Встреча с легендой.

PHOTOICON ONLINE FEATURES

Галереи (крупные иллюстрации):

Edward Burtynsky
Manufactured Landscapes
by JOHN K. GRANDE



Edward Burtynsky is the founder and president of Toronto Image Works, a landmark photographic/digital lab and technical education facility. He is also involved with the executive advisory board for Contact, Canada’s largest annual photo festival. In conversation with critic John K. Grande, extracted from his series of dialogues about alternative approaches to the modern art dynamic.

John Grande: What made you decide to start your photo lab, Toronto Image Works?

Ed Burtynsky: After graduating from Ryerson Polytechnic there was no access to professional darkrooms in Toronto. After four years of working at home in the basement, I realised how inefficient my production was and how impossible it became to realise the quality and scale of prints I envisioned. That was the original inspiration for Toronto Image Works. I decided to create something that would support not only my own creative printmaking, but also to open a facility for other artists in the city to use…

http://www.photoicon.com/online_features/21/

Другие публикации с галереями:

Peter Arnold
Beauty Fades — a photograph lives forever
by Max Thurlow

http://www.photoicon.com/online_features/20/

Dolce & Gabbana
The Power and the Glory
by Mike von Joel



http://www.photoicon.com/online_features/16/

Chris Wroblewski
A Warm Heart
by Mike von Joel



http://www.photoicon.com/online_features/15/

John Stoddart
The Seductive Lens
by CLIFFORD THURLOW



http://www.photoicon.com/online_features/14/

Pierre & Gilles
All That Glitters Is Gold
by Georgina Turner



http://www.photoicon.com/online_features/13/

London Image:
Photography in London has never looked better
by Mike Von Joel

http://www.photoicon.com/online_features/12/

Andy Martin:
Brigitte Bardot
by Andy Martin

http://www.photoicon.com/online_features/8/

The Life Of
Salvador Dali
by Clifford Thurlow

http://www.photoicon.com/online_features/9/

Helmut Newton:
A World Without Men
by Clifford Thurlow



http://www.photoicon.com/online_features/3/

Petter Hegre:
The Forbidden Nudes
by Clifford Thurlow

http://www.photoicon.com/online_features/6/

Craig Blacklock:
A Voice Within
by Andrew Kaiser



http://www.photoicon.com/online_features/5/

Rankin:
Pecked Alive By 1000 Birds
by Clifford Thurlow



http://www.photoicon.com/online_features/2/

The Polaroid Collections:
The Nudes That Made History
by Andrew Kaiser





http://www.photoicon.com/online_features/11/

Dahmane:
Crossing The Rubicon
by Clifford Thurlow



http://www.photoicon.com/online_features/10/

Peter Arnold:
The Art of Life
by Clifford Thurlow



http://www.photoicon.com/online_features/7/

Klaus Kampert:
An Act of Balance
by Andrew Kaiser



http://www.photoicon.com/online_features/4/

PHOTOICON ONLINE FEATURES

Camera Obscura:
The Glittering Prizes
by Mike von Joel

The unprecedented number of outlets for images in today’s global media republic is beginning to be counter productive. As never before, artists have to fight for recognition in the visual cacophony that is the modern world.

ONCE UPON A TIME life was pretty straightforward for the emerging photographer. It was a matter of learning the mechanics of the best equipment, accessing that equipment, then trying to sell the service to the limited range of options available. The lucky ones got work in a lucrative fashion and advertising industry, the more reliable souls got staff jobs on the newspaper and magazine circuit; and those that eschewed the pressure and politics became solid local photographers, doing worthy things at weddings and bar mitzvahs. Commercial work that left time for private explorations with the camera and more seriously considered personal imagery. And the idea of ‘establishing’ a ‘reputation’ was still a valid one.

When the first seeds of the digital revolution began to bloom - in the guise of the internet - photographers (along with estate agents, it has to be said) were amongst the first to see the potential. And indeed, the best early websites belonged to photographers, for whom this was a logical development. The days of lugging a heaving portfolio - and the actual cost of making that portfolio - gave way to a simple web address that would intrigue any new contact. Even now, some of the very best websites are those of photographers, or related to the photographic image.

