Встреча с легендой.

вроде не было этой информации...

Бродяга-фотограф с фотоаппаратом из мусора

Чешский фотограф Мирослав Тихий (Miroslav Tichy) изготавливал свои камеры из того, что смог найти на помойке. В ход шло все — от консервных банок до линз от очков.

Его считали сумасшедшим отшельником, но это его вовсе не волновало. Мирослав Тихий (Miroslav Tichy) бродил по городу в лохмотьях и фотографировал женщин на самодельный фотоаппарат.

Прошли годы и его «открыли» — бывший бродяга стал знаменитостью, его фотографии стоят десятки тысяч евро и выставляются в лучших галереях.

http://www.etoday.ru/2008/08/miroslav-tichy.php







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VL: Мирослав Тихий — один из последовательно «отслеживаемых» авторов здесь… Только в августе:

http://forum.znyata.com/viewtopic.php?p ... slav#40157

http://forum.znyata.com/viewtopic.php?p ... slav#40133

http://forum.znyata.com/viewtopic.php?p ... slav#40130

http://forum.znyata.com/viewtopic.php?p ... slav#40128

Напомнили об авторе, использующем архивные стеклянные негативы; о нем уже был разговор в связи с негативами кактусного хозяйства Вальтера Хааге, см. страницу недавних выставок в Hamish Morrison Galerie Berlin:

Formation — Erik Niedling
28. Juni-2. August 2008


FORMATION # 3, 2007, C-Print, Diasec, 3+1 AP, 37 x 47 cm

http://www.hamishmorrison.com/niedling.htm

На сайте автора имеются каталоги (PDF); вот этот — очень интересный:

ERIK NIEDLING
ARCHIV / ARCHIVE
Alle Arbeiten 2004, Lambda Print hinter Diasec, Edition 5+2 AP
All works 2004, Lambda Print behind Diasec, Edition 5+2 AP

http://www.erikniedling.com/katalog_archiv.pdf

Download .PDF / Informationen
Download .PDF Katalog / Formation
Download .PDF Katalog / Status
Download .PDF Katalog / Archiv
Download .PDF Katalog / Forst

http://www.erikniedling.com/

Ранее разговор еще был о проекте STATUS; каталог — вот здесь:

http://www.erikniedling.com/katalog_status.pdf

Цифровые конструкции:

SCOTT McFARLAN

View on Canadian Art:

New York Times no fan of Scott McFarland:

In her review of the New Photography 2007 exhibition at New York’s MoMA, the New York Times‘ Martha Schwendener had this to say about Vancouver artist Scott MacFarland’s work:

Mr. McFarland’s picture of a young family watching a keeper feed porcupines at the Berlin Zoo could be a (Jeff) Wall from around 1989 or a student facsimile. (It’s no surprise, then, to discover that Mr. McFarland once worked as Mr. Wall’s assistant.)

Mr. McFarland’s photographs of nature controlled by human beings — an orchard digitally manipulated to present all four seasons at once or a series merging different areas in a botanical garden — recall Thomas Struth.

Mr. McFarland’s aesthetic and techniques feel overly familiar and dated…

http://www.nytimes.com/2007/11/26/arts/ ... ref=design

http://viewoncanadianart.com/2007/11/29 ... mcfarland/

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MONTE CLARK GALLERY — SCOTT McFARLAND





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

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

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Frieze Magazine | Scott McFarland

Regen Projects, Los Angeles, USA

Scott McFarland’s The Granite Bowl in the Berlin Lustgarten (2006) is the epitome of uncanniness. The large-format photograph shows a pair of young children standing in front of a large granite monument looking at something out of frame. A dog, a mother and child, and other people at leisure occupy the scene, but our focus is on these two central figures: a boy and girl. Of equal height and similar complexion, their pear-shaped heads, strawberry blond hair and lanky, stiff arms suggest they may be twins. Yet another child, seated behind them, wearing a mint green cap and holding a toy accordion, barely conceals her coincidentally similar traits. The mother with child, her face turned slightly away from us, might even be their mother. Despite this genetic congruence, each figure is peculiarly distant from the others. The hyper-real crispness of the image posits these figures as unrelated parts connected by contingency rather than kinship. This aura of distension runs throughout McFarland’s second solo exhibition at Regen Projects. Yet it is an affect produced not by the camera’s chance snapshot but by deliberate digital depiction. McFarland doesn’t hide the fact that his images are digital fabrications, and his aesthetic enhances the premeditated manner of his compositions.

…McFarland’s photography has clearly been influenced by Jeff Wall’s staged realities and knack for digital enhancement. Yet in creating a mise en abîme of fabricated environments, where photographic manipulation is reflected in the manipulation of the ‘natural’ world being photographed, McFarland distinguishes himself from Wall. Scanning McFarland’s images, the viewer is fully aware of the simulation being produced. Wall, while tending towards these ends, often keeps the theatre of digital manipulation backstage. Furthermore, Wall has become enthralled by the language of Modernist and history painting. Proponents of this approach applaud the ‘anti-theatricality’ that allows digital depiction to be valued for its recursive strategies. That is, digitally rendered photography, like painting, can be seen as a reflection of its own artificial nature and revered for its instrinsic aesthetic principles, rather than being concerned with the referent it captures.

