Manheim's photographs are held in public and private collections, including the Library of Congress, the International Photography Hall of Fame & Museum, the Danforth Museum of Art and the Bates College Museum of Art. He has had over 15 solo exhibitions.

ARTIST STATEMENT:

I was intrigued with expanding the possibilities of still photography through a different approach to motion, so I developed my own method of multiple exposures. Then I set up a nurturing atmosphere, where my participants felt safe to tune into their emotions and express them physically.

I soon realized that I was photographing spirit more than surface. My subjects were not only moving, but they were also relating to nature in a manner that often revealed their inner selves.

I seemed to be photographing the psyche, a place far removed from what people present to the public. I learned to scout out special places in nature that promoted a cosmic relationship. In addition, I learned to encourage my subjects to produce spontaneous movement by drawing upon a place beyond conscious thought.

The work has evolved into deeply felt personal, emotional and psychological states that elicit universal themes in the viewer. This is an essence of successful portraiture, yet I wasn't interested in the literal representation of individuals. I preferred an abstract way of going deeper. I trusted the intuition of my participants to bring out the human condition. And I learned to trust my own intuition, as well.

After earlier experimentation and prior projects, I turned my attention to a major dance company. I began "The Energy of Dance" with the Limon Dance Company in 1998. I started by being in control, asking the dancers to repeat specific passages of movement that I had observed on stage and in rehearsals. They quickly caught on to the technique I was developing, and appropriately began improvising. I reacted instinctively and reflexively, adding many images to each frame of film, without time to deliberate. Giving up control meant welcoming a multitude of surprises. Over time, photographs appeared that ranged from amazing juxtapositions, to intricate meshings with nature, to complex depths of expression. Sometimes a rare and refreshing beauty developed that itself transcended the literal and reflected an inner radiance.

It became my signature style. A gallery director named this approach "Rhythm from Within", which became the new name for the project.

One reviewer came to call this "risky photography," because there was no way to predict the final outcome. The images form immediately upon the film. There's no later manipulation. And there's no premeditation, just meditation that powers my exploration of the "Rhythm from Within".

Nine years later, I have a large and still evolving body of work. I've assembled 36 images (28 in the Special Exhibit and the others on the website) that show the evolution of this body of work. More importantly, these are choice images from a series that delves into the roots of dance, from motion brought forth by emotion. This intuitive approach includes images of many famous dancers and dance companies, including the Limon Dance Company, Parsons Dance Company, Edisa Weeks, Robert Moses' Kin, and many others, including students at the annual Bates Dance Festival…

http://www.contemporaryworks.net/artist ... php/1/6520

ждём выставки с нетерпением...

Contemporary Works

Ted Jones

Всегда смущают любительские снимки в сложной технике, которая придает уникальность и статус. Так и тут…

…He then settled down to academic studies at Penn State University, where he received a BA in Journalism and Advertising with a minor in Theater and Art in 1951.

…In 1954, he received the prestigious Sylvania Award for Television for the first water pollution special on television, called "Our Beautiful Potomac." Jones also received an Emmy for his work on the cinematography and editing of the program "Urban Sprawl." He then won a Peabody Award and Governor's Award for producing and editing "Science in the Schools", which was the first TV series used in public schools. Jones produced, edited and photographed "Chosen Country", the first film on noted American author John Dos Passos, which earned him a grant from the National Endowment for the Humanities. His list of film and video credits also includes "I Touch the Future--I Teach", a video production on Christa McAuliffe, the teacher-astronaut aboard the ill-fated Challenger, for the Prince George's County School System where she first taught.

Among these many awards, he won a Special Jury Gold Medal at the Atlanta Film Festival for his time-lapse film on his own stone carving. Jones was also an accomplished sculptor, who had had seven one-man shows of this work. Over 200 of his sculptures are in private and public collections worldwide. He conducted a demonstration of stone carving on the White House grounds at the invitation of the National Park Service and the District of Columbia Government.

In 1960, he began work at Stuart Finley Films, Inc., where he worked as an independent film producer. The company and Jones spent the next 17 years producing films in the environmental field.

