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Любопытная заметка на Conscientious:

On doubt

There was a moment in the Sally Mann documentary recommended here earlier that I found very striking: After having finished her series "What Remains", and after having agreed on getting the work shown at some very prestigious New York gallery, Sally Mann is being informed that the gallery decided to cancel the show. Of course, she is very upset about this (who wouldn't be?); and then while she's trying to understand what might possibly be the reason, I noticed that one obvious possible explanation is never brought up: Maybe the work simply isn't that good…

…I've always wondered how artists deal with doubt about their work. I often find that aspect way more interesting than any other aspect. In fact, I usually find people who have absolutely no doubt about what they're doing somewhat scary.

Of course, I don't know whether Sally Mann thought about this — the documentary never mentions it, and since she was very honest and open in it, one might use that as a clue.

…But I remember when I watched the documentary I was just struck by that aspect of artistic work missing - part of why is probably because I think that the photography that the documentary focuses on really is so much weaker than Sally Mann's earlier portraiture.

http://www.jmcolberg.com/weblog/2008/09 ... .html#more

*
Colin Pantall's blog: Sally Mann:

An excerpt from a question and answer session between Sally Mann and Stephen Cantor, director of What Remains — interesting what Sally Mann has to say about misconceptions about the responses to her work.

http://colinpantall.blogspot.com/2008/0 ... -mann.html

*
EDWYNN HOUK GALLERY is pleased to announce the opening of the SALLY MANN exhibition, LAST MEASURE, marking her first one-person show in New York since the highly lauded Deep South exhibition in 1999. It will feature 14 large scale works made from 8 by 10 inch collodion wet-plate glass negatives.

http://www.houkgallery.com/mann-lastmea ... asure.html

Deep South: http://www.houkgallery.com/mann-deepsouth/mann_1.html

A conversation with photographer Sally Mann about