With a shared tableau aesthetic McFarland would seem a natural addition to this landscape of digital Modernism, joining the ranks of Thomas Struth, Andreas Gurksy, Thomas Ruff and others…

Весь текст:

Описываемая работа крупно:

http://bp2.blogger.com/_tZBNnHh_U78/Rn9 ... 0015.2.jpg

http://www.frieze.com/issue/review/scott_mcfarland/

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New Photography, Museum of Modern Art:
http://www.thecityreview.com/nufoto07.html

B e r n i S e a r l e : W o r k s

Berni Searle works with photo-based media, installation and video. Her production is divided below into three sections according to media. Click on the titles of works to view.


Installation at Michael Stevenson Contemporary, Cape Town, 2003,
2002
Duraclear Lambda prints
8 prints 98 x 120cm each
Edition 3 + 1 AP



http://www.michaelstevenson.com/contemp ... /item7.htm


Installation as part of residency exhibition at Inova, 1999
from the Discoloured series
1999
Installation
Digital prints on vellum
6 prints, 91.3 x 300cm each
Edition of 3 + 1AP


Lifeline, from the 'Discoloured' series
1999
Digital print, archival pigment ink on Arches Watercolor paper
24 prints
Paper size 42 x 50cm each
Image size 30 x 30cm each
Edition of 10 + 1AP

Все работы:

http://www.michaelstevenson.com/contemp ... /works.htm

Berni Searle was born in 1964 in Cape Town, South Africa, where she currently lives and works. She studied at the Michaelis School of Fine Art at the University of Cape Town, completing her MA in 1995. In 2003 she was presented with the prestigious Standard Bank Young Artist Award (South Africa), with a resulting solo exhibition, Float, which toured nationally. In 2004 Searle was short-listed for the international Artes Mundi award. Other solo exhibitions have included A Matter of Time at the UC, Berkeley Art Museum, 2003; Presence, Speed Museum, Louisville, Kentucky, USA, 2004; and About to Forget, Michael Stevenson Contemporary Art Gallery, Cape Town, 2005. Recent group exhibitions include Hang In There, My Dear Geum-Sun, Busan Biennale, Busan Metropolitan Art Museum, Seoul, 2004; Min(e)dfields, Kunsthaus Baselland, Basel, 2004; 5th Shanghai Biennale, Shanghai Art Museum, China, 2004; and Always a Little Further at the 51st Venice Biennale, 2005. Berni Searle is represented by Michael Stevenson Gallery, Cape Town.

http://www.michaelstevenson.com/contemp ... searle.htm

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Bernie Searle at Michael Stevenson
by Tavish McIntosh

Berni Searle continues to defy the age-old prejudices against film and photography by reiteratively realising exhibitions in these media that are highly polished materialisations of art's potential to create drama, mood and aura. 'Crush' demonstrates her skill in seamlessly juxtaposing nuanced cultural commentary with a sumptuous aesthetic sensitivity. The work was produced in the winelands of Stellenbosch. Searle performs atop mountains of crushed, squashed grape-skins. These monuments to agricultural excess, the unheeded detritus of winemaking, provide the artist with an organic environment replete with connotations of celebration, indulgence and, ultimately, decay…

http://www.artthrob.co.za/06nov/reviews/stevenson.html

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Berni Searle
Crush




Suspend, 2006
Series of 4 film stills
Lambda prints
28 x 46cm each
Edition of 3 + 1AP

http://www.michaelstevenson.com/contemp ... /index.htm

Попутно (напомню):

Is Photography Dead?
By Peter Plagens | NEWSWEEK Dec 10, 2007 Issue

How is that even remotely possible? The medium certainly looks alive, well and, if anything, overpopulated. There are hordes of photographers out there, working with back-to-basics pinhole cameras and pixeled images measured in gigabytes, with street photography taken by cell phones and massive photo "shoots" whose crews, complexity and expense resemble those of movie sets. Step into almost any serious art gallery in Chelsea, Santa Monica or Mayfair and you're likely to be greeted with breathtaking large-format color photographs, such as Andreas Gefeller's overhead views of parking lots digitally montaged from thousands of individual shots or Didier Massard's completely "fabricated photographs" of phantasmagoric landscapes. And the establishment's seal of approval for photography has been renewed in two current museum exhibitions.

In Depth of Field— the first installation in the new contemporary-photography galleries at the Metropolitan Museum of Art in New York, on display through March 23—the fare includes Thomas Struth's hyperdetailed chromogenic print of the interior of San Zaccaria in Venice and Adam Fuss's exposure of a piece of photo paper floating in water to a simultaneous splash and strobe…

…As the great modern photographer Lisette Model once said, "Photography is the easiest art, which perhaps makes it the hardest.

http://www.yourshot.eu/blog/2007/12/is_ ... _dead.html

"Depth of Field: Modern Photography at the Metropolitan"

http://www.yourshot.eu/blog/2007/12/dep ... togra.html

http://forum.znyata.com/viewtopic.php?p=40002#40002

KAWA = flow
Masao Yamamoto
la-condition-japonaise
D. Berlin, 03 Oct-02 Nov 2008


#155 from Nakazora series

"La-condition-japonaise", a curational team based in Berlin whose aim is the presentation of contemporary japanese art in Germany and Europe is planning a show with Yamamoto Masao, a renown japanese photographer, in october 2008. In the U.S the works of Yamamoto are already appreciated and last year they became noted also in europe. The artist - born in 1957 - has made until now 1500 artworks, which are all made in most precise handwork. Both the artworks, but also their presentation as a installation is part of his "complete artwork".