In 1977, Jones began to freelance, making videos, films and black and white photographs…

Jones was well-known for his work in 19th-century non-silver photographic printing processes, particularly the gum-dichromatic process, but he took a contemporary approach. He even applied modern computer technology to a number of these 19th-century techniques.

…The work is simply astounding for its virtuosity. Jones often used multiple color passes and an artist's brush (used to manipulate the image while still wet) to create images that often have more in common with fine art graphics than photography. Yet these images are still grounded in the world of the real, albeit often overlaid with a strong dose of fantasy.

Jones often printed in large sizes (some larger than life-size) that are very rare for this medium, which has to be worked quickly before a print dries. His images range from urban landscapes that share much with Edward Hopper's desolate vision to portraits and nudes that that take as much from Demachy's classicism as from Nan Goldin's personal sociology and contemporary feel.

His photographs are in the collections of the St. Louis Art Museum, the University of New Mexico Art Museum and the James A. Michener Museum of Art. A large body of his work is in the personal collection of photography dealer Alexander Novak…

http://www.contemporaryworks.net/artist ... php/1/3709

Вот такая выборка:


Harrisonburg 10, 1993/2000
Gum Bichromate, unmounted
11-1/2 x 8-1/2 in. (292 x 216 mm)
Signed on recto of print in the margins. Pencil notations including title, date, number of print (1), and printing color details on verso in photographer's hand. An edition of 2 of 5.
Price: $750 (ref. 3692)


Maggie 2, 1999/2000
Gum Bichromate, unmounted
22-3/8 x 15-1/2 in. (568 x 394 mm)
Image of a female nude and cat. Signed on recto of print. Pencil notations including title, date, number of print (1) and printing color details on verso in photographer's hand.
Price: $1,250 (ref. 3705)


Morgentown, W. Va., 1995/2000
Gum Bichromate, unmounted
11-1/2 x 8-1/2 in. (292 x 216 mm)
Signed on recto of print in the margins. Pencil notations including title, date, number of print (1) and printing color details on verso in photographer's hand. An edition of 1 of 5.
Price: $750 (ref. 3693)

http://www.contemporaryworks.net/artist ... p/1/3709/0

Contemporary Works

Jerry Spagnoli

By Alex Novak and Matt Damsker

Spagnoli has had several major one-man shows and continues to participate in major group shows on alternative processes. His work reflects his modern environment in a way that requires the viewer to look more intensely.

…Spagnoli offers an eloquent and somewhat mystical rationale for utilizing the prototypical medium of daguerreotype: "The image…is not in a steady state like other photographs. It is elusive, fugitive…it remains a potential image until it is presented under the correct optical/spatial conditions…and the light from a scene in the past strikes your eye like new." But in the end these images must speak for themselves, and so they do, powerfully and beautifully.

…At their most dramatic, as in shots of New York City sky and sun above skyscrapers, Central Park, or the East River, the azure and cobalt blues that result from intentional overexposure convey a dreamlike beauty seeping through the austere sepia of the daguerreotype. This effect, at its best in subtle yet startling slivers of blue light that activate the stolid architecture and solid geometry of the subject matter, makes a seamless connection between photography's beginnings and its postmodernist project.

Spagnoli's work is featured in the collections of the Museum of Modern Art, the Art Institute of Chicago, the Getty Museum, the Hallmark Photographic Collection and the Museum of the City of New York. It has also been exhibited at the Boston University Art Gallery and the George Eastman House.

http://www.contemporaryworks.net/artist ... php/1/3704


Solarized Stripe, New York City, NY, 2004/2004
Daguerreotype (Full plate), in full leatherette case
6-1/4 x 8-1/4 in. (159 x 210 mm)
Dramatic solarized blue stripe of light peeks out from behind the buildings. Dated and signed on verso of plate. In modern black leather case with black matt and black velvet padding. Spagnoli had an important new book on his work published July 2006. He has worked extensively with artist Chuck Close. See: Jerry Spagnoli, Daguerreotypes (Steidl), n.p.
Price: $8,000 (ref. 7430)


