Отправила меня случайная ссылка на сайт Аведона… все вот думаю, не из пространства ли Беларуси были его родители…
На сайте, помимо основательных подборок работ, много выставочной хроники:
http://www.avedonfoundation.org/
| Форум фотографов. https://forum.znyata.com/ |
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Встреча с легендой.https://forum.znyata.com/viewtopic.php?f=12&t=2530 |
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| Валерий Лобко [ 01 авг, 08 15:15 ] | |
Онлайновая печать альбомов, каких-нибудь coffee-books и нанесение изображения на почти любые поверхности, — и в самом деле развитый бизнес. Что более любопытно, так это намерения по «отсеву плевел» — конкурс Photography.Book.Now — это не только приз в $25,000 для возможного начала персонального проекта ( http://www.photographybooknow.com/ ), но и, похоже, механизм, позволяющий за счет подъема на более высокий уровень самиздата и привлечения внимания интересных авторов, снять сливки с прорезающихся талантов… Этот самый печатный сервис blurb выступает в качестве спонсора основной награды… И только в основных спонсорах — American Photo, PDN, flickr, JPG magazine, liveBooks… http://www.photographybooknow.com/sponsors.html Собственно, в этом был пафос сообщения на 2point8: http://2point8.whileseated.org/2008/07/ ... k-contest/ взять хотя бы это приведенное там издание: DITCH PLAINS By Joni Sternbach jsternbach Category: Fine Art Photography Tintype portraits of surfers at the waters edge on the east end of Long Island. Standard Landscape 10x8 inches (25x20 cm) 68 pages Вот тут можно полтора деятка страниц пролистать: http://www.blurb.com/books/290815 http://www.blurb.com/bookstore/detail/290815 |
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| SergL [ 01 авг, 08 18:27 ] | |
Валерий Лобко писал(а): Напечататься/опубликоваться:
Make your own book with Blurb Стоимость книги до 40 страниц (18 на 18 см) — от $12.95. Возможный объем — от 20 до 440 страниц. http://www.blurb.com/ в этом обзоре POD их не сильно хвалят... http://community.livejournal.com/darkslide/8601.html |
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| Валерий Лобко [ 01 авг, 08 20:39 ] | |
SergL писал(а):
Вполне верю… что за качество в итоге может быть на бумаге с плотностью 80 г/м кв… Но я имею в виду не сам сервис печатный — конкурс и тенденции работы с новой фотографией интересны. Хотя… этот уровень цен выглядит очень привлекательно для условий Вильнюса, где стоимость оперативной печати для студенческих задач очень обременительна, а качество изображения (еще и из-за доверия к ноутбучным мониторам) никак не гарантируется. Так что, возможно, нам придется проверить самим и качество и сроки онлайновых сервисов… Как раз с Blurb в Литву имеется доставка. |
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| Валерий Лобко [ 01 авг, 08 21:08 ] | |
Отправила меня случайная ссылка на сайт Аведона… все вот думаю, не из пространства ли Беларуси были его родители… На сайте, помимо основательных подборок работ, много выставочной хроники:
http://www.avedonfoundation.org/ |
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| Валерий Лобко [ 01 авг, 08 22:53 ] | |
Валерий Лобко писал(а): Отправила меня случайная ссылка на сайт Аведона… все вот думаю, не из пространства ли Беларуси были его родители…
Собственно… Biography of Richard Avedon's father, Jacob Israel Avedon Father: Israel Avedon, Mother: Mathilda Sater Siblings: Dora, William, Ida, Samuel 1889 Born in Lomzha, province of Grodna, Russia, October 21 1890 Father emigrates to America 1891 Mother and family leave for America on Norddeutscher Lloyd line boarding at Hamburg, Germany, to join father at 413 Grand Street, New York 1893 Father deserts family 1894 Sent to Jewish Child Care Association orphanage with William and Samuel 1898 Returns to family on Grand Street … 1902–5 Attends Townsend Harris High School, Flushing, New York 1905 Enters College of the City of New