Exactly when this halcyon period for photographers began is hard to say, but it is most certainly over now. That underlying beat of new and exciting imagery has become a tinnitus that is hard to avoid. Those formerly inviting web addresses (URLs) now appear like dangerous confetti, invading every email - where a single click can send the brave or the bored off into uncharted waters - with most unsolicited approaches being sent straight to delete by overly keen spam filters. The fight merely to be seen and heard has thus become a battle royal.

So what is the point of these observations? It is simply to note that there is an upside to the overall picture of disillusion and frustration. The Award competition has emerged from the shadows in a brand new guise. No longer the province of the hopeless amateur, as the record number of quality entries to recent high profile events has illustrated, the major Award circuit has become a legitimate platform for the serious professional and international photographer. In Great Britain, a spate of open competitions have been inaugurated offering a high visibility to both winners and entrants, some supported by judging panels drawn from the great and the internationally famous.








*

Sony World Photography Awards
1) Abstract, Advertising, Architecture, Fashion, Music, Nature, Nude, Portrait, Photojournalism, Science, Sport.

2) Palais des Festivals Cannes 21-25 April 2008

www.worldphotographyawards.org

NPG Photographic Portrait Prize
3) www.foundationrwanda.org

4) Judged from original prints by: Sandy Nairne, Director, NPG (Chair); Cheryl Newman, Commissioning Photography Editor for Saturday Telegraph Magazine; Sheila Rock, Photographer; Sue Steward, Photography critic for the Evening Standard; Terence Pepper, Curator of Photographs, NPG.

5) Vanity Fair Portraits 1913-2008. 14th February - 26th May 2008. sponsored by Burberry

www.npg.org.uk

The Jerwood Photography Awards
6) Annually at the Jerwood Space
171 Union Street, Bankside. London SE1 0LN
9 November – 9 December (2007)

7) Open to artists who work with the medium of photography and are resident in the UK, who have graduated from a visual arts degree course in the UK between January 2004 and September 2007. No age limit. Registration between May and August. Between 6 and 10 photographs are accompanied by an artist’s statement and biography. Selection takes place in September.

8 Martin Barnes, Victoria & Albert Museum, London; Gloria Chalmers, Portfolio Magazine; Gayle Chong Kwan, Artist; John Davies, Photographer; Anne McNeill, Impressions Gallery, Bradford.

www.jerwoodvisualarts.org

Photographers’ Gallery
9) Deutsche Börse Photography Prize 2008
5 & 8 Great Newport Street. London WC2H 7HY
8 February - 6 April 2008

10) The Jury: Els Barents, Director, Huis Marseille (The Netherlands), Jem Southam, photographer (UK), Thomas Weski, Chief Curator, Haus der Kunst (Germany) and Anne-Marie Beckmann, Curator, Art Collection Deutsche Börse (Germany). The Chair is Brett Rogers.

www.photonet.org.uk
www.deutsche-boerse.com/art

http://www.photoicon.com/online_features/18/

PHOTOICON THE MAGAZINE: In Focus





AT 93, Charis Wilson Weston is a living almanac on the life and times of her former husband, Edward Weston.

A RENÉE JACOBS exclusive interview

http://www.photoicon.com/the_magazine/

Выдержки из интервью см. здесь:

A Photo Editor - Photography Director Rob Haggart

Interview with Edward Westons Wife and Muse, Charis Wilson

AT THE AGE of 93, Charis Wilson has seen more than most people ever will - and the art world has seen more of her than almost any other woman in the history of photography. As Edward Weston’s lover, writer, companion, driver (Weston never learned to drive), and model from 1934-1945, Charis left an indelible imprint on Weston’s work and the way in which his photographic nudes are examined. Charis is the subject of more than half of all of Weston’s nudes, including some of his most famous – the Oceano Dunes series and Nude in a Doorway. His portrait of her at Lake Ediza is well known (if somewhat misunderstood)…



http://aphotoeditor.com/2008/05/28/inte ... is-wilson/

PHOTOICON THE MAGAZINE

Inferno
The series that won First Prize at Pressfoto 2007, Poland.

Elzbieta Piekacz’s award winning and harrowing photo-documentary of the street corner slaughterhouses of China, where domestic dogs are as common as pigs and goats delivered up to the butcher’s knife.

http://www.photoicon.com/galleries/

*

Michael Hoppen

Интервью за 60 секунд:

18
…What sort of impact has digital had on the specialist photography gallery?