New York City, NY, 1998/1998
Daguerreotype (Full plate), in full leatherette case
6-1/4 x 8-1/4 in. (159 x 210 mm)
Wonderful archectectural plate and a very early NYC full plate view by Spagnoli. Dated (12/3/1998) and signed on verso of plate. In modern black frame with black glass mat. Spagnoli had an important new book on his work published July 2006. He has worked extensively with artist Chuck Close. The image reminds me of Alfred Stieglitz's New York City work.
Price: $7,000 (ref. 7847)


One New York Plaza, New York City, NY, 2004/2004
Daguerreotype (Full plate), in full leatherette case
6-1/4 x 8-1/4 in. (159 x 210 mm)
Wonderful archectectural plate with sun poking behind building. Dated and signed on verso of plate. In modern black leather case with black matt and black velvet padding. Spagnoli had an important new book on his work published July 2006. He has worked extensively with artist Chuck Close.
Price: $8,000 (ref. 7428)

http://www.contemporaryworks.net/artist ... p/1/3704/0

Дмитрий, по нашему общему обсуждению с Олей и Анной вот сейчас, вы можете присоединиться со своей идеей. Т.е. я буду рад помочь — все в 128-ой, я там обычно все время. Приходите.

Contemporary Works

Joel D. Levinson

Joel D. Levinson was born in Bridgeport, CT on April 24, 1953. He received a BA in Communications in 1975 and a Masters in Visual Arts in 1978 from the University of California, Berkeley. During his time at the University of California, Levinson was elected president of the university's photographic organization…

…Levinson has had two books to date, including "Fleamarkets" and "Joel D. Levinson, Photographs". A third book, "After Eden", is currently in the works. There have been more than 50 magazine and international print articles featuring his work, including Aperture, Art, Artforum, Artfactum, Arts, Artweek, High Performance, Horizon, Interview, New Art International, People, Picture and Zoom.

…Levinson has had more than 31 one-man shows, including shows at the Center for Creative Photography-Tucson, the O.K. Harris Gallery, the Lamagna Gallery, the Mateyka Gallery, the Milwaukee Art Museum, the Art Museum of South Texas, the Louisville J.B. Speed Art Museum, the Midwest Museum of American Art, the Crocker Art Museum, the Runter Museum of Art, the Davidson Art Center (Wesleyan University), the America Haus-Berlin, the Sprengel Art Museum, and the Wilhelm Hack Art Museum.

Museum and institutional collections that include Levinson's work (not including the above institutions): the Addison Gallery of American Art, the Baltimore Museum of Art, the Bibliotheque National-Paris, the Boston Museum of Fine Art, the Brandeis Institute, the Brooklyn Museum of Art, the California State University-Long Beach Library, the Denver Art Museum, the Herbert F. Johnson Museum of Art at Cornell University, the Houston Museum of Fine Arts, the Minneapolis Institute of Arts, Musee Nicephore Niepce, the Museum fuer Kunst und Gewerbe-Hamburg, the New Orleans Museum of Art, the Richmond Art Center, the San Francisco Museum of Modern Art, the University of Minnesota Art Gallery, the University of Oklahoma Museum of Art, the Winnipeg Art Gallery and the Yale University Art Gallery. His work is also in other important corporate and individual collections.

Полный большой текст вот здесь:

http://www.contemporaryworks.net/artist ... php/1/3708


Boots, 1978/1978-86
Silver print, unmounted
16 x 20 in. (406 x 508 mm)
Printed on 16 x 20 inch Agfa Portriga Rapid III matt paper and selenium toned, during the 1980-86 period. The artist reserves the right to make larger prints in editions of nine, plus three artist's proofs.
Price: $2,400 (ref. 6878)


Man in Plaid (#35), 1976/1977-86
Silver print, unmounted
20 x 16 in. (508 x 406 mm)
Printed on 16 x 20 inch Agfa Portriga Rapid III matt paper and selenium toned, during the 1980-86 period. The artist reserves the right to make larger prints in editions of nine, plus three artist's proofs.
Price: $3,600 (ref. 9121)