In the nineties he showed "Box of Kuu" in Tokyo, San Francisco, New York and Santa Monica. In 2000 he presented a installative show called "Nakazora" and "e". The pictures are not large sized, but in a size, which fits on one hand. Thus the viewer can take the artworks in his/her own hands, they are interactive. Yamamoto made also sculptures/installations where the viewer could choose the display of the artworks by shaking some small box. On his works there are untouched - innocent landscapes of nature with mountains, flowers, waterfalls, beaches, sealandscapes, trees, fogs, hills, stones, animals, but also shadows of humans.

The viewer doesn't seem to see the pictures as real landscapes but as morphologies in our dreams. The pictures are passed, but also very present and due to their visual arrangement there will emerge new personal narrations. This is the real power of the artworks of Yamamoto: They make dreams possible, which is the real enjoyment of yamamoto's artworks…

http://photography-now.com/popup_ausst_ ... gen=T62215

Hackel Bury Fine Art — Masao Yamamoto



http://www.hackelbury.co.uk/artists/yam ... ility.html

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Работы:


#990


#1265

My Installation

When looking at my installation, I would like the viewer not to try to understand. Rather, as a landscape, for example, please just view or take a look. Haiku Moment is a translation of the moment when a haiku takes shape, and it is probably a moment that comes to you suddenly, striking your feelings. Likewise, my installation often reveals its story in front of my eyes at the last minute before the de-installation. It is difficult, however, to describe it by words…

http://homepage2.nifty.com/yamamoto-masao/e_index.html

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Masao Yamamoto — S.K. Josefsberg Studio:

Working from a Zen philosophy of "emptiness", Masao Yamamoto's images are essentially vignettes of nature and our intersection with it, ruminating over the passage of time and memory. His finished prints are miniature treasures�averaging 3 x 5 inches and smaller�that are toned, stained, torn, marked, rubbed and creased. His marring and tainting of the prints in this manner results in a kind of accelerated aging.


Masao Yamamoto
A Box of Ku #522, 1998
2 3/4 x 2 1/2 inches
Gelatin Silver Print
10/40

http://www.skjstudio.com/yamamoto/

Masao Yamamoto
Images

http://www.pdxcontemporaryart.com/yamamoto

Jackson Fine Art: Masao Yamamoto


Masao Yamamoto A box of Ku, #643, 1996
3 x 5 1/2 inch Gelatin Silver Print
Edition of 40

http://www.jacksonfineart.com/myindex.p ... &pic_id=49

Биография:
http://www.jacksonfineart.com/myindex.p ... pup&id=117

Ролик:

Masao Yamamoto, Japan's poet philosopher of photography

Japanese photographer Masao Yamamoto has intrigued me since I first held several of his tiny energy-charged photos in my hands at a photography festival in California in 2003, and I could not leave without taking three of these precious objects home with me (at a price I could barely afford at the time). Five years later, those same photos float on the wall in my home where I can see them every day, in all kinds of light, and they still exert that same emotional pull on me every time I stop to look at them.

I had the pleasure of meeting him in Paris in 2007 during an opening at Galerie Camera Obscura, and we communicated verbally through an interpreter. But what was much more memorable was the way he silently placed eleven of his small photos on a glass table and started to arrange and re-arrange them into a kind of visual haiku. Each slight shuffle changed the poetry and context, and the possibilities seemed almost limitless.

So, I was delighted to discover this brief video interview with Masao Yamamoto made by Laetitia Berthomé and Fabien Bosdedore. Colleen Leonard, who has been contributing to Lens Culture, first pointed it out to us a couple days ago, and then, generously, provided this English translation…

http://www.lensculture.com/webloglc/mt_ ... t-phi.html

Новые работы Polixeni Papapetrou:

Games of Consequence
Polixeni Papapetrou
Stills Gallery
AUS. Sydney, 27 Aug-27 Sep 2008


Polixeni Papapetrou, The Storm
from Games of consequence, 2008
pigment print
105 x 105cm edition of 6 + AP


Polixeni Papapetrou, Snake Gully
from Games of consequence, 2008
pigment print
105 x 105cm edition of 6 + AP

Games of Consequence explores the themes that Papapetrou has consistently explored - the territory of female childhood and maturation. This new work is based on childhood memories of unregimented play. Polixeni Papapetrou recalls the spontaneity and freedom she experienced growing up spending hours playing with friends outside the home discovering worlds beyond her own. In contrast, she feels the generation of her own children has seen their liberty and exposure to the world diminished, perhaps by the lure of the artificial world of the screen and parental anxiety about children playing outside the safety of home…

http://photography-now.com/popup_ausst_ ... gen=T62227

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http://www.stillsgallery.com.au/artists/papapetrou/

Ранее здесь, достаточно полно:

http://forum.znyata.com/viewtopic.php?p=20145#20145

John Davies, Esko Männikkö, Jacob Holdt, Fazal Sheikh

Deutsche Börse Photography Prize 2008


Esko Männikkö, Untitled (25), 2005


Fazal Sheikh , Simran, from the series Ladli, 2007

From 8 September to 17 October 2008, Deutsche Börse presents a special exhibition of the four finalists of the Deutsche Börse Photography Prize 2008. The Deutsche Börse Photography Prize is an annual, international award allocated to a contemporary photographer who has made a significant contribution (exhibition or publication) to photography in Europe in the previous year. The prize was originally set up in 1996 by The Photographers' Gallery in London to promote the best of contemporary photography. As one of the most prestigious prizes in the world of photography, it showcases new talents and highlights the best of international photography.