Not good. I don’t think digital cameras are nearly ready to replace analogue yet. The only cameras that come close are very expensive and the printing issues are numerous. Black and white silver gelatin prints are simply better – and no comparison to digital – yet. Things may change though. The main issue is the fact that a hand made object has a quality that digital does not – and no – I don’t think I’m old fashioned. I love platinum prints which are on a matt art paper and these always vary slightly – digital are production line and tend not to look as crafted as the ‘real’ thing.

42
…Who would you say were the future ‘Masters’ of the photographic art practising today?

Desiree Dolron, Trent Park, John Davies, Koichi Kurita… just to name a few.

http://www.photoicon.com/60seconds/

Забрался на

Polaroid Collections Exhibitions and Events

В новых выставках —

Children: Images by William Ropp
The Griffin Museum of Photography
Winchester, Massachusetts
November 8–January 13, 2008



http://www.polaroid.com/studio/schedule.html

http://w.ropp.free.fr/children/children.html

А в The Griffin Museum of Photography — выставка работ цифровой звезды Fran Forman:

The Atelier Gallery at the Stoneham Theatre

Alchemy of Memory
Photographs by Fran Forman
July 23-August 30, 2008



http://www.griffinmuseum.org/exhibition ... oneham.htm

Fran Forman

Alchemy of Memory
http://www.franforman.com/Fran_Forman/Alchemy.html

Defying Gravity
http://www.franforman.com/Fran_Forman/Defying.html

The Middlesex Beat, July 2006
By Terry House





http://www.franforman.com/Fran_Forman/M ... _Beat.html

http://www.franforman.com/Fran_Forman/A ... pture.html

http://www.franforman.com/Fran_Forman/About.html

Px3 — Photo Competition 2007

Frances Forman

86224-07, series , Title: "The Child Defies Gravity"



http://franforman.com/px3/winners/2007/0~zoom07.html

Px3 — Photo Competition 2008

Fran Forman

Title: "Alchemy of Memory", series



http://px3.fr/winner/zoom.php?eid=3604-07&uid=2223975

*

… "My work creates juxtapositions in time,’’ says Forman. "It also re-imagines relationships of scale and physical possibility. Although my images violate the laws of physics, they honor the interdependence and connections of humanity with the animals, insects, and plants which populate the natural world.’’

Forman's collaged images often begin with tintype portraits of ordinary mid-19th century Americans, on which she "paints,’’ reviving the fashion of that time. She replaces the original studio backdrops with her own invented photographic reality.

"I hope to suggest the connection of humble portraiture to contemporary technology, children to the cosmos, humanity to the natural world, and the spiritual to the physical," says Forman…

http://www.griffinmuseum.org/exhibition ... oneham.htm

Photography-now:

THE 2ND GLANCE
Axel Pfennigschmidt
Galerie Showroom Berlin
D. Berlin, 04 Jul-13 Jul 2008

Axel Pfennigschmidts Fotoarbeiten sind inspiriert von Brassai's Graffiti-Fotos, Depardon's Stadtbildern und den Decollagen der Künstler des Nouveau Realisme. Die Fotoserie entstand in den letzten drei Jahren in den Straßen von Marrakesch, Kapstadt, Buenos Aires, New York und Berlin.

Die Motive zeigen allesamt Fragmente unterschiedlicher Hauswände, auf denen etwas gemalt, geklebt, gesprayt, abgerissen, zerbrochen, zerkratzt wurde. Close-up fotografiert entstehen aus Licht, Formen und Farben eigenständige Tableaus. In dieser Abstraktion legen sich die im Bild erkennbaren Alltagselemente, persönliche Assoziationen und das neue ästhetische Ganze zu mehreren Schichten übereinander. Dem Betrachter wird auf fast spirituelle Weise die Kunst vorgeführt, auf den zweiten Blick - dem 2nd Glance — die wahre Realität zu erkennen.

THE 2ND GLANCE
A SERIES OF ABSTRACT PHOTOGRAPHS SHOT IN 2006/ 2007
IN MARRAKECH, CAPE TOWN, BUENOS AIRES, NEW YORK, PARIS AND BERLIN.

DIGITAL C-PRINTS ON PAPER. 50 X 75 CM. EACH PIECE IN AN EDITION OF 5 EXAMPLES ONLY. SIGNED, NUMBERED, TITLED AND DATED BY AXEL PFENNIGSCHMIDT ON THE VERSO OF THE FRAME.


