Встреча с легендой. Форум фотографов.

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Валерий Лобко [ 20 май, 08 18:59 ]

Я ведь не по поводу конкретных работ, это такая дистантная полемика с несколькими репликами на ветке, посвященной выставке в «Победе», как вы можете заметить: http://forum.znyata.com/viewtopic.php?p=27641#27641 * Я повторно еще несколько раз смотрел выставку потом — три работы — это много, это хорошо, это выше порога случайностей и цифрового дотягивания, поскольку работы безусловно профессиональны в моей системе оценок, достаточно придирчивой, технически ориентированной сейчас и, одновременно, «смягченной». Речь идет о мужской версии башмаков, о фигуре-столе-натюрморте, о снимке у зеркала. Эта образцовость указывает и на потенциал авторов и, чему я не перестаю ужасаться, на отсутствие элементарной выученности, поскольку рядом имеются примеры. Литература, личное обаяние, безусловная общая симпатичность экспозиции, «программирование» зрителя текстами на входе (несколько избыточное), не заменят основ фотографии и технологических умений. В этом смысле меня (я понимаю, что просидеть весь день в 020-ой, монтируя выставку, не самое большое удовольствие) достаточно огорчило то, что не было последних штрихов — работы не были выставочно «долизаны» авторами, там ведь не так много работы было, с этим авторским надзором — пару снимков подправить, когда ты видишь, что о зрителе думали до «последней минуты» и проявили, таким образом, и уважение к своему труду. Не мелочь это, на самом деле… Таким образом, это не отзыв о выставке, это, понимаете ли, повод для дискуссии и очередного болезненного копания в ушедших шансах, когда и слушатели в «Творческих мастерских» и студенты в Академии могли получить много большее. Больная эта тема, впрочем… Ту образовательную систему в пользу технологии, которую мы выстраивали с такими большими надеждами и нашими инвестициями в Академии искусств с Алексеем Ильиным, так ведь и не удалось довести до состояния, когда пирожки пекутся, как на конвейере — частичного понимания наших коллег там и руководства было ведь мало… а там и помехи стали появляться… Вспоминаю давнюю реплику Владимира Терентьева на мое сожаление-вопрос по поводу того, что невозможно спрашивать со студентов, не давая им ничего. Имелась в виду как раз система технической и технологической выучки, а то ведь дети остаются в счастливом неведении относительно того, что фотокамеры для целей фотографии малопригодны, а компьютер хорош только в задымленном состоянии… …да, так вот, В.И. сказал буквально: «Они ведь дизайнеры, они должны сами по себе видеть». Такая вот вера в фотографическое видение вообще (что, вообще-то требует внятной дефиниции) и в природную способность дизайнеров фотографически видеть умиляет. С другой стороны, когда школы фактически нет, когда некоторые умеют сами по себе, в другие просто не берут того, что дают преподаватели (или когда давать нечего), то станешь молиться на безусловную ценность этих отвечающих за фотографию отделов мозга и сердца… В последнее, имея один свежий и несколько прошлогодних примеров в Вильнюсе, я готов уже даже чуточку поверить. Но эта способность фотографически видеть распространяется все же на отдельные вещи и достаточно предельна…

Валерий Лобко [ 21 май, 08 7:02 ]