York … 1910 Works as substitute teacher at P. S. 17 in Hell's Kitchen … 1913 Establishes Avedon's Blouse Shop at 110th Street and Broadway, with brother Sam 1917 Establishes Avedon's Fifth Avenue, a woman's specialty shop, at 39th Street and Fifth Avenue, with brother Sam 1922 Marrries Anna Polansky, January 28 … 1923 Son, Richard, born 15 May http://www.metmuseum.org/special/richar ... _room8.htm См. еще попутно биографическую подборку здесь: http://members.aol.com/akthyrka/avedon.htm Теперь еще бы по поводу Diane Arbus разобраться, которая у нас Diane Nemerov, second child of Gertrude (nee Russek) and David Nemerov, is born in New York… David Nemerov, her father, was the hard-working son of a Russian immigrant… Diane (pronounced Dee-Ann ) was a privileged child, raised with her two siblings in large apartments on Central Park West and Park Avenue… |
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| SergL [ 01 авг, 08 23:59 ] | |
Валерий Лобко писал(а): Father: Israel Avedon, Mother: Mathilda Sater
1889 Born in Lomzha, province of Grodna, Russia, October 21 афигеть.... |
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| SergL [ 02 авг, 08 0:01 ] | |
Валерий Лобко писал(а): Так что, возможно, нам придется проверить самим и качество и сроки онлайновых сервисов… Как раз с Blurb в Литву имеется доставка. если не трудно — поделитесь потом итогом, интересно. |
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| Vertigo [ 02 авг, 08 10:59 ] | |
Валерий Лобко писал(а): Так что, возможно, нам придется проверить самим и качество и сроки онлайновых сервисов… Как раз с Blurb в Литву имеется доставка.
http://www.photocity.it/ - вот фирма из Неаполя, делает любые фотокниги - оффсетные и на фотобумаге. От 9 и до 330 евро. По крайней мере в расчете стоимости доставки можно выбрать доставку в Беларусь. Работает реально доставка или нет - не пробовал. Но работают очень быстро. Книгу делают за сутки-двое (хотя просят до 7 дней). Просто отпечатки - вообще молнией. В полночь загружаю им на сервер, в 8 утра приходит смс, что заказ выполнен и отправлен. |
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| Vertigo [ 02 авг, 08 11:02 ] | |
SergL писал(а): Валерий Лобко писал(а): Father: Israel Avedon, Mother: Mathilda Sater 1889 Born in Lomzha, province of Grodna, Russia, October 21 афигеть.... Гуглёж навскидку показал, что сейчас это Польша. |
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| Валерий Лобко [ 02 авг, 08 12:26 ] | |
Ну, к Ричарду Аведону это не имеет никакого отношения, естественно, а вообще тут легко быть провидцем: откуда новые поселенцы еврейского происхождения в Америку могли приезжать? Черта оседлости и целый ряд процессов привели, с одной стороны, к высокой концентрации еврейского населения здесь, с другой стороны, выезд в США был отсюда более чем активным по экономическим причинам… В этой части Российской империи (в Беларуси) только Минск, насколько я помню «Карту расселения еврейского племени» в Энциклопедии Брокгауза и Эфрона, был наполовину многонациональным, а в большей части городов и городков основную часть населения составляли евреи, т.е. по цвету обозначений так выходило, хотя в деталях картина была более пестрой. «…согласно российским законам того времени, мещане и купцы могли проживать только в городах и местечках, к которым они были приписаны, и были лишены свободы передвижения из одного населенного пункта в другой. В 1782 г. для купцов Белоруссии было сделано исключение. Сенат разрешил им переезжать из города в город по коммерческим делам. …В результате второго и третьего разделов Польши (1793, 1795) к России отошли новые территории со значительным еврейским населением. 