PARIS 3


BERLIN 3


NEW YORK 5

http://www.pfennigschmidt.com/work.html

AFTER GRADUATING FROM THE UNIVERSITY OF ARTS IN BERLIN,
AXEL PFENNIGSCHMIDT WORKED FOR MANY YEARS IN SOME OF THE
WORLD’S LEADING CREATIVE ADVERTISING AGENCIES IN HAMBURG,
NEW YORK AND LONDON. IN 2006 HE BECAME A MEMBER OF THE
BERLIN-BASED CREATIVE NETWORK PULK (PULK-BERLIN.COM) AND
CONTINUES TO WORK INTERNATIONALLY AS A PHOTOGRAPHER.



Полные страніцы:
http://www.pfennigschmidt.com/downloads ... llSeed.pdf

Yousuf Karsh

Просто захватывающий ресурс — много комментариев Корша к работам, в том числе есть и видео, где он рассказывает и показывает, как снимал Черчилля, два кадра было, оказывается.

Работы — в трех разделах:

Ранние работы:

This first group of photographs covers the years from 1929 to 1941 and shows a great deal of experimentation and improvisation. Karsh was working with artificial light for the first time, and it greatly expanded not only his technical capabilities but also his creative vision. This was a time when he was searching for his own form of expression.

Работа по заданиям редакции:

Karsh spent much of the 1940s building on the success of his Winston Churchill portrait. In 1952, he accepted a lengthy assignment for Maclean’s magazine to document Canada’s postwar economic development. In the seventeen months it took to complete the undertaking, he made a total of 8,334 negatives.

Портреты:

Karsh spent much of the 1940s building on the success of his Winston Churchill portrait. In 1952, he accepted a lengthy assignment for Maclean’s magazine to document Canada’s postwar economic development. In the seventeen months it took to complete the undertaking, he made a total of 8,334 negatives.

http://karsh.org/

Ссылки на отдельные собрания:

http://www.npg.org.uk/

Тут как раз оба портрета Черчилля имеются:



(Всего там больше 100 работ можно посмотреть).

http://www.artic.edu/

Там интересно весь раздел фотографии посмотреть, есть и крупные версии иллюстраций, много знаменитых имен:

http://www.artic.edu/aic/collections/se ... egory%3A49

George Eastman House, 59 Selected Images:

http://www.geh.org/ne/mismi3/karsh_sld00001.html

The Metropolitan Museum of Art

MFA Boston: http://www.mfa.org/tours/package.asp?key=132

(Галерея с возможностью увидеть крупно фрагменты портрета.)

Yousuf Karsh

Австралия, Национальная галерея:

http://www.nga.gov.au/Exhibition/KarshS ... efault.cfm

(Два автора, Корш и Смит).


KARSH, Yousuf
Winston Churchill 1941

‘Here was the man who marshalled the English language and sent it into battle, when we had little else.’ (Karsh)

In his address to the Canadian Parliament in 1941, Churchill said ‘The French say in three weeks’ time England will have her neck wrung like a chicken.’ Then came his famous rejoinder, ‘Some chicken, some neck!’ The story of how Karsh took Churchill’s photograph is one of defiance on Churchill’s part and remarkable diplomacy on Karsh’s. Churchill was so angry he had not been told he was to be photographed, he lit a fresh cigar and puffed mischievously. Eventually Karsh had everything ready. Relating later what happened he said, ‘I stepped toward him and without premeditation, but ever so respectfully, I said, “Forgive me, Sir” and plucked the cigar out of his mouth. By the time I got back to my camera, he looked so belligerent he could have devoured me. It was at that instant I took the photograph. The silence was deafening. Then Mr Churchill, smiling benignly, said, “You may take another one.” He walked toward me, shook my hand and said, “You can even make a roaring lion stand still to be photographed.”’


KARSH, Yousuf
Albert Schweitzer 1954

‘Which, I asked, did he consider the most important of the Ten Commandments? “Christ”, he replied, “gave only one Commandment. And that was Love”.’ (Karsh)

Albert Schweitzer received the Nobel Peace Prize in 1952 for his efforts on behalf of ‘the Brotherhood of Nations’. He studied philosophy at Strasbourg (Doctor of Philosophy 1899). An accomplished musician, he wrote about Bach and his music (1905). Medicine became his interest in 1905 and he completed his medical training in 1913. Schweitzer’s work in Equatorial Africa (now Gabon) at Lambaréné became legendary. He continued to write on philosophy and music and he gave lectures and made recordings. In 1955 Queen Elizabeth II conferred Great Britain’s highest civilian award, the Order of Merit, on Schweitzer. In Oslo in 1958 he broadcast his appeal to the world on the subject of ‘Peace or Atomic War’.