The selection of this year's finalists focuses on artists dealing with important social and political themes in their photographic work. In works ranging from documentary photographs of post-industrial landscapes, to investigative photojournalistic works all the way to politically engaged photography, the four finalists shortlisted for the Deutsche Börse Photography Prize 2008 - John Davies (UK), Jacob Holdt (Denmark), Esko Männikkö (Finland) and Fazal Sheikh (USA) - impress the viewer with a broad spectrum of motifs and styles…

John Davies has been nominated for "The British Landscape" at the National Media Museum, Bradford, UK (13 October 2006 - 4 February 2007). His panoramic black-and-white photographs, taken between 1979 and 2005, document the changing post-industrial British landscape. Coolly detached and combining the monumental with the banal, these works are an ongoing and in-depth study of the relationship between our social, economic and industrial history.

Jacob Holdt has been nominated for his publication "Jacob Holdt, United States 1970-1975", published by Steidl, Germany (2007). In the early 1970s, Holdt spent five years hitchhiking across the US, living with and documenting the lives of the people he met - from the poorest Southern sharecroppers to some of America's wealthiest families. Part travelogue, part political essay his images expose social and racial injustice in Nixon's America and present a powerful tale of human intimacy, poverty, alienation and protest.

Esko Männikkö has been nominated for his retrospective "Cocktails 1990-2007" at Millesgarden, Stockholm, Sweden (1 September - 4 November 2007). A portraitist of isolation, Männikkö documents with great humour, warmth and integrity the lives of those who inhabit the periphery. "Cocktails" featured a selection of portraits, still life and landscape photographs from series such as "Finnish Series", "Organized Freedom" and "Harmony Sisters". Shown in assorted wooden frames, found and weathered by time, his images acquire a timeless, almost painterly quality.

Fazal Sheikh has been nominated for his publication "Ladli", published by Steidl, Germany (2007). Sheikh is an artist-activist who uses photography to create portraits of different communities around the world. His latest project "Ladli" examines the effects of enduring prejudice against women in contemporary Indian society and highlights - through his powerful black-and-white portraits and the accompanying individual testimonies - the extent to which some women in India are still victims of ancient religious and cultural codes.

http://photography-now.com/popup_ausst_ ... gen=T61367

Art Collection Deutsche Börse

http://deutsche-boerse.com/dbag/dispatc ... Collection

The Deutsche Börse Photography Prize 2008 is presented by the Photographers' Gallery in London, which is also the opening venue for the exhibition from 8 February to 6 April 2008. Between 16 May and 13 July 2008, the exhibition will be shown at the C/O Berlin and between 8 September and 19 October 2008 in the Deutsche Börse Group headquarters in Frankfurt.

Там же — ссылки на предыдущие награждения:

Deutsche Börse Photography Prize 2007
Deutsche Börse Photography Prize 2006
Deutsche Börse Photography Prize 2005

Интересно в 2006-м:

Phil Collins (b.1970, UK) was shortlisted for his exhibition yeah…..you, baby you at Milton Keynes Gallery, UK. Collins’s work has always involved various forms of creative expression, including photography, video, music, participatory events and orchestrated meetings. His projects are often the culmination of a prolonged period of contact between the artist and the individuals pictured in his work. While dealing with some of the most extreme human situations and experiences, Collins’s work also has a strong element of humor and energy. Through choreographing seemingly playful scenarios, and inviting his subjects to actively participate in the creative process of representation, Collins’s practice subtly challenges the documentary medium while retaining an incisive political and social dimension.

См. там же специально раздел Artists:

http://deutsche-boerse.com/dbag/dispatc ... 40_artists

Esko Männikkö

Интервью и порядком иллюстраций:

The Finnish artist Esko Männikkö has his first solo show in Denmark at Nils Stærk Contemporary Art. The exhibition Harmony Sisters features a series of close-ups of animals: horses, cows, monkeys, chickens and dogs taken on farms and in zoos around the world. Kopenhagen was having a bit of Esko Männikkös Finnish humour when we met for a conversation about the new abstract theme in his photography, Finnish countrylife and whisky.