13 июня 1794 г. Екатерина II издала указ, в котором были перечислены территории, где евреям разрешено было постоянно проживать: Минская, Изяславская (впоследствии Волынская), Брацлавская (Подольская; см. Подолия), Полоцкая (Витебская), Могилевская, Киевская, Черниговская, Новгород-Северская губерния, Екатеринославское наместничество и Таврическая область. После третьего раздела Польши из земель, присоединенных к России, были образованы две новые губернии: Виленская и Гродненская, в которых разрешено было проживать евреям». http://www.eleven.co.il/article/14679 Поэтому, похоже, читая о российских эмигрантах еврейского происхождения, следует почти автоматически иметь в виду указанное пространство. А. Солженицын цитирует ряд источников, по которым видно, что волна выездов началась после 1881-го, но массовый характер (по экономическим преимуществено причинам) приобрела с середины 90-х. Наибольшее число эмигрантов было из Польши, Литвы и Беларуси. http://www.scribd.com/doc/411273/- Что касается Диэнн Арбус, то, возможно, предки по отцовской линии — с территории Украины: Nemerov — there were many Nemerovs from the Gubernias of Kiev and Chernigov as well as from Odessa. The name derived from Ukrainian town of Nemirov. Vitaly Charny (он из Минска; я вспоминал о нем уже) stated that "I know about NEMIROVSKY records prior 1984/95 — a record of 1893 originated from Bobruisk with reference to Kiev as a hometown." http://jewishwebindex.com/names.htm Вот тут фотографии нет, но много имен названо из области кино, скажем. JEWISH AMERICANS Боязнь погромов и экномические условия послужили причной мощной волны эмиграции: …industrialization made it difficult for Jewish peddlers, merchants, and artisans to sustain themselves economically. As a result, a mass exodus of Jews from eastern Europe occurred, with approximately 90 percent bound for America. During the late nineteenth and early twentieth centuries, tens and sometimes hundreds of thousands of Jews arrived in America annually. The immigration of some 2.4 million eastern European Jews boosted the American Jewish population from roughly a quarter million in 1881 to 4.5 million by 1924. …Jews have had an enormous influence in Hollywood. By the 1930s Jews dominated the film industry as almost all of the major production companies were owned and operated by eastern European Jews. These companies include Columbia (Jack and Harry Cohn), Goldwyn (Samuel Goldwyn—born Samuel Goldfish, 1882), Metro-Goldwyn-Mayer (Louis B. Mayer and Marcus Loew), Paramount (Jesse Lasky, Adolph Zukor, and Barney Balaban), Twentieth Century-Fox (Sol Brill and William Fox), United Artists (Al Lichtman), Universal (Carl Laemmle), and Warner Brothers (Sam, Jack, Albert, and Harry Warner). http://www.everyculture.com/multi/Ha-La ... icans.html А вообще вот пишут: «Недавно руководитель Государственного комитета по архивам и делопроизводству Александр Михайльченко выступил с сенсационным заявлением. Он сообщил, что каждый десятый еврей в мире — выходец из Беларуси». http://bdg.press.net.by/1999/1999_04_30 ... levr.shtml Есть и такая вот публикация, где указан ряд имен и пишут, в частности: «Еще одно имя из мира кино — известнейший актер Майкл Дуглас, отец которого Кирк Дуглас (Иссур Данилович) приехал в США из нашей страны». http://naviny.by/rubrics/society/2007/0 ... 16_152919/ Это совсем не совпадает с информацией в Википедии на русском, где сказано, что его родители — из Одессы, но и Wikipedia пишет о Гомеле: Douglas's parents were illiterate Russian Jewish immigrants from Gomel, now in Belarus. http://en.wikipedia.org/wiki/Kirk_Douglas и The Biography Channel в Kirk Douglas Biography — тоже: Born Issur Danielovitch Demsky to poor Belarusian Jewish parents from Homel in Belarus… http://www.thebiographychannel.co.uk/bi ... ouglas.htm Так что если покопаться хорошенько… |
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| Валерий Лобко [ 02 авг, 08 12:40 ] | |
Vertigo писал(а): http://www.photocity.it/ — вот фирма из Неаполя, делает любые фотокниги — оффсетные и на фотобумаге. От 9 и до 330 евро. По крайней мере в расчете стоимости доставки можно выбрать доставку в Беларусь. Работает реально доставка или нет — не пробовал.