KARSH, Yousuf
Ernest Hemingway 1957

‘A man of peculiar gentleness, the shyest man I ever photographed — a man cruelly battered by life, but seemingly invincible.’ (Karsh)

During the 1920s, Hemingway lived in Paris, where he knew fellow-American expatriates Ezra Pound and Gertrude Stein, and worked as a journalist before publishing short stories and then novels. The disillusionment of the post-war ‘lost generation’ fuelled his novels, of which A Farewell to Arms (1929) is a good example. His later novels show the strength and dignity of the human spirit and he portrayed characters such as soldiers, hunters and bullfighters whose courage and honesty are set against the brutal ways of modern society, and who, in this confrontation, lose all hope and faith. His best known novels are For Whom the Bell Tolls (1940) and The Old Man and the Sea (1952). He committed suicide in 1961.


KARSH, Yousuf
Nikita Khrushchev 1963

‘When I saw him, I thought his strong peasant face demanded a frame. It was Moscow’s first warm spring day, but the Chairman cheerfully sent for the biggest fur coat I have ever seen.’ (Karsh)

Все эти работы:

gelatin silver photograph
printed image 99.0 (h) x 73.6 (w) cm
Purchased 1973

Корш отдельно, три страницы:

http://www.nga.gov.au/Exhibition/KarshS ... 15&GalID=1

Текст по последней ссылке:

…Karsh first trained with his uncle and then in Boston in the portrait studio of fellow Armenian John H. Garo. Karsh moved back to Ottawa in 1932, where he established his own studio. From the 1970s until he retired in 1994, Karsh had his studio in the lavish Chateau Laurier, a landmark building in the best street in Ottawa. Karsh’s mentor, John Garo, had made rather soft, idealised romantic portraits in the prevailing style of art photography, but Karsh developed his own modern look with dramatic, sharp and strongly lit close-ups. Karsh’s experience with stage lighting as a member of the Ottawa Little Theatre was a factor in his technique, and through this theatrical circle he made political and social contacts that led to clients for his business.

From as early as 1936 Karsh was becoming known for his modern portraits of visiting statesmen and dignitaries, who were often set against a darkened background, spot-lit like actors on a stage, and shown close-up revealing every detail of hair, skin and clothes. He used large format cameras with up to 8 x 10 plates and huge banks of lights to transform his subjects. Karsh’s international reputation was made when his portrait of British prime minister Winston Churchill — then in Ottawa for a political meeting during World War II — was used on the cover of Life magazine in December 1941.1 According to legend, Karsh whipped Churchill’s beloved cigar out of his mouth a moment before making his exposure. (By contrast Karsh would later persuade the formidable USSR leader Nikita S. Khrushchev to don his native headgear of a Siberian fur hood and smile like a jolly Santa Claus.) The portrait of Churchill became the iconic image of the wartime leader and was even the model for his portrait in Madame Tussaud’s wax museum in London. Churchill is not ‘scowling’, as the image is so often described, and its success surely had more to do with making the not very photogenic Churchill exude the right mix of concern, bullying strength and vision. These were the qualities then needed to reassure the public across the Commonwealth as they faced their enemies in Europe.

Signing himself ‘Karsh of Ottawa’, the photographer became a celebrity in his own right and world leaders felt slighted if not selected to be ‘Karshed’. In many cases Karsh’s camera portrait became the best known image of the subject. Karsh, a devout Catholic, had a belief in individual greatness and in role models in society. This was perhaps fuelled by his knowledge, gained early in life, of how cruel human beings could be to each other. Although his sitters were mostly commissioned portraits, there is a sense in which Karsh put his own imprimatur on a pantheon of well-known people whom he saw as deserving of their fame through merit, not birthright. He did not ‘do’ glamour per se and his female subjects are handsome rather than ‘fair ladies’. Stories abound about how Karsh managed to get his subjects to co-operate, regardless of the location or how short a session he might have been allocated. As one critic commented, ‘Clearly Karsh used a lot more than lighting on his subjects. His conversational foreplay was as spontaneous as his portraits were staged.’2 Karsh also developed a distinctive style of dark, dramatic, large exhibition prints up to a metre in width or height (as shown in this exhibition) with startling depth and detail. Karsh’s photographs were the equivalent in the portrait field to the monumental landscape photographs of his American contemporary Ansel Adams…