Дивная какая развертка на странице галереи Van Zoetendaal, которая собрала как известных новых авторов и гостей, как тот же Kyungwoo Chung, так и авторов любопытных, которые не так на слуху. Об этой галерее уже был разговор… Вот здесь: http://artistterritory.vanzoetendaal.nl/images/raum.jpg http://artistterritory.vanzoetendaal.nl/ Листаю вот черно-белые (серебряные) картинки Yuki Onodera, такая вот девушка: Transvest The bee — the mirror… galerierx.com Yuki Onodera C.V.N.I. N°E-3 (Edition 5), 1998 Tirage argentique, 109 X 77 cm Signé et daté au dos The Bee — The Mirror n°32, 2002 Tirage argentique noir et blanc 32 x 42 cm, Edition 12, 106 x 144 cm Edition 5 http://www.galerierx.com/artistes/liste_series.php?id=7 Yuki Onodera 1962 Japan Lives/works in Paris Yuki Onodera, "Transvest" — Alice Van Zoetendaal http://www.photography-now.com/artists/K15637.html yuki onodera selected works－亦安画廊 aura gallery http://www.auragallery.net/art/selected.asp?id=25 Вот так: Yuki Onodera How to make a pearl One picture book HC 15 x 19 cm., 500 copies, one print. Nazraeli kunstaspekte - kunst internationa To the basic premise of photography - the fixing of an optical phenomenon on a two-dimensional surface- Yuki Onodera adds a new understanding, demonstrating the possibilities of expression in black-and-white photography. This understanding is unfailingly accompanied by a quality that can only be described "oneiric" or dream-like. >transvest< (2002 -2006) shows persons in life size against strong light. If you come closer you realize that the silhouette consists of a collage of many black and white photographs with very different cultural themes. In her major work > Portraits of Second-hand Clothes< (1994-97), she made a selection from the huge number of used clothes that Christian Boltansky had assembled for an installation work, and photographed each of them against a blank background. The second-hand clothes, implying the absence of the body, were reconfigured into the "trace of the body," whereas Boltansky\\\\\\\\'s collective memory of the Holocaust was recast into a more personalized one.(...) >Roma – Roma< is an series of artificially colored works which are both highly unique and ambitious. When one hears the word „Roma“, the only thing that usually comes to mind is the capital of Italy. However the Romas that Onodera has photographed are an island south of Sweden in the Baltic Sea, and a town in the Valencia region of Spain. She shot both locations with a stereo camera. On the left is Sweden and on the right is Spain. It isn’t that she has aparticular interest in the history of culture of Roma. It didn’t necassarily have to be Roma at all. Between the two Romas lies the time of the negatives that were never exposed – that is, the passage of time in the darkness-, but without an explanation.(...) With her brilliant creativity, Onodera fosters an understanding of the characteristics of photography as medium, while guiding the viewer to an encounter with a poetic imagination… http://kunstaspekte.de/index.php?tid=18 ... ion=termin См. еще вот здесь: Photographer who uses found images mixed with her own to create collages and photomontages. http://www.luminous-lint.com/app/photog ... Onodera/A/ Yuki Onodera Galerie Conrads Bilder Kunst-Handel Небольшая галерея здесь > . transvest yuki onodera 2006 niepce price http://www.argentic-photo.com/productdetails-2504.html Три работы вот здесь: http://www.liveauctioneers.com/item/3609750

Валерий Лобко [ 21 май, 08 17:47 ]

45 работ: Luminous-Lint — Online exhibition — Portraits Parts of body Hands Curated by Alan Griffiths "It is necessary to keep one's compass in one's eyes and not in the hand, for the hands execute, but the eye judges." Michelangelo de Buonarotti (1475 – 1564) (From Vasari, 1550: 55) Charles Hugo [Attributed to] The Hand of Madame Hugo [Victor Hugo Album] 1850-1855 (ca) Salted paper print 6.4 x 8.6 cm George Eastman House: International Museum of Photography and Film Axel Poignant Artist's hand 1941 Gelatin silver print 34.2 x 31.2 printed image National Gallery of Australia Mark Vercammen Untitled n.d. Wall Space Irving Penn The Hand of Miles Davis, New York 1986 (taken) 1992 (print) Gelatin silver print 18 1/2 x 18 3/4 in (47 x 47.6 cm) Phillips de Pury - New York Phillips de Pury & Company, NY (Photographs, Oct 17, 2007, #136) Signed, titled, dated in ink, copyright credit reproduction limitation and edition stamps on the reverse of the mount. http://www.luminous-lint.com/app/vexhib ... _01/1/0/0/

Валерий Лобко [ 21 май, 08 19:48 ]

Portraits: Parts of body: Hands Знакомые имена: Jerry Spagnoli Untitled [Anatomical Details] 2001 Daguerreotype, Whole plate Provided by the artist - Jerry Spagnoli Berenice Abbott Hands of Jean Cocteau 1927 (taken) 1950s (print) Gelatin silver print, contact print 7 5/8 x 9 1/2 in (19.4 x 24.1 cm) Phillips de Pury & Company, NY (Photographs, Oct 17, 2007, #44) Signed in pencil and credit reproduction limitation stamp on the verso. Abbott, Photographs, pl. 19 Dorothea Lange County Clare, Ireland 1954 Edwynn Houk Gallery Andrea Modica Treadwell, NY [Barbara, Treadwell, 1986-2001] 1994 Platinum/Palladium print on vellum 8 x 10 in Edwynn Houk Gallery