Untitled #35, 1994/2005
Chromogenic print on Fuji Crystal Archive paper on original mount
28 x 28 in. (711 x 711 mm)
Signed and editioned (Edition of 9, plus three artist's proofs). Price is for the first two sold in this size. Also available in 18 x 18 inch size starting at $2,700 in an edition of 29, plus six artist's proofs.
This image comes from that new series, which takes place in the nude English Garden section of Munich's park system.
Price: $4,800 (ref. 7984)

http://www.contemporaryworks.net/artist ... p/1/3708/0

История успеха и еще одно руководство к действию… Если коротко, то ключевая формула — образование и ориентация на арт-рынок, важная галерейная деятельность в пользу студентов. И не нужны легионы — как сказано в выступлении на форуме, мир искусства — не демократия…

ASKO MÄKELA

MAKING DREAMS

The Breakthrough of Contemporary Photography in Finland



Sækja pdf-skjal

Fyrirlestur fluttur 10.maí 2004

Asko Mäkelä hefur gegnt stöðu safnstjóra The Finnish Museum of Photography frá árinu 1996. Hann hefur staðið fyrir alþjóðlegum ráðstefnum í safnstjórnun á menningararfi á stafrænum tímum. Asko hefur verið sýningarstjóri yfir 100 sýningum á samtímalist og unnið sem listgagnrýnandi (AICA).

http://www.ljosmyndasafnreykjavikur.is/ ... r/asko.pdf

http://www.ljosmyndasafnreykjavikur.is/ ... rarrod.htm

Helsinki School — Artists

http://www.helsinkischool.fi/helsinkischool/artists.php

*

Reykjavik Museum of Photography — Current

http://www.ljosmyndasafnreykjavikur.is/ ... urrent.htm

Вот, вычитал умные рекомендации почти украинца Usher'а Fellig'а или, если удобнее, Arthur'а Fellig'а из Золочева Львовской области о лучшей камере для профессионалов репортеров и для любителей тож.

Почти в духе удивительного рассказа о Полоцком эксперименте, который искал и вдруг нашел золотую середину:

http://forum.znyata.com/viewtopic.php?p=34817#34817

См. там ссылки на сканы страниц.

См. также:

http://www.foto-video.ru/news_detail.php?ID=2187
http://www.brain-juice.com/cgi-bin/show ... i?p_id=154
http://www.fotonovosti.ru/content/arts_one/8/344
http://en.wikipedia.org/wiki/Weegee
http://www.leegallery.com/weegee.html
http://museum.icp.org/museum/collection ... gee09.html
http://www.liveinternet.ru/tags/weegee/

http://www.russian-bazaar.com/Article.a ... icleID=939

Гм. вот тут еще, дешевый пафос: http://www.ogoniok.com/4912/37/

См. еще специально:

On the Street: The New York School of Photographers

http://www.tfaoi.com/aa/5aa/5aa118.htm

Photography-Now:

Heldenzeiten
Serguei Bratkov
Fotomuseum Winterthur
CH. Winterthur, 07 Jun-24 Aug 2008


Sergey Bratkov
Mickey Mouse, aus der Serie «Juvenile Detention», 2001 (Jugendhaft)
Lambda Print, 120 x 90 cm
Regina Gallery, Moskau


Sergey Bratkov
Sasha, aus der Serie «Kids», 2000 (Kinder)
C-Print, 40 x 27 cm
Regina Gallery, Moskau