Но работают очень быстро. Книгу делают за сутки-двое (хотя просят до 7 дней). Просто отпечатки — вообще молнией. В полночь загружаю им на сервер, в 8 утра приходит смс, что заказ выполнен и отправлен. Очень интересно. Надо будет наших девушек, которые сейчас в Неаполе учатся, напрячь проверить. Здесь основная проблема — стоимость и сроки. Поскольку многими отчетные задания печатаются буквально в день просмотров, поэтому даже в Минске не выполняется печать, что реально более дешево, чем в Вильнюсе, сложно надеяться, что мы эту тенденцию быстро переломим. Но можно пробовать. Во всяком случае, необходимость формировать определенные важные навыки и получать пристойный продукт на выходе (что важно для подготовки того же портфолио) весьма велика. Поэтому, если недорогая доставка будет в пределах недели, то просто отлично — 2-3 недели реально выкроить для подготовки отчетной работы. |
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| Валерий Лобко [ 03 авг, 08 8:23 ] | |
Еще одна ссылка попутно, это к тезису об умениях: Ansel Anecdotes: Perspectives on Moonrise 
“…I was at a loss with the subject luminance values, and I confess I was thinking about bracketing several exposures, when I suddenly realized that I knew the luminance of the moon – 250 c/ft2. Using the Exposure Formula, I placed this luminance on Zone VII; 60 c/ft2 therefore fell on Zone V, and the exposure with the filter factor o 3x was about 1 second at f/32 with ASA 64 film. I had no idea what the value of the foreground was, but I hoped it barely fell within the exposure scale. Not wanting to take chances, I indicated a water-bath development for the negative. Realizing as I released the shutter that I had an unusual photograph which deserved a duplicate negative, I swiftly reversed the film holder, but as I pulled the darkslide the sunlight passed from the white crosses; I was a few seconds too late! Paraphrase of John Sexton, Ansel's technical assistant from 1979 to 1982 In October 1941 Ansel Adams was 39 years old, probably in peak physical shape and certainly at or near the height of his field photography. He was well practiced in every motion, and the time that it takes to make a duplicate negative, to replace the slide, reverse the film holder, remove the slide and cock the shutter is less than 3 seconds. Given that the initial exposure was 1 second and the decision to make a duplicate negative occurred then, Ansel was very, very close to missing that image. It is a testament to his skills that we are able to appreciate it today.” http://www.anseladams.com/content/ansel ... dotes.html |
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| Валерий Лобко [ 03 авг, 08 13:56 ] | |
Уже была закладка по поводу этой выставки: FOTO: Modernity in Central Europe, 1918-1945 The National Gallery of Art, Washington 7th June to 31st August 2008 11 страниц небольших текстов и иллюстрации: http://www.nationalgalleries.org/whatso ... :368/5111/ 
Dreamers Umbo (Otto Umbehr) Еще: http://www.nationalgalleries.org/media/ ... abinet.jpg Untitled (from the series The Movable Cabinet) Jindřich Štyrský Другие иллюстрации, A small selection from works on show in FOTO: Modernity in Central Europe: http://www.nationalgalleries.org/whatso ... /5111/5369 …Это попалась заметка о каталоге выставки на очень интересном блоге THAT’S A NEGATIVE (That's a Negative is Chas Bowie's online notebook about photographic history, criticism, and theory), см. там, примеру, раздел Contemporary Photographers http://thatsanegative.wordpress.com/cat ... ographers/ См. также реплику: Genius of Photography: I was saddened but not altogether surprised to learn that the title of the BBC’s series about the history of photography wasn’t a direct allusion to yours truly. I haven’t had a chance to sit down with this yet, but I typically love watching (and to a lesser extent, critiquing) programs like these. [Edit: Just based on my quick glances while posting these links, this show looks incredible!] Фрагменты: http://thatsanegative.wordpress.com/200 ... otography/ * Попутно: Новый «Фликр»: http://www.ipernity.com/ |
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| Валерий Лобко [ 03 авг, 08 15:08 ] | |