http://www.kopenhagen.dk/interviews/int ... aennikkoe/

Esko Mannikko on artnet


Esko Männikkö
Organized Freedom 37
1999-2000

http://www.artnet.com/Artists/LotDetail ... 99C1FA4C56

http://www.artnet.com/Artists/LotDetail ... 8506E00803

http://www.artnet.com/Artists/LotDetail ... D070D743DC

Esko Männikkö 'Harmony Sisters'
http://www.artnet.com/galleries/Exhibit ... cid=115586

http://www.artnet.com/artist/701496/esko-mannikko.html

White Cube : Esko Mannikko: Photographs

http://www.whitecube.com/exhibitions/mannikkophotos/

Yancey Richardson Gallery > Artists > Esko Mannikko

http://www.yanceyrichardson.com/artists ... index.html

GALERIE NORDENHAKE | Berlin — Stockholm | Artist: Esko Männikkö

Esko Männikkö is born 1959 in Pudasjärvi in the northern part of Finland. His photographic portraits of (mainly) men living also in that northern part of his country quickly became epitomes of a stereotyped version of loneliness and self-reliance in the "Far North'. From these images emanated a strange kind of respect both to traditional portraits, such as surrounding them with objects serving as attributes, and incorporating the frame as an integral part of the works. The respect also extended to the persons depicted, in such a way that they seem to be in control of their own "Lebenswelt', although deferred from the standard cosmopolitan environment that normally constitutes the "Kunstwelt'.

Männikkö subsequently worked in the US on a series of portraits and views from southern Texas near the Mexican border, which published under the "synthetic' title of "Mexas'. These people also stem from a poor existence but succeeded nevertheless to establish a distinct but hybrid mythology of their own. Here the landscape come to play an even more important role than in the Finnish series, beautiful but barren as they were. In his recent photographs, "Organised Freedom 1999-2000', Männikkö returned to his native Finland. The series taken of the rough front doors and porches of country cottages with their flaking paint scarred by the weather, also consists of kinds of portraits. The home built architecture, often constructed of scrap material, has been further transformed and adapted by nature. In these images human tracks, traces and limitations take on a weird beauty of their own as they are remorselessly absorbed into a greater context.


1991

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"Flora & Fauna"
Berlin, January 12th - February 26th, 2002

http://www.nordenhake.com/php/artist.php?RefID=12

LANDSCAPE
in Kiasma's collections
23 Sept 2006 – 4 Nov 2007



Photographer Esko Männikkö became known for his photographs of people, houses and landscapes of the backwoods of Northern Finland. He is often characterised as a painterly photographer due to his careful cropping and the balance of light and colours. His works differ from the style of traditional documentary photography. He varies the size of the prints and designs the frames to form a coherent whole with the prints. His series of human subjects from San Antonio, Texas, has attracted international acclaim.

Männikkö was nominated Young Artist of the Year in 1995. He does not have formal art or photography training. Instead, he came to the profession through his hobby of nature photography.

http://www.kiasma.fi/index.php?id=924&FL=1&L=1

The Photographers' Gallery

Fashion in the Mirror:
Self-Reflection in Fashion Photography
18 July-14 September 2008


Karl Lagerfeld, Harper's Bazaar, 2007 © William Klein


Norman Parkinson, at Queen, 1962

The international photographers in this exhibition undress the theatre of fashion and question the creation of perfect beauty. Fashion in the Mirror is an overview of their self-examination and a rare look behind-the-scenes of fashion photography from the 1950s to the present day.

Finding both comedy and poetry in the set-up of the studio, the exhibiting photographers turn their cameras on the processes and paraphernalia of the fashion shoot. Photographers become mirrored in their own work and, as viewpoints are inverted and gazes misdirected, cameras stare back out at us expectantly.

Revealing the fashion industry’s secrets and undermining its glamorous illusions, the photographers in this exhibition create work that exposes this world from within.

The exhibition will feature work by leading international photographers;
Mario Testino (Peru, b. 1954); Richard Avedon (US, 1923 – 2004); Nick Knight (UK, b.1958); Juergen Teller (Germany, b. 1964); Steven Klein (US, b. 1962); Bert Stern (US, b. 1929; Steven Meisel (US, b. 1954); Helmut Newton (Germany, 1920 – 2004); Irving Penn (US, b. 1917); Norman Parkinson (UK, 1913 – 1990), Terence Donovan (UK, 1936 – 1996), Melvin Sokolsky (US, b.1933), Tim Walker (UK, b.1970), Bob Richardson (US, 1928 – 2005), Grégoire Alexandre (France, b.1972), William Klein (US, b.1928), Harri Peccinotti (UK, b.1938), Jonathan de Villiers (UK, b.1968), and Saul Leiter (US, b.1923); John Rawlings ( US, 1912 – 1970); and Inez van Lamsweerde (The Netherlands, b. 1963) & Vinoodh Matadin (The Netherlands, b. 1961).

http://www.photonet.org.uk/index.php?pxid=939

Exhibition Notes: Danny Treacy & Fashion in the Mirror
http://photonet.org.uk/images/page/down ... shionf.pdf

Fashion in the mirror: glamour horror

http://www.telegraph.co.uk/fashion/main ... mirror.xml

Тем временем Jörg Colberg решил сделать книжечку на основе своих «Поляроидов». Blurb, выбранный в качестве сервиса on demand ему откровенное не понравился, но, раз деньги небольшие, то он решися еще и на эксперимент с MyPublisher…

Про все — в довольно обстоятельном сообщении

The Pitfalls of Self-Published Books

…So I scanned and spotted a total of 37 Polaroids (scanning them at 300 dpi, with the idea of having the images reproduced at their actual size), and I assembled them into a little (7" by 7") softcover Blurb book, which resulted in a total cost of $28.32 (inc. shipment - I removed the Blurb logo from page 3, and I never fully understood whether that increased the price or not). Simple enough.