Gael Newton

Попутно:

Юсуф Карш. Две дюжины фотографий : http://lord-k.livejournal.com/219031.html

Юсуф Карш: лица судьбы : http://photo.far-for.net/content.php?r=36&p=43

ЮСУФ КАРШ: Классический портрет: http://www.foto-art.land.ru/091-port.html

История фотографии : Юсуф Карш : http://www.photoisland.net/pi_hist_text ... ist_id=115

Карш, Юсуф
http://ru.wikipedia.org/wiki/%D0%9A%D0% ... 1%83%D1%84

Etherton Gallery | Core Memory

Core Memory: A Visual Survey of Vintage Computers
Dates: June 14 – August 30, 2008

Etherton Gallery is pleased to present Core Memory: A Visual Survey of Vintage Computers, featuring photographs by Mark Richards.

Described as “mind-blowing” by the New York Times, the exhibition features a selection of Richards’ dramatic, oversize, color photographs that traces the history of the computer from war machine to pc – from symbol of American cultural superiority, to the new standard of American middle class affluence.

Core Memory began as a project for the Computer History Museum located in Mountain View, California – the heart of Silicon Valley – but evolved into a larger aesthetically grounded production, as a consequence of Richards’ ability to bridge technology and art. He has created images ranging from the famous, room-size, ENIAC (Electronic Numerical Integrator and Computer), invented during World War II, to the failed Kitchen Computer, marketed by Neiman Marcus in 1969, but appropriate only for kitchens from 2001: A Space Odyssey, as well as images such as the DEC PDP-8 (1965), which transforms the control panel from documentary photograph of the first minicomputer into abstract modernist design.

http://www.ethertongallery.com/html/exh ... _flash.htm

http://www.ethertongallery.com/html/exh ... chards.htm

Pick of the Week
Art in the Wires
By JOSH GARVEY



Computers aren't often thought of as holding artistic merit. The aesthetic appeal of the computer itself has always seemed a distant consideration compared to performance, and computers, to most people, just look like bulky boxes on the outside, and a combination of wires, circuits and the like on the inside.

However, Core Memory: A Visual Survey of Vintage Computers by Mark Richards recognizes those boxes and wires as works of beauty. The project began as a coffee-table book, filled with pictures of vintage computers, and it's now coming to Etherton Gallery as a collection of photographs.

"There are these red and blue wires of the ILLIAC supercomputer, and it just reminded me so much of ... (when) da Vinci and some other artists did beautiful paintings of human innards way back when, and it just struck me that this computer had a whole other life, so to speak, removed from its original intent," says Richards. "It also, in a weird sort of way, resembled humanity. Even though it's a bunch of wires, it just looked so much like veins and arteries."

http://www.tucsonweekly.com/gbase/CityW ... oid=111900

За место под солнцем, Remain in Light…







Hyères 2007
Hyères 2006

http://morepaper.free.fr/page%20portfol ... folio.html

Estelle Hanania

http://www.morepapermorepaper.blogspot.com/

http://morepaper.free.fr/page%20portfol ... folio.html

http://johannareed.blogspot.com/2008/03 ... nania.html

Это один из авторов (из числа авторов состоявшихся) проекта

Remain in Light / Photography Unbound

К идее журнала-порфолио и задаче продвижения [новых] авторов:

Remain in Light is a new print publication of photographs by contemporary photographers. The final selection of twenty photographs are printed on separate cards and presented unbound in a specially created slipcase with a small booklet of accompanying text. The final images are selected by co-editors Shane Lavalette (Boston, MA) and Karly Wildenhaus (Chicago, IL).