Five years on from our retrospective exhibition of Ukrainian artist Boris Mikhailov (in 2003) the Fotomuseum Winterthur now presents another leading Russian-Ukrainian artist of the next generation: Sergey Bratkov (born 1960). The exhibition includes some 130 works, giving a deep insight into Bratkov's photographic oeuvre since 1990. Socially critical, politically motivated and yet with a lyrical edge, his photographs are a direct and at times unsparing portrayal of everyday life since the collapse of the Soviet Union. Bratkov, who was born in the Ukrainian industrial city of Kharkov, lays bare the obsolete ideological clichés of the Soviet era and the newfound muscle-flexing capitalist drive of the east in scenes that occasionally evoke a strident theatre of the new reality. His documentary portraits of secretaries, soldiers, former seamen, steelworkers, homeless children and women who want to start a family cite the hallmarks of nationalistic socialism by ostensibly classifying individuals in stereotype images. But what Sergey Bratkov seeks in his portraiture is not the conformity of the group, behind which the individual might be able to hide. Instead, his photographs launch a provocative jibe at post-Soviet society by deliberately flouting aesthetic and moral taboos. By heightening the scenes he observes with irony and subjectivity, Sergey Bratkov invents a new form of Socialist Realism in his photographs, unmasking critical socialism as fictitious and ideologically defunct. The exhibition is curated by Thomas Seelig.

With the generous support of Vontobel Foundation, Zurich
Additional support by the Stiftung Art Progressive

Publication: Sergey Bratkov - Glory Days/Heldenzeiten (in English/German), published by Verlag Scheidegger&Spiess, Zurich. With texts by Boris Buden, Bart de Baere, Thomas Seelig, and an interview with Sergey Bratkov by Mikhail Ryklin and Anna Alchuk. 192 pages, 91 colour and b/w illustrations, format 20.5 x 26.5 cm, Hardcover.

http://photography-now.com/popup_ausst_ ... gen=T61239

Удивительные все же ощущения какие с этими старыми фотографиями…

Сушкой вот занялся на стекле, заботами Академии ленту для сушки удалось таки добыть, второй день в заботах и ностальгических мыслях — просто непередаваемо.

При этом весьма нехорошие другие мысли попутно в голову лезут, вроде того, что было в умении того же Виджи, и что сейчас у господ фотографов новой генерации…

Упс.

У Кольберга — информация про новый журнал:

Yet another new web magazine: 1000 Words Photography, which features a very nice variety of work in its first edition.

1000 words photography

Журнал посвящен лучшему в современной фотографии, и выбирает ту, которая стоит тысячи слов. Сделали бы еще не на Flash — совсем было бы хорошо.

Смотрю вот на раздел Paola de Grenet…

Хотя, как кажется, надо было сразу на раздел «Books» забираться — хороший путеводитель вышел.

http://www.1000wordsmag.com/

Плюс, набитый снимками

Women in Photography


Elinor Carucci, After argument, 2003

Elinor Carucci

Crisis/Pain

'Crisis' was taken during a very difficult time in my relationship with my husband, Eran.

It was photography that allowed me to be able to step away, to see what was going on, even what is about to happen. The fact that Eran let me take those pictures, in the middle of these difficult situations, in a way, reconnected me to him. And at times he used my pictures to tell me what he couldn't say.

I was surprised by the fact that I was taking pictures, that I needed so much to make pictures, that I was pushing my own limits, I wanted to do this. I wanted to look at us and at times, it was the only way to see. I wanted to be able to see the beauty in those painful moments, to create, to feel myself and who I am because everything else felt like total chaos and out of control…

http://www.elinorcarucci.com/


http://www.wipnyc.org/

http://www.jmcolberg.com/weblog/

Не могу вот никак успокоиться, вспоминая Виджи с его репортерской камерой…

Вчера наблюдал съемку потенциальной надежды и опоры белорусской фотографии, как раз недавно вспоминал про нее тут. И что? Цифра отняла остатки разума — все сводится к тупому нажатию на кнопку. Рационального нет, а интуиция в студийной съемке, когда ты светом и камерой не управляешь, мало чем может помочь.

Пленка все же дисциплинировала, формировала определенный алгоритм съемки и прогнозное мышление, вспомните того же Адамса и его предиктивность в «Негативе».

С цифрой — развилось такое «мастерство» множественного щелчка… Снял-посмотрел-снял… потрясающее при взгляде со стороны размягчение мозгов…

Я вот даже с грустью прикидывал, где это взять такие карты памяти, чтобы более десятка кадров на них не помещалось.