A few days later, my little booklet arrived in the mail. What can I say? While on the outside everything looks fine (apart from the fact that the image on the cover is stretched slightly), the images inside the book look like crap. They look like something printed on an extremely cheap printer, with a strong magenta cast and all kinds of other problems (incl. muddy-looking images). When I showed the book to my wife - a professional graphic designer with over 15 years of experience - she confirmed what I was thinking.

http://www.jmcolberg.com/weblog/2008/08 ... .html#more

08/B20 (untitled), 2008, 119 x 142 x 5 cm, computer-collage © Galerie Binz & Kräme

ROLMODELLEN
Schilte&Portielje
Galerie Binz & Krämer
D. Köln, 07 Sep-17 Oct 2008



08/A3 (untitled), 2008, 28 x 20 x 4 cm, computer-collage © Galerie Binz & Krämer

Schilte & Portielje

Huub Schilte und Jacqueline Portielje trafen sich 1975. Schilte studierte Architektur an der Rietveld Akademie in Amsterdam und Jacqueline Portielje Kunst an der Rotterdam School of Art. Seit 1997 arbeiten sie als Duo unter dem Namen Schilte & Portielje.

http://photography-now.com/popup_ausst_ ... gen=T61554

Ранее была отсылка на эту подборку:

http://www.binz-kraemer.de/kuenstler/sc ... ielje.html

См. специально здесь:

Schilte & Portielje


Schilte & Portielje 2006 25 x 38 x 4 cm. computercollage mixed media op linnen



Schilte & Portielje
2006 27 x 20 x 4 cm. computercollage mixed media op linnen
28 x 20 x 4 cm computercollage


Studio Schilte & Portielje 2008

http://www.galeries.nl/mnkunstenaar.asp ... =200570501

Melissa Fleming

Melissa Fleming на съемке, имеется в виду cерия «море…грамм» Sea Change:

http://www.melissafleming.com/content.html?page=1

Sea Change
Wave after wave, the mark of the ocean is ever present and continuously changing. The variations in the images of Sea Change, a series of palladium-based photograms, reference the complex character of the ocean. Never on its own, water is always in combination with other elements or in various transitional phases. Water contains and transports many materials that are not visible to the human eye, including sand, minerals, and other sediments. To produce the images of Sea Change, I stand in the water holding light sensitive paper in the break of a wave and allow sand to form a pattern on the paper as it exposes in the sunlight. This process entwines the material aspect of the medium with the ocean and shows the trace of water. As a result, each piece becomes a unique document of the movement of matter within an individual ocean wave. The patterns can also be understood to be the shadow or invisible force of water as it moves sediment across the paper.

http://www.melissafleming.com/gallery.h ... a%20Change

( http://forum.znyata.com/viewtopic.php?p=41499#41499 )

Портфолио:

http://www.melissafleming.com/portfolio.html

Under Glass
The natural world is composed of many levels of infinite complexity, all in a continuous state of change. Attracted to these transient processes, our perceptions of them, and the ideas of 19th century citizen science, I collected natural objects and placed them under Victorian-style glass domes. Under glass the objects are singled out for close examination and highlight the act of intense seeing which is common to the practice of both art and science. Each seemingly simple object coupled with an engraved label on its glass dome seeks to explore the larger duality of presence and absence, blurring the boundaries of perceived and accepted reality. Concerned with the balance of the actual and the abstract, these sculptural assemblages allude to the constant transitions present in the natural world that are often beyond our observable reality.

http://www.melissafleming.com/detail.ht ... s&skipno=0

Melissa Fleming is an interdisciplinary artist whose work explores the duality of the visible and invisible, the relationship between realism and abstraction, and the interplay of art and science. She has a particular interest in the transient and often unseen aspects of the natural world.

Ms. Fleming's work has been exhibited and collected internationally. Her work is included in the permanent collections of the University of Colorado at Boulder, the Museo de la Fotografía in Rafaela, Argentina and the Federal Reserve Bank of New York.

Ms. Fleming received a Master of Fine Arts degree from the Parsons School of Design. She is an adjunct member of the faculty at Parsons as well as a Visiting Lecturer at Pratt Institute. Ms. Fleming lives and works in New York City.

http://www.melissafleming.com/portfolio.html

Beyond the Visible in Nature — An Interview with Melissa Fleming

by Robert A. Schaefer, Jr., Double Exposure, August 2008

Earlier in the year, I wrote an article on Fotofest (http://www.fofofest.org) in which I interviewed three photographers who had attended the event. One of these artists was Melissa Fleming whose interest in the “transient and often unseen aspects of the natural world” fascinated me. Her images and objects use actual elements of the environment, focusing on their beauty as well as their importance. Recently, I had the opportunity to learn more about Melissa’s direction in photography and other art forms…


Atlantic Ocean 10 Gal.


Flow 1

RS: It also uses printing processes from the 19th Century (palladium). How did you get involved with them? Do you see yourself continuing in this venue? Might you try some of the other processes? Which ones interest you?