Валерий Лобко [ 21 май, 08 20:37 ]

Flowers and more Nobuyoshi Araki Aplanat Galerie für Fotografie D. Hamburg, 29 May-26 Jul 2008 Текст: …In the last 40 years Araki has published around 350 photo books. In his native country has long been a media star. His enormous fame in Japan at the beginning of the 1990's was accompanied with increasing international interest. Taboo-breaker, captor of women's souls, genius ararchy. Nobuyoshi Araki, taboo-breaker, photo maniac, innovator and "genius ararchy" resists any attempt at being classified in the standard categories of art, reportage or advertising. His photographs of women in bondage made him internationally famous but also gave him the reputation of being a pornographer. "I tie up the women's bodies because I know that I cannot tie up their heart. They only allow their physical selves to be bound. In a certain sense, tying women up is equivalent to embracing them, caressing them," says Araki himself about his motives. And a bondage series, just like any other portrait shot, is the result of a "Ménage à Trois" in which all participants - photographer, camera and model - take an equal role. In any case Araki sees himself less as an erotomaniac than as an obsessive documentarist of his own life. "I am the camera," he says, and "I would be nothing without photography. Photography is life." http://photography-now.com/popup_ausst_ ... gen=T60059

Валерий Лобко [ 22 май, 08 18:37 ]

Чёрно-белый спектакль / Олег Яровенко http://forum.znyata.com/viewtopic.php?t=5177 Интересное схождение: Die Riess — Fotografisches Atelier und Salon in Berlin 1918-1932 Frieda G. Riess Berlinische Galerie D. Berlin, 05 Jun-20 Oct 2008 Riess, Der Boxer Erich Brandl, 1925, © ullstein bild * Riess, Selbstporträt, 1922, © ullstein bild Текст: http://photography-now.com/popup_ausst_ ... gen=T59739

Валерий Лобко [ 22 май, 08 22:26 ]

Jeff Cowen Galeria A34 E. Barcelona, 29 May-31 Jul 2008 Andrea, 156 x 125 cm, 2007, Edition of 6 Emmanuella 2, 127 x 92 cm, 2005, Edition of 6 …Among the nudes we discover idealized portraits of girls and women. These female archetypes seem to come from another world and yet are strangely familiar to us, as if they had always inhabited our innermost being. Jeff Cowen has created a corpus of timeless, independent and insightful images that stand as a rock in the tide of contemporary photography. The waves of fashion, always fleeting, can have no effect on it. Большой текст, Urs Albrecht from the exposition catalogue "Jeff Cowen", copyright, Edition Galeria A34, 2008: http://photography-now.com/popup_ausst_ ... gen=T61054

Валерий Лобко [ 22 май, 08 22:46 ]

Jeff Cowen, напомню: http://forum.znyata.com/viewtopic.php?p ... owen#24882 http://forum.znyata.com/viewtopic.php?p ... owen#24881 http://forum.znyata.com/viewtopic.php?p ... owen#24793 Сайт: http://www.jeffcowen.eu/ Jeff Cowen Photographs 1987-2004 5-minute audio interview, пролистать до конца страницы: http://www.lensculture.com/cowen.html Jeff Cowen — Photo Murals Galerie Bernd Klüser München until March 29, 2008 Cowens´ photographic process is atypical in conventional photography. The artists approach is not only photographic but painterly, cinematic and sculptural. He uses a lengthy, complex and highly detailed production process to create his sculptural "photo murals". Cowens´ method and physical intervention with chemical attacks, tearing, taping, painterly traces and mark making on a thick wavy paper challenge the tradition of photography generating unique, enduring, and powerfully emotive images. The starting point is an intensive collaboration with the model, who is actively involved in the photographic session. The final motif is purposely not predetermined. Cowen is interested that the photograph subconsciously develops out of the interaction between the artist and the model and the accidents that photography generously produce and that Cowen looks for, thereby creating an organic, transcendental and lasting moment. Cowen is particularly interested in what he calls paradoxically "the non-moment". The instant just before or just after an event. He finds that in the "non-moment" the subject of the image is no longer just the physicality of the figure but that the spirit, soul and emotional world of the model competes and often overpowers the physical domain. The artist after the shooting than spends often several months analyzing and studying the work prints before making the final print. The second, crucial step takes place in the darkroom where Cowen adds the painterly and collage-like aspects by treating the paper with various chemicals during the printing process. Cowen says, "The darkroom is a place where I paint and collage, where I can bring out the interior world of the image; my world, my nature and its relation to the image. There is something special to me about a traditional silver print. It is hand made, not from a computer, not ones and zeros; it has a vitality of its own. I can feel the hand of the photographer in it. No print can ever be the same, not like a computer." This is what brings out the unique character of his works, that create their own world full of emotion and intensive expression, as conventional photography alone could never evoke it. http://photo.box.sk/news.php3?id=10493

Валерий Лобко [ 23 май, 08 1:41 ]

Выставка, известная, похоже, скорее по ролику на YouTube; еще сентябрьская: TONY STAMOLIS VS TERRY RICHARDSON Terry Richardson- iconic, established, extrovert. Exuberant and erotic at the same time, he has carved a niche as the heavyweight champion of off the wall, spur of the moment, raw talent photography of the past 10 years. His "snapshot aesthetic" is unmistakable, often shot with nothing more than a mundane compact camera. Richardson is an icon, his photos every bit as much. Tony Stamolis- Tony Stamolis's new portfolio is the work of a classic cad: raw and sexy, with a winking sense of humor. The Brooklyn photographer shoots friends, lovers and ad-hoc still lives with a prankster's eye. Never happier than when provoking the masses and challenging the generally accepted, his signature look is captivating, as funny as it is sexy, all the while remaining what it should be: great photography Work is available from $2500 Guy Hepner Contemporary http://www.guyhepner.com/content/content.php?id=900 http://www.guyhepner.com/content/content.php?artists Музыка здесь: "If you can say it... Why paint it?" A review of the key concepts of Contemporary Art: Tony Stamolis Vs. Terry Richardson: http://ifucansayitwhypaintit.blogspot.c ... rdson.html

Валерий Лобко [ 24 май, 08 20:42 ]

Напомню: IMAGES'08 LAUNCHING OF THE 6th GRAND PRIX INTERNATIONAL DE PHOTOGRAPHIE DE VEVEY Fondation Vevey Ville d'Image CH. Vevey, 11 Sep-30 Sep 2008 The Grand Prix International de Photographie de Vevey is a competition endowed with a first prize of CHF 30'000.- (approx E 18'000) This prize is organized by the Fondation Vevey, Ville d'Images and launched in the context of the Festival IMAGES' 08. The aim of this international competition is to single out new personal original works which have strongly distinguished themselves from conventional ones. The choice of the theme and genre is left open. Do participateThe competition is open to professional artists and photographers, as well as to trainees photographer. Its first aim is to discover new talents, with no age criteria, and giving them the opportunity to realize a unique project. The selected project will have to be completed and exhibited at the IMAGES' 08, which will take place in Vevey in 2008. The jury The international jury, chaired this year by Balthasar Burkhard, is composed of key figures from the visual arts world. It will make its choice on the basis of proposed files and will designate the winners of the Grand Prix International de Photographie de Vevey as well as other awards and distinctions. The main criteria for selection will be the richness of ideas reflected in the content as well as in the form of the work. Entry and Deadline An entry form, to be downloaded from our website (www.images.ch) must be sent to our address, with a description of the project and the requested documents, no later than September 30th, 2007. The jury will designate the winners in October 2007. http://www.images.ch/documents/6e_GPPV_Reglement_FR.pdf http://www.photography-now.com/newsimages/frvevey.pdf http://www.images.ch/2008/index.htm

Валерий Лобко [ 24 май, 08 22:32 ]