Remain in Light is independently funded and exists to promote the work of emerging and established photographers. Submissions are open to anyone during "call for entries" periods and will be considered for future volumes for six months after the date of submission. To be notified when new "call for entries" are announced, sign up for the mailing list.

http://www.remaininlight.org/

http://www.shanelavalette.com/

http://www.karlywildenhaus.com/

(A Thousand Polaroids)

Philip-Lorca diCorcia
May 23, 2008–September 14, 2008 | Ahmanson Building

Philip-Lorca diCorcia is one of the most influential photographers of all time. This exhibition features works from his key series of the past twenty years including Hustlers, Streetwork, Heads, and Lucky 13. His merging of a high degree of photographic preconception with the happenstance of street casting has become an influential mode of contemporary practice and secured diCorcia's place in photography's pantheon. For example, in his series Hustlers (1990–92), diCorcia selected locations along Santa Monica Boulevard, typically at twilight or night. The artist would then cast hustlers on the streets around him as his subjects. LACMA's exhibition is the first showing of a powerful installation of 1,000 of the artist's Polaroid photographs, titled Thousand. DiCorcia's most recent series gives an alternative view of the infinite possibilities and practice of photography. Cumulatively, the 1,000 Polaroids offer a vantage point onto this artist's sensibility and visual preoccupations.

Video: A Thousand Polaroids
http://www.lacma.org/art/podcasts/playe ... me=PLD.mov

Загрузить (42 Мб):
http://www.lacma.org/art/podcasts/PLD.mov

Q&A with Philip-Lorca diCorcia
http://www.lacma.org/art/pdfs/dicorcia.pdf

http://www.lacma.org/art/ExhibdiCorcia.aspx

Barflies Reykjavík
Photographs by: The Snorri Bros.
Text by: Jón Kaldal







In 1993 in Reykjavík, Iceland, a bar named Kaffibarinn Frikki & Dýrið opened its doors to the public. It was a small place on two floors, in a modest old corrugated iron house on a side street near Reykjavík’s main shopping drag. In its first year, the electric atmosphere at this bar became the source of legends, and Kaffibarinn (as it was commonly known) became the epicenter of Iceland’s Gen-X. The people portrayed in Barflies: Reykjavík are the Kaffibarinn regulars, the people who made up the scene: “Bartenders, musicians, actors, actresses, writers, models, entrepreneurs, photographers, computer geeks, students, filmmakers, artists, and some just plain old barflies with nothing much to report.”

All of the portraits were shot within a short time period, and each subject was shot only once. All of the pictures are framed in the same way, shot with the same camera, the same lens, and the same film, against the same background, with the same lighting. The camera used was an old Hasselblad with a Polaroid back, which the Snorri Bros decided not to clean; this only increased the charm of the resulting images.

The pictures in the book originally appeared in an exhibition in Reykjavík in April of 1994, to favorable reviews. Since then they have scarcely seen the light of day, until now.

http://www.powerhousebooks.com/book/394

Галерея (две страницы)

http://www.powerhousebooks.com/look-inside/394

Попутно:

The powerHouse Magazine

(имеются демо-pdfs)

Fusing the worlds of art, photography, design, fashion, pop culture, advertising, music, dance, and film into a glorious magazine unlike anything you’ve ever seen, powerHouse Magazine showcases artists and writers who share our collective vision about culture and its place in our world. Whether collaborating with the establishment or conspiring with the counterculture, whether presenting the classics or sharpening the cutting edge, powerHouse Magazine provides dynamic inspiration and peaceful meditation of high and low culture alike—because who we are and what we do is based on our passion for exploring truth and beauty, evoking emotion and excitement, and provoking thought and conversation.

http://www.thepowerhousemagazine.com/TheMag.html

Arena Exhibitions
The Hustle, May 22nd-July 13th

http://powerhousearena.com/thehustle/

*
New York Photo Festival, 3D:

http://coverage3d.com/new-york-photo-festival-2008-nyph

foto8 — Festivals Report

Photo España 08
http://www.foto8.com/home/content/blogcategory/0/446/

New York Festival 08
http://www.foto8.com/home/content/blogcategory/0/427/

Systems: Review of Various Photographs and New Typologies at NYPH

http://www.foto8.com/home/content/view/482/441/

Audio/Video Diary
http://www.foto8.com/home/content/blogcategory/90/422/

LACMA Collections Online


Anne Fishbein (United States, born 1958)
Yaroslavl, Russia, 1990-1996, printed 1997
Photograph, Gelatin-silver print, Sheet: 20 x 16 in. (50.8 x 40.64 cm)

Long Exposures:
Contemporary Photo-Essays
in the Permanent Collection
October 12, 2006 - January 7, 2007

Vincent Cianni
Anne Fishbein
Andrew Freeman
Sant Khalsa
Nic Nicosia
Simon Norfolk

The photographic essay has played a powerful role in the evolution of photographic imaging, visual literacy, and communication from the nineteenth century to the present. Originally employed by Western governments and individuals to document explorations and encounters with other cultures, these collections of images were compiled to catalogue the world in terms of its objects and inhabitants. The earliest examples were pioneering studies of India, the Far East, and the American West, which allowed people to observe and study worlds to which they had no access.