MF: I enjoy the alchemy and the physicality of 19th century processes. I am also attracted to the fact that many of the older processes only work with UV light, bringing nature back into the production process. My decision to use palladium in the creation of the photograms of Sea Change enabled me to make images outdoors directly in the ocean with the sun, entwining the medium with the ocean. The palladium process was a vehicle for my project and not a subject in and of itself. I have also worked with cyanotype for my White Nights project. This is a mixed media piece with a photographic base. Here again, I mainly utilized the process for its UV sensitivity.

RS: Where do you see your work going in the future?

MF: The ideas that I have been working with in my photographic imagery have carried over to other mediums, including sculptural assemblage (Under Glass) and small installations (Flow) that incorporate both photographs and three-dimensional natural objects. I find the fluid interchange between art and science to be compelling. They are two separate fields of study, but both have the idea of intense seeing at their core. I locate my work at this nexus of exchange. I will always work with photography in some form, but regardless of the medium, I continue to be attracted to the idea of the unknown.

Весь текст интервью и иллюстрации:
http://www.doubleexposure.com/FlemingIn ... efer.shtml

PEER GALLERY : Contemporary Fine Art Photography

http://www.peergallery.com/artists/artistsFlem.htm

Еще в свежем выпуске lens culture:

Jeff Cowen, Barcelona
Photo murals that float in space and time

Jeff Cowen is one of those restless artists who is always challenging himself to do something new and different and better. When he fears he might be getting complacent, he picks up his entire studio and his life and moves to a new place just to shake things up. In the past 8 years he’s lived in New York, Paris, and now Berlin (and he's also accomplished unique bodies of work in Cuba, Romania, and rural areas of France and Spain). Each of those places has born creative fruit for him.

A one-man show at the A/34 Gallery in Barcelona this summer includes work from each of those periods (including a few earlier works that have never been exhibited before), but focuses mainly on new work — and there is a lot of it.

One of the most striking new works is a straight ahead portrait of a woman sitting in a chair (Eva, 2007)…

I was talking with the Swiss art critic, Urs Albrecht, about this picture, and he said, “It’s difficult to relate this work to anything else. It’s not of a certain fashion. It’s really outside everything I’ve seen in contemporary art. And somehow I think that any art that doesn’t deal with the beauty and ugliness and failure and love of human beings, after a certain time, is not so interesting.” He was clearly as stunned by this larger-than-life portrait as I was.

Walk to the next room and enter another mood.



Eva, 163x127 cm, 2007


Andreia 2, 91x68 cm, 2008


Vera, 127x156 cm, 2008

http://www.lensculture.com/cowen-barcel ... thisPic=17

Natural red hair
photography by
Hanne van der Woude


Valerie

In 2004, Hanne van der Woude eyed the landscape around Nijmegen (a city in the east of the Netherlands, near the German border) with this knowledge in mind. She stood in the floodplain beside the River Waal and thought how she could make the green washlands look even greener. Her mind turned to redheads.

It was the start of a quest to find models with red hair. To begin with, it wasn't easy. She started to hang around outside primary schools and go up to people in the street; the search gradually turned into obsession.

After reading in an English newspaper that people with naturally red hair are a vanishing breed, Van der Woude got the idea of photographing as many of them as possible and producing a book of the photographs.

Unlike the photographs in earlier books on this subject, such as the famous Redheads by the American photographer Joel Meyerowitz (1991) and a book with the same title by German photographer Uwe Ditz (2000), Van der Woude's pictures are not simply straightforward portraits of people – often children – with red hair and pale, freckled skin; Hanne van der Woude remains true to her second love: the Dutch landscape.


Hans


Berger family


Hopkins family

Hanne van der Woude was one of three photographers chosen to represent the Netherlands this year at the nightlong projection of photographs from 27 European countries at the Rencontres Festival in Arles. Wim van Sinderen served as curator for the selections from the Netherlands.

http://www.lensculture.com/van_der_woude.html

Там же:

photo book review: Daily Pilgrims : photographs by Virgilio Ferreira


Beijing

Wake : photography by Adam Jeppesen

Jeppesen’s large-format photographs are rooted in the tradition of German documentary with its tendency toward classification. This is an impressionistic take on the visual index — one that seeks out the spontaneous and the discarded, the undefined and the uncertain.


IN·Kovalam·09·29·03

См. подробнее эти и др. галереи:

http://www.lensculture.com/index.html

The Minimiam Universe
Pierre Javelle and Akiko Ida
Madelyn Jordon Fine Art
USA. Scarsdale, 17 Oct-29 Nov 2008


Pierre Javelle and Akiko Ida, "Paris-Brest", 2004, Chromogenic c-print mounted on plexiglass, 32 x 32 inches x 2 (diptych)

The exhibition features a selection of works from the MINIMIAM series of diptych photographs created between 2002-2008. The artists present a manufactured micro universe, part Toy Story, part Candy Land, populated with diminutive humanoid characters engaged in a range of ordinary and extraordinary activities. The artists, a husband and wife collaborative team, created the first MINIMIAM works in 2002. Since inception, the series has grown to over 60 images.