The Hasselblad Masters The Hasselblad Masters represent photography at its finest; at its most inspired, most communicative, most beautiful. They are young, old, western, eastern, classical, experimental, traditional, modern, and futuristic. They have perhaps but one thing in common: they are masters at conveying an instant, an emotion, with images. Masters of the art and craft that is photography. Masters Winners 2007 
September — Barry Ryan Крупно: http://www.hasselblad.com/media/8b0078d ... _1_940.jpg Авторские подборки: http://www.hasselblad.com/masters-2007.aspx Masters Winners 2008 Hasselblad announces the ten winners of its Hasselblad Master Award for 2008. Whereas in previous years Hasselblad has awarded 12 separate Master Awards for overall photographic ability, the 2008 Hasselblad Master Awards are presented across ten separate categories of photography and the winners are as follow… Architectural, Benjamin Antony Monn, Germany benjaminmonn.de Editorial, Louie Palu, USA http://www.louiepalu.com/ Fashion / Beauty, Andrej Kopac, Canada http://www.andrejkopac.com/ Fine Art, Julia Fullerton-Batten, England http://www.juliafullerton-batten.com/ General, Bronek Kozka, Australia http://www.kozka.com/ Landscapes / Nature, Hans Strand, Sweden http://www.hansstrand.com/ Upcoming, August Bradley, USA http://www.augustbradley.com/ Portrait, Morfi Jiménez Mercado, Peru http://www.morfijimenez.com/ Products, Gregor Halenda, USA http://www.gregorhalenda.com/ Wedding /social, Kevin Then, Malaysia http://www.kevinthen.com/ Given in recognition of a photographer’s contribution to the art of photography, the Master Award is judged on photographic ability, encompassing creativity, composition, conceptual strength and technical skill. The team at Hasselblad began the rigorous judging process at the beginning of December, before the international jury, comprising the editors of five respected photographic magazines, selected the 10 winners from the 100 finalists. The ten winners will each receive a framed diploma and the free use of a superb Hasselblad H3DII DSLR camera system for four months. During that time, they will be able to use the equipment as they wish, although they will also use it to capture images to be included in the production of a unique, high quality, photographic book, to be launched at Photokina in September 2008. The book, a special Masters commemorative collection of photographs, will feature pictorials showing images from each winning photographer, who will be asked to interpret the theme ‘passion’ in their own style. Aware that almost every photographer dreams of having their own creative work showcased in a book, each winner will also receive 50 copies of the book. Printed in English by German publisher teNeues, the book will also be available in more than 70 countries and will retail at around €60 each. A further 90 finalists and 400 runners-up will receive Masters Award diplomas. Christian Nørgaard, Hasselblad’s newly appointed Photographer Relations Manager, says, “We have been delighted by both the large number and extremely high quality of entries. We now look forward to seeing the results of the winners’ individual interpretations of ‘passion’, using the best cameras in the world, and to choosing the finest of their images for the commemorative book.” http://www.hasselbladusa.com/masters-winners-2008.aspx Архивы: http://www.hasselblad.com/masters-2006.aspx http://www.hasselblad.com/masters-2005.aspx (и так до 2001-го) |
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| Валерий Лобко [ 04 авг, 08 7:27 ] | |
A Thousand Words: A Kodak blog about photography: Mary Ellen Mark, Iconic Photographer Audrey Jonckheer Worldwide Pro Photographer Relations Rochester, NY, USA Q. What are the challenges of being a film photographer in a digital era. Mary Ellen: Most photographers that I really admire are still shooting film. I've shot with Tri-X for more than 45 years and the look of my images has to do with that film stock. Shooting digitally doesn't quite fit in with what I do. I love the look of Tri-X and it's taken me years to understand what it does. I think digital has a real purpose and I respect it, but at the same time I think it's a big mistake that many schools have stopped teaching film and discontinued their darkrooms. Film and digital are different mediums and I think schools should teach both mediums and students should have the experience of both mediums. 