Мы с Андреем Аношко как-то на той еще неделе обсуждали немного эту проблему. Когда в руках «Броника», то сообщество обучаемых с трудом рождает три кадра, а затем впадает в ступор, поскольку не в состоянии изобрести более ничего. С цифрой, естественно, таких вопросов не возникает — проблема только в скорости записи на карту…

Это теперь называется фотографией…

Вы о ком?... меня аж передёрнуло...

Дмитрий,

да все о том же… Кто-то — в тени, а кто-то — на виду.

Шансы, в общем, имеются у всех, нужда в результатах — очень большая.

*

Добрался я до галереи, но на час раньше открытия. Так что пришлось пройти терапию знакомыми именами на приличном количестве классно изданных книг.

Создалось необратимое впечатление, что литовская фотография — есть, да и с новыми именами — все ОК.

Вообще — фантасмагория. шел с другой стороны, дошел до Сейма, обошел все кругом, расспросил полицейского, облазил все дворы — нет выставки. Пристал к девушкам, упоенно читающим Лермонова на лавочке возле Сейма — нет, не выдали военную тайну.

Пришлось потом вернуться к нужному дому, заеду на неделе, такое ощущение, что еще повисят работы. Крупные вещи — показалось, что очень хороши для небольшого альбома или для интерьера.

Увидел там, кстати говоря, объявление вот об этой новинке:

Jano Bułhako knygų „

Šviesos estetika“ ir „Vaikystės metų kraštas“

pristatymas

Lietuvos nacionalinis muziejus maloniai kviečia Jus į Jano Bułhako knygų Šviesos estetika ir Vaikystės metų kraštas pristatymą, kuris įvyks 2008 m. birželio 12 d. 16 val. Lietuvos nacionalinio muziejaus salėje, Arsenalo g. 1, Vilniuje. Vakarą ves vertėjas, fotografijos istorikas Stanislovas Žvirgždas, Lietuvos nacionalinio muziejaus direktorė Birutė Kulnytė, fotografijos ir kino kritikas Skirmantas Valiulis, fotografijos istorikas Dainius Junevičius.

Ну вот, все благополучным образом разрешилось, голая правда на фотографической стороне:

http://www.jmcolberg.com/weblog/2008/06 ... enity.html

Почти в тему, снимки в чудесном монохроме, не в порнографическом цвете:

Pigozzi and the Paparazzi
Helmut Newton Stiftung
D. Berlin, 20 Jun-16 Nov 2008


Helmut Newton, Linea Italiana, Rome 1970s


Erich Salomon, Aristide Briand seeing the hidden photographer, Paris 1931

Weegee, Tazio Secchiaroli, Edward Quinn, Helmut Newton, Erich Salomon, Ron Galella

With the current exhibition the "bad boys" of photography are the subject of an extensive show for the first time in Germany…

Весь текст (большой):

http://www.photography-now.com/popup_au ... gen=T60194

Science Projects Volume IV:
Robin Cracknell’s ‘Cine

A Conversation with Robin Cracknell about ‘Cine’.







http://artvolume1.wordpress.com/2008/03 ... ells-cine/

Science Projects Volume III:
The Photography & Work of Samantha West. « ART VOLUME I:

…I rediscovered photography in 7th grade & once again, began to fall in love with the medium.

The darkroom was a safe place and soothing.

It allowed me to be alone, I could stay late after school working, the room was pungent with chemical odors, but virtually noiseless…

I always found it to be a haven.

http://artvolume1.wordpress.com/2008/01 ... ntha-west/

Богдан Конопко, снимает на широкий негатив и делает прямую печать в размер негатива.





Богдан Конопко. Париж, набережная Монтебелло. 06.01.1995 г., из серии "Невидимый город 11"



Вот фото автора, предоставил Вадим Качан.
Время — 13.10.2004г ,
Место — разговор в кабинете у Вадима Аркадьевича.
Присутствовали: Вадим Качан, Владимир Парфенок и Богдан Конопко со своей супругой (за кадром).