In the early twentieth century, photo-essayists began to invest their work with a social conscience. Lewis W. Hine’s photographs helped transform labor laws in America, and Dorothea Lange documented the plight of the American migrant worker during the Great Depression. Toward the end of the twentieth century, essayists such as Danny Lyon and Larry Clark began blurring the distinction between silent observer and active participant, inserting themselves into situations as an integral part of their work. Other artists, such as Sebastião Salgado, began taking global perspectives and expanded the photo-essay to address international controversies and concerns.

Contemporary artists have extended these traditional approaches. Long Exposures: Contemporary Photo-Essays from the Permanent Collection invites the viewer to investigate current practices in the work of six artists working within the genre today. These essays, which range from the highly traditional to the casually conceptual.

Eve Schillo , (2006)

http://collectionsonline.lacma.org/mweb ... 9;type=802

Anne Fishbein

Anne Fishbein first traveled to the city of Yaroslavl in 1990 as a still photographer on a film crew. The director on the project, a close friend, encouraged her to join him, sensing a connection between the essence of the place and something he saw in her photographs over the years. Fishbein traveled to Russia for the first time and, as her friend had intuited, Yaroslavl proved to be of great visual importance for her.

Returning yearly for almost a decade, Fishbein explored the temporal and cultural ambiguities of modern Russia with increasingly intimate access and penetrating scrutiny. Her seemingly anachronistic portrayals of the residents and rural lifescapes capture the culture of the region with a remarkable sense of depth and humanity. She has written, “Russia’s connection to its past combined with economic, social, and political circumstances have, until very recently, created an atmosphere that appears lost in time…»

http://collectionsonline.lacma.org/mweb ... 4;type=802

Попутно:

Subject Groupings
Photography — 1990 – present

http://collectionsonline.lacma.org/mweb ... startat=13

Fazal Sheikh

Книги (проекты) онлайн. Нужно все смотреть, это довольно длинные подборки и этюды, начните с «Мокши», чтобы был очевиден принцип параллельных рефлексий в этих индивидуально решаемых персональных очерках.





http://www.fazalsheikh.org/11_ladli/01_ ... ion_01.htm











http://www.fazalsheikh.org/10_moksha/on ... /start.php

A CAMEL
FOR
THE SON

http://www.fazalsheikh.org/01_a_camel/o ... /cover.htm

RAMADAN
MOON



http://www.fazalsheikh.org/02_ramadan_m ... /cover.htm

THE VICTOR WEEPS

http://www.fazalsheikh.org/06_the_victo ... /start.php

THE VICTOR WEEPS — DVD

SMALL
http://www.fazalsheikh.org/08_the_victo ... edium.html

HIGH
http://www.fazalsheikh.org/08_the_victo ... _high.html

WHEN TWO BULLS FIGHT,
THE LEG OF THE CALF
IS BROKEN



http://www.fazalsheikh.org/afghan_bookl ... tart_e.htm

Fine Art Tv — Just open your eyes — Fazal Sheikh — Moksha

http://www.finearttv.tv/en/fine-art/unc ... ikh-moksha

Tate Modern | Past Exhibitions | Cruel and Tender:

Fazal Sheikh : Watch interview

http://www.tate.org.uk/modern/exhibitio ... rviews.htm

Sheikh’s interest in photographing refugee communities began after he visited Kenya in the early 1990s and documented the refugee camps near the border with Somalia. He treats his subjects as individuals, identifying them by name, and writing texts that explain the political circumstances that forced them to leave their home. Before taking photographs, he spends weeks living in the camps, giving his work a genuine depth and engagement.

Heroes of Photography: Fazal Sheikh
Uncovering the Faces of the World's Forgotten.
http://www.popphoto.com/americanphotofe ... heikh.html

Deutsche Borse Photography Prize: India's forgotten daughters
http://www.telegraph.co.uk/arts/main.jh ... rse112.xml

Уточняя картину мира
Deutsche Börse Photography Prize 2008
http://www.photographer.ru/events/review/809.htm

Fazal Sheikh Exhibit
http://caraphillips.wordpress.com/2007/ ... h-exhibit/