Q: Why do you like Tri-X film? Mary Ellen: I like the grain structure in Tri-X film. I also like that Tri-X has a huge range especially when you rate it at 200. Tri-X is very much a part of the look of my photographs. * Mary Ellen was presented with the Cornell Capa Award by the International Center of Photography in 2001. She has also received the Infinity Award for Journalism, an Erna & Victor Hasselblad Foundation Grant, and a Walter Annenberg Grant for her book and exhibition project on AMERICA. Among her other awards are the John Simon Guggenheim Fellowship, the Matrix Award for outstanding woman in the field of film/photography, and the Dr. Erich Salomon Award for outstanding merits in the field of journalistic photography. She was also presented with honorary Doctor of Fine Arts degrees from her Alma Mater, the University of Pennsylvania and the University of the Arts; three fellowships from the National Endowment for the Arts; the Photographer of the Year Award from the Friends of Photography; the World Press Award for Outstanding Body of Work Throughout the Years; the Victor Hasselblad Cover Award; two Robert F. Kennedy Awards; and the Creative Arts Award Citation for Photography at Brandeis University. http://1000words.kodak.com/default.asp?item=1036327 |
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| Валерий Лобко [ 04 авг, 08 7:49 ] | |
См. специально реплику относительно роли камеры; Carmen Winant говорит о Hasselblad 501c… subjectify (subjectify is a photography blog about contemporary portraiture) three questions for carmen winant, part 1 
Subjectify: In many of your portraits I feel that your compositional eye has a way of closing in on, or immobilizing the body. As objects, the bodies are posed, perhaps, but particular, imperfect and unsentimental. Are there specific things you are trying to express in your work about bodies and their relation to spaces? Carmen Winant: My photographs have always been concerned with the body. Before I began photographing, I was a very technical illustrator, and all my illustrations also took on the body exclusively. I was a competitive distance runner from age 15 – I ran track and cross-country for UCLA – which I think informed my fascination with the physicality of the body. And then, as I became a feminist and concerned with debates around identity politics, I became open to seeing the body’s potential in art to manifest critical gender issues. three questions for carmen winant, part 2 
Subjectify: Your mother seems like a remarkably willing subject. Does she enjoy being photographed by you? Is she central to your project Close? Carmen Winant: I have always admired photographers who photograph their own families in earnest – Sally Mann, Tina Barney, Larry Sultan, and Elinor Carucci, among many. They make it look so effortless. It is a classic motif, but in some ways it’s harder than photographing strangers. In my case, I am most interested in exploring the tension (and uncomfortable overlap) between familial and erotic intimacy. three questions for carmen winant, part 3 
Subjectify: What are you looking for when you photograph a subject? Carmen Winant: I think that contemporary photographers are inclined to posture their subjects as either completely aware or unknowing of the camera’s gaze. (I always think of how Hellen Van Meene’s young subjects rarely acknowledge the camera. Even when they do, their gaze seems hazily unfixed and unspecific.) But of course there is a liminal space—between the manufactured nature of Gregory Crewdson’s work and the sincerity of Robert Frank’s—and that is what I am continually striving to tap when taking pictures of the people in my life. Because the two poles can be quite seductive, it is easy to overlook the substantive and interesting ground between the performed and the unstaged. I think several interesting young photographers right now, like Gilda Davidian and Amy Elkins, are exploring that grey area of representing subjectivity without much distance or irony. Richard Avedon said that he wished there could be no camera at all, that his eye could be his only mechanism of transferal. For me, however, the camera is a protagonist in producing strong portraits. I shoot film with a Hasselblad 501c, and it requires a deliberate set-up, a relatively long time to focus (which I sometimes consciously extend to increase the slight discomfort of my sitter), and an almost violent, gun-like release. I want a contrived and a sincere subject, and it doesn’t seem to me that the two have to deny each other. Полностью: http://subjectify.blogspot.com/ * Carmen Winant .jpg)