Божеж мой, такая радость видеть девушку с двухглазой зеркалкой или, скажем, увешанную самодельными камерами, как здоровенная новогодняя елка — игрушками, на фоне-то здоровых дядек с игрушечными циферками в руках, что не могу передать. Особенно когда работа живет в камере, а не вымусоливается шарканьем мышки по дешевому коврику… Есть, есть чудное место на земле: Wall Space, Seattle www.wallspaceseattle.com Wall Space Susan Burnstine: Introspection (March 4-April 5, 2008) Susan Burnstine is a professional photographer originally from Chicago and currently living in Los Angeles. Her love for photography began at the age of eight when her mother gave her a vintage camera to play with. She was instantly hooked. From the early age of 14 until graduating college, Susan worked as an assistant to one of the top portrait photographers in Chicago, Joel Schachtel… …While working as a professional photographer, Susan started shooting and modifying inexpensive, plastic toy cameras for fun. Within less than a year, Susan’s work was exhibited in contests, magazines and galleries. In Spring 2005, she started building her own homemade lenses and cameras, primarily made out of plastic, vintage camera parts and random household objects. The result of this creative endeavor can be viewed in her series, On Waking Dreams. Susan earned B&W Magazine's Excellence Award for the 2006 Portfolio Contest (Issue #44, August 2006), the Silver Award for B&W's 2008 Single Image Contest (Issue #56, February 2008), she's been nominated for The 2007 Aperture West Book Prize, her portfolio was featured in Camera Arts (Issue 62, March/April 2008), Black & White Photography Magazine… http://www.luminous-lint.com/app/exhibi ... Space_101/ Текст и галерея: http://www.luminous-lint.com/app/vexhib ... _01/2/0/0/ Bridge to Nowhere, [On Waking Dreams], 2006 In Passage, [On Waking Dreams], 2005 Glide, [On Waking Dreams], 2006 When?, [On Waking Dreams], 2006 Inside Looking Out, [On Waking Dreams], 2006 Divide, [Between], 2007 Работы: Archival Pigment, hand varnished, 12 x 12 in / 16 x 16 in Сайт: http://www.susanburnstine.com/

Валерий Лобко [ 25 май, 08 13:08 ]

Девушка с двухобъективной зеркалкой, Aline Smithson. Известна ее серия-спектакль с мамой: http://www.alinesmithson.com/wmppm/green_frame.html а сейчас на Wall Space — любопытные комбинации: Aline Smithson I came to photography through the back door. My father and uncle were photographers and my career was centered around it, but it wasn’t until I found my uncle’s twin lens Rolleiflex that I embraced photography fully as my own. Seeing the world through my own photographic vision has become a wonderful obsession. After graduating from the College of Creative Studies at UC Santa Barbara, I moved to New York City to make my living as a painter, and although I continued to paint, my career moved into the fashion world. I worked for many years as the Fashion Editor for Vogue Patterns Magazine in New York City, and then continued on in Los Angeles as a freelance photo stylist. As a fashion editor, I had the privilege of working with many exceptional fashion photographers, including Horst, Mario Testino, Patrick Demarchelier, Arthur Elgort, and Bert Stern. After standing next to the camera for many years, I have discovered that it is behind the camera that I find my joy and passion. Moments, only fleeting in real life, become more revealing and expansive in a photograph. It is with integrity and humor that I wish to explore life around me--through portraits and places that have marked my memories and imagination. http://www.alinesmithson.com/

Виктор Байковский [ 26 май, 08 15:46 ]

http://allday.ru/2008/05/25/loretta_lux.html Выложили подборку работ Loretta Lux. Особенно интересно было читать коментарии... Вспоминая ее как изучаемого автора на дистанционных курсах, вот сейчас задался вопросом, не много ли графики для фотографии, и не заняли ли подготовка работ к печати более 15 минут ?

Валерий Лобко [ 26 май, 08 16:07 ]

Ну, в качестве непрямой реплики: Conscientious: A Conversation with Hellen Van Meene Кольберг пишет: Portraiture might be the most challenging photographic endeavor. It is a complex interaction between the photographer's intent, the subject's preconceptions and ideas, and the viewer's background. So how do photographers manage to make great portraits? I have long been a fan of Dutch photographer Hellen van Meene. Her portraits of adolescents possess an extremely quiet and forceful beauty. I've often wondered how she manages to create work that is so beautiful, while always avoiding the trap of producing mere clichés. Deciding to approach Hellen to talk to her about her images, I was particularly happy to not only get a glimpse of her ideas about her work, but to also to see some of her very new photos that have not yet been seen publicly. Вот такая, скажем, реплика из интервью: JC: I often get asked "Tell me what makes a good portrait" - as if it was possible to simply tell. Is it possible? What makes a good portrait for you? When you edit your work, how do you pick the work to show? HvM: When you take photos it always feels like butterflies in your stomach when you have a good photo. When the light is perfect and the model is looking great, you feel it right away, like being struck by lightening; you know "Wow, this is good, this must be a good photo." When the films are developed and I have the negatives, I always scan the film to see if the photo is as good as I remember it, and in 90% of the cases it is what I expected to be, a very good photograph. So it's a lot about getting this sparkle inside of you, when you know "Wow, this is good!" It might happen that you don't have the sparkle and then later think "Hey, maybe I wasn't paying so much attention, this is a good image." That can happen, but usually you already know if it's a good photo or not when you take it… Весь текст: http://www.jmcolberg.com/weblog/2008/05 ... .html#more

Валерий Лобко [ 27 май, 08 17:08 ]

Aperture Foundation \| Aperture Prize Aperture Foundation is pleased to announce the Aperture Portfolio Prize, an international photography competition, is now accepting entries. Deadline for submissions is Friday, July 11. http://www.aperture.org/store/apertureprize.aspx Guidelines http://www.aperture.org/store/app-guidelines.aspx FAQs http://www.aperture.org/store/app-faqs.aspx The purpose of the Portfolio Prize is to identify trends in contemporary photography and specific artists whom we can help by bringing their work to a wider audience. In choosing the first-prize winner and runners-up, we are looking for work that is fresh and that hasn’t been widely seen in major publications or exhibition venues. First prize is $2,500. The first-prize winner and runners-up are featured on Aperture’s website for approximately one year. Winners are also announced in the foundation’s e-newsletter, which reaches thousands of subscribers in the photography community. 2007 prize http://www.aperture.org/store/ap2007-1.aspx Aperture Magazine Текущий номер: http://www.aperture.org/store/magazines.aspx http://www.aperture.org/store/magazine- ... #spreadone * См. специально: Chuck Close will discuss the work from A Couple of Ways of Doing Something, featuring daguerreotype portraits of many artist-friends who have been the subjects of his paintings over the years, including Cindy Sherman, Philip Glass, and Andres Serrano… Chuck Close: A Couple of Ways of Doing Something Photographs by Chuck Close Poems by Bob Holman Interview with Chuck Close and Bob Holman by Lyle Rexer http://www.aperture.org/store/books-det ... spx?ID=508 * См. также: New York Photo Festival Festivities: http://exposures.aperture.org/?p=46 Behind the Scenes at the New York Photo Festival: http://exposures.aperture.org/?p=77

Валерий Лобко [ 27 май, 08 17:24 ]

Bill Jay Portraits, портреты фотографов, знаменитости во множестве… Weegee the Famous at home in New York, 1968 http://www.billjayonphotography.com/thumbnails.html

Валерий Лобко [ 27 май, 08 17:36 ]

Robert Heishman DEKTOL, 2007, archival inkjet print, 20"x24" HYPOCLEAR, 2007, archival inkjet print, 20"x24" RA-4, 2008, archival inkjet print, 20"x24" http://robertheishman.com/section/30324.html См. также: GOALS http://robertheishman.com/section/16272.html Robert Heishman / statement for GOALS / 2007-2008 The wind moves the dangling sticks of graphite along the paper like a rhumba dance with an invisible partner, its rhythmically complex markings made from smooth breaths of air currents moving all around. While the wind maps itself on the paper, I sit on the sporting field drawing what I see. My hand follows my eyesight like a blind handshake with the surroundings, seeing and instantaneously drawing—without looking at the drawing—a contour of all that’s around me. Projecting onto the ground glass of my view camera is a sporting goal. Its framing mimics the camera’s and, in photons, draws the image into a sheet of film, a quick death from the shutter’s guillotine. Then, assembled together on a single piece of paper, are all of these experiential representations of atmosphere colliding and expanding the photograph—hinting at a sense of being there. In my recent series, GOALS, I begin my work on the premise that photography is a medium based on framing and, as a result, about a compression of experience. What lies inside the framing of a sporting goal is meditative—a scene full of a romantic potential, sought after and suggestive, much like a photograph. The sporting goal itself is an icon of immense romance. In a game, the goals are so painstakingly wanted and often times romanticized to a peak of exhaustion, like an unrequited love. Hunted by sweaty and brutish, yet methodical and precise athletes, the photographer is not too different in his pursuits. By performing a dance with his goal, the photographer makes a beautifully, quiet and private performance. In GOALS, I explore not only an end result—a photograph—a requited love—but instead, try to make visible the atmosphere of the site: what is beyond framing. И еще: photography (breaths of the word) [for Jeff Eaton] This is a series of photographs of my own breath saying the word 'photography' into the winter air. http://robertheishman.com/section/16275.html

Валерий Лобко [ 27 май, 08 17:57 ]