The MINIMIAM project morphs multiple genres of photography, including micro-photography, culinary art, portraiture and landscape. The action, ranging from sporting scenes to warfare, takes place in carefully staged, fantastic, food settings. In each work, the first image introduces some of the "actors" in an uncertain setting. The second panel reveals the scene's totality, to an unexpected, often amusing end. Though light-hearted and playful, the artists' work intelligently probes fundamental questions of human perception, and how meaning is constructed and manipulated through images. Sophisticated photographic devices skillfully form the core of the artists' artistic expression.

Весь текст:

http://photography-now.com/popup_ausst_ ... gen=T62216

Галерея Madelyn Jordon Fine Art:


Pierre Javelle, Akiko Ida, Penalty, 2002
Chromogenic c-print, available in 16 x 16", 24 x 24", and 32 x 32", Limited editions


Pierre Javelle, Akiko Ida, Embouteillage, 2005
Chromogenic c-print, available in 16 x 16", 24 x 24", and 32 x 32", Limited editions

http://www.madelynjordonfineart.com/art ... artist=157

На одной странице: МИНИАТЮРНЫЙ МИР:

Фотографии французско-японского дуэта Pierre Javelle и Akiko Ido, чей проект Minimiam принёс им всемирную славу.

http://www.lookatme.ru/flow/miniatyurnyiy-mir

Сам проект: www.minimiam.com

Ambiguous Desires
Evgeny Mokhorev
Nailya Alexander Gallery


© Evgeny Mokhorev. Untitled (038), 2007


© Evgeny Mokhorev. Untitled (578), 2003

Mokhorev was the first Russian photographer who opened a door to the fragile and troubled world of children. Since the late 1980s, he has passionately explored the marginal territories of adolescence, revelations of lost childhood, and magical transformations into adulthood. Over the years, he has developed a unique style that continues to inspire many photographers and followers. His first solo exhibition outside of his homeland was in Paris in 1992, right after the collapse of the Soviet Union. It was held within the framework of Mois de la Photo à Paris Photography Festival where he became a sensation, one of the key photographers to emerge from the former Soviet Union. His series "Games Children Play" about orphans and street kids of St. Petersburg attracted tremendous attention. In the US, it was shown in "Changing Reality" at the Corcoran Gallery of Art, Washington, DC, in 1991; at the MIT Museum in "Russian Photographers Renewal and Metamorphosis from the late Soviet Era to the 1990s," Cambridge, MA; and in "Russia: Chronicles of Change" at the Southeast Museum of Photography, Daytona Beach, FL, both in 1996.

"Ambiguous Desires" considers an age of discovering one's sensuality, a mysterious metamorphosis from childhood into adolescence. Known for its social crises and emotional tempests, it is also a period when the tacit becomes explicit, when what is recognized becomes understood. Mokhorev possesses a special portal allowing him to enter the complex universe of pubescent youth, and to capture the wonder of innocence and unfamiliar longings expressed by his models. The growth of human understanding and sexual awareness in a teenager is one of the most intricate, amazing, and beautiful phenomena in nature. The exhibition features some twenty-five gelatin silver prints from 1999-2008.

http://photography-now.com/popup_ausst_ ... gen=T62266

http://www.photosight.ru/users/2041/

www.nailyaalexandergallery.com

Doroga, местный житель, пишет:

«Хорошие фотографии — Paul Crovella
Листаешь неспеша, и тут бабах. и еще раз. и еще»

http://forum.znyata.com/viewtopic.php?p=41673#41673

Paul Crovella

Alameda
http://www.beingeaten.com/alameda/

San Francisco
http://www.beingeaten.com/sf/

San Jose
http://www.beingeaten.com/sanjose/


Fountains


Bump

Random Excellence: Paul Crovella

Sympatico precedes affection.

http://theonlinephotographer.typepad.co ... ell-1.html

Heavy Light: Recent Photography and Video from Japan
MAY 16–SEPTEMBER 7, 2008


Tomoko Sawada
From the series "School Days," 2004


Hiroh Kikai
A man who tells me that he has always wanted to attract attention, ever since he was a kid,
and has always been knocked around for it, 2002


Miwa Yanagi
Fairy Tales Series: Gretel, 2004

Heavy Light: Recent Photography and Video from Japan explores the inventive imagery and unconventional sensibilities that characterize recent photobased art in Japan. Heavy Light features works by 13 Japanese artists, all of them currently living in Japan. The participating artists are Makoto Aida, Naoya Hatakeyama, Naoki Kajitani, Hiroh Kikai, Midori Komatsubara, Yukio Nakagawa, Asako Narahashi, Tsuyoshi Ozawa, Tomoko Sawada, Risaku Suzuki, Miwa Yanagi, Kenji Yanobe, and Masayuki Yoshinaga. Heavy Light concentrates on four major themes that have come to preoccupy Japanese artists working with photography and video. These are the reshaping of Japanese tradition; the relation of nature to the manmade world; costume and the search for personal identity; and the child as cultural icon. The publication also features extended interviews with the exhibition artists. These interviews offer detailed accounts of their working methods, and illuminate the ways in which Japanese artists view their society and culture today. Through a selection of distinctive works by a diverse group of Japanese artists, Heavy Light provides fresh insights into one of Asia's most visually provocative cultures.

http://www.icp.org/site/c.dnJGKJNsFqG/b.3962161/