Close (Family http://carmenwinant.com/ dailyafterthought Carmen Winant: This blog is an orphanage for my lost photographs that are stuck somewhere between concept and project. http://dailyafterthought.blogspot.com/ |
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| Валерий Лобко [ 04 авг, 08 8:13 ] | |
Subjectify: Jessie Mann week! seven question for jessie mann 
most photo fans know Jessie as one of the subjects of her mother Sally Mann's photographs, including the controversial and beautiful 1993 project Immediate Family (above). in them, Jessie shines out at the viewer as a singular character: feisty, naked, direct, stubborn, and free. this is how i thought of Jessie, and when i researched her a bit more, i got more and more interested in her path and her take on her experiences in front of the lens. i found out that Jessie, now 25, is a painter, has posed for numerous other well-known fine art photographers and artists, and has given considerable and sustained thought to her role as a subject and "muse." this work includes an ongoing project conceived with New York photographer Len Prince, Self Possessed, which tackles the role of the subject in art history and photography head-on. after reading Jessie write about Self Possessed in Aperture, and then reading this extensive interview with her on Wayne Yang's blog, i knew i wanted to talk to her. 
http://subjectify.blogspot.com/2008_05_01_archive.html http://wayneyang.wordpress.com/2007/04/ ... interview/ http://www.jessiemann.com/biography.php |
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| Валерий Лобко [ 04 авг, 08 18:26 ] | |
Дивный и богато иллюстрированный ресурс: History of Photography The Story Behind the Pictures 1827-1991 (by Hans-Michael Koetzle) http://www.all-art.org/history658_photography13.html Photographers' Dictionary (based on "20th Century Photography — Museum Ludwig Cologne") http://www.all-art.org/20ct_photo/20century_photo1.htm Там, в частности, известный материал: Epitaph in Ektachrome 
Bert Stern : Marilyn's Last Sitting He may not have been the first to photograph her, but he was certainly the last. In July 1962, the young photographer Bert Stern succeeded in three sittings in capturing a many-faceted portrait of an unusually relaxed and playful, close and direct Marilyn Monroe. A few weeks later she was dead. What had begun as an eight-page homage to the screen star in Vogue became an obituary, and has entered photographic history as Marilyn's Last Sitting. http://www.all-art.org/history658_photography13-25.html См. также рядом: Gerard Malanga http://forum.znyata.com/viewtopic.php?p=39998#39998 |
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| Валерий Лобко [ 04 авг, 08 18:52 ] | |
Depth of Field: Modern Photography at the Metropolitan September 25, 2007–March 23, 2008 Joyce and Robert Menschel Hall for Modern Photography, 2nd floor The inaugural installation in The Joyce and Robert Menschel Hall for Modern Photography, Depth of Field: Modern Photography at the Metropolitan traces the medium�s varied paths from its role in conceptual, earth, and performance art of the 1960s to a central place in today�s contemporary art scene. Included are works by Bernd and Hilla Becher, Rodney Graham, Sharon Lockhart, Sigmar Polke, Thomas Ruff, Cindy Sherman, Thomas Struth, and Wolfgang Tillmans, among others. 
Adam Fuss (English, born 1961) Now!, 1991 Gelatin silver print Like action painting, which it slightly resembles, this image—one of three from an outsized triptych of photograms—is the record of an artist's gestures. In his darkened studio, Fuss climbed a ladder and dumped a bucket of water three times onto separate sheets of photographic paper floating in a tray below, while simultaneously exposing each paper to a flash of light. In the resulting images, full of cosmological and subatomic overtones, the "shadows" record areas of light and vice versa. Shuttling between infinite detail and total abstraction, the pictures reveal figuration and abstraction to be two sides of the same coin. 