Katerina Tumanova (Belkina) на Prix De La Photographie, призы в нескольких категориях, вот «Автопортрет»: http://px3.fr/winner/zoom.php?eid=4941-08&uid=3227010 Prix De La Photographie Prix De La Photographie, better known as Px3, had an immensely successful second year of its annual photography competition, having received thousands of incredible entries. Judging in categories in Advertising, Photojournalism, Photographic Books, Fine Art, Nature, and Portraiture, along with numerous sub-categories, the panel selected a First and Second place winner in each. Entries were judged on the basis of originality, creativity, the quality of execution, and overall impact on the viewer. What's more, the People's Choice Award is still open for voting. The title of Px3 Photographer of the Year was given to Balasz Gardi of Hungary, and his single image "The Valley" was highlighted for particular recognition. The Best New Talent Award went to Ryan Schude of Los Angeles, with his image "The Saturn" also receiving distinct praise. These two photographers, along with the First and Second Place winners in each category, will be featured at the Galerie Acte 2 in Paris June 26-28, 2008, and published in the Px3 Annual Book. http://px3.fr/winner/?compName=PX3+2008

Валерий Лобко [ 28 май, 08 20:54 ]

Виталик Хоружко передает всем привет из Вильнюса. Смотрю — стоит знакомая личность в 128-ой аудитории, глазам не поверил… Так вышло, кстати говоря, что Виталик сегодня был первым «внешним» свидетелем работы наших дорогих кураторов, Ани, Оли и Юли… Его впечатления: Я восторге!!! Кто бы мог подумать, что случайным образом, встретив Иру Мощенскую, известную в узких кругах как Ирка-Потешка, попал на просмотр «невиданных шедевров Капитана N» вышеназванными кураторами… в самое сердце белорусской старожитной фотографии попал… И Артур Клинов тут рядом: Привет из Города Солнца! (Это у Артура была лекция и презентация «Партизана» и книги в университете вот сейчас…) Так что вот такие приятные встречи в конце дня… Досталась мне книга с автографом, «Малая падарожная кніжка»… В городе: Darius Kuzmickas. "camera obscura: modernus primityvizmas" http://www.photography.lt/en.php/Exhibitions?id=268 Выставка, о которой уже был разговор: Tomas Vyšniauskas. Subjectum? http://www.photography.lt/en.php/Exhibitions?id=266 Еще: Йорг Кольберг настоятельно рекомендует читать вот этот текст: The critic bites back This article is extremely interesting for a large variety of reasons, one of which is that it is very well and intelligently written and honest. It's maybe the most useful and detailed discussion of comments on blogs I have seen in ages, with the money quote being "The real danger confronting criticism on the web is that, in the name of 'anti-elitism' and 'the voice of the people', real dissent (which looks elitist because it is rare) will be drowned out by posturing mobs." Truth and consequences US critic Lee Siegel got into trouble for posting flattering replies to his own blog under a false name… The web is only about 15 years old, but already the conversation about it runs along tired old lines. Elites vs the people, amateurs vs professionals, hierarchy vs democracy - and on and on. For a medium supposedly defined by its transparency and openness, the critical discourse is surprisingly restricted… · Lee Siegel's Against the Machine: Being Human in the Age of the Electronic Mob is published in the UK by Serpent's Tail http://arts.guardian.co.uk/art/visualar ... 09,00.html

Валерий Лобко [ 28 май, 08 21:27 ]

Portfolio Catalogue — Issue 47 Edward Burtynsky Edward Burtynsky, Shipbreaking 9a and 9b, Cittagong, Bangladesh, 2000 This issue features Edward Burtynsky’s monumental photographs of landscapes transfigured through the extraction of resources – stone, oil and minerals – and includes a selection from his most recent work on Australian minescapes. Burtynsky’s visual spectacles embody the labour inherent in processes of industralisation and the effect of our dependence on nature to provide materials for our ever-increasing consumption. In an accompanying essay, Duncan Forbes traces 18th and 19th century landscape traditions and discusses the ways in which Burtynsky’s vision presents a radically different relationship between humankind and nature… Ebru Erülkü Ebru Erülkü, Ravens Flying up River, 2005 См. там же: In Ori Gersht’s two new series – Blow Up and Time After Time – flowers, often the symbols of peace, have become victims of violence, resulting in an uncomfortable sense of beauty… http://www.portfoliocatalogue.com/47/index.php

Встреча с легендой.