Rodney Graham (Canadian, born 1949) Welsh Oaks #1, 1998 Chromogenic print Graham, an artist from Vancouver who works in a variety of media, built a giant pinhole camera and parked it in front of twelve different trees for one month in 1979. The public was invited to enter the camera to view the luminous image of the tree cast upside-down on the camera's back wall. In the early 1990s he again approached the subject, this time photographing ancient oaks in the English countryside. Inverted on gallery walls, the impressively large prints suspended the trees as if in the mind while insistently recalling the constructed aspect of all artistic representation. In 1998 Graham produced his definitive work on this theme, a series of seven monumental images of Welsh oaks printed on color paper to produce warm deep sepia and charcoal hues. The almost hallucinatory transformation wrought by the inversion of these images is profound, as disorienting as if the ground were to become transparent, branches become roots, and the sky fall. http://www.metmuseum.org/special/depth/ ... images.asp |
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| Валерий Лобко [ 04 авг, 08 20:15 ] | |
Пару ссылок попутно: Amy Arbus — Portrait Photographer Master Photographers Tell You How Take Great Pictures: Nikon and Hasselblad shooter Amy Arbus has been making portaits of NYC icons on the street for over 20 years. by Erica Wright Nikon and Hasselblad shooter Amy Arbus has been making portaits of NYC icons on the street for over 20 years. http://www.takegreatpictures.com/amy_arbus_bio.fci Это довольно небольшой материал; основательное интервью здесь: Amy Arbus — Interview by Erica Wright Recently TakeGreatPictures.com contributor Erica Wright was able to sit down with Amy Arbus to find out more about her work. 
Page 33: Jenny Gift Wrapped (59th Street, 1982) © 2006 Amy Arbus. 
Page 40: British Flag Shirt (10th Street and Avenue B, c. 1983) © 2006 Amy Arbus. http://www.takegreatpictures.com/HOME/C ... erview.fci Довольно большой материал — здесь: Ex Libris -- An Interview with Amy Arbus By Robert A. Schaefer, Jr. | Jul 1, 2008 My beginning studies of photography in the early 1970s included analyzing the work of current photographers, and I was particularly drawn to the imagery of Diane Arbus. When I later moved to New York City in 1981, I was intrigued with the work of her daughter Amy Arbus, whose images were regularly seen in The Village Voice in her style page, “On The Street,” from 1980 to 1990. Her book, On The Street, published by Welcome Books in 2006 incorporates many of the images she took for The Voice and offers a bohemian look at New York City in the 1980s. Welcome Books has also published her current book, The Fourth Wall, which looks at actors from the New York theatre scene, and the reviews have been phenomenal, with even harsh critics like John Simon praising her artistic skills. Recently, I was able to contact Amy and ask her about her photography and the world of publishing. 
Cover of "The Fourth Wall" RS: Were you encouraged to take photographs in your childhood? AA: Not particularly. I remember loving to take Polaroids. RS: Did you study photography formally? Who were some of the teachers who motivated you? AA: I studied with Bill Burke at The School of the Museum of Fine Arts in Boston. I took workshops with Larry Fink, Sylvia Plachy and Keith Carter, but it wasn't until I took a Master Class with Richard Avedon that I took myself seriously as a photographer. RS: Has your imagery been inspired by other photographers or artists in other medias? AA: My influences are August Sander, Irving Penn, Truman Capote, Francis Bacon, Alfred Hitchcock, Fritz Lang, Otto Preminger, Elia Kazan, Nicholas Ray, John Huston, Martin Scorsese, Orson Welles and, of course, my mom Diane Arbus. http://www.doubleexposure.com/CoverStory_Arbus.shtml http://www.doubleexposure.com/double_ex ... index.html * Обстоятельная документация: http://www.amyarbus.com/about/resume/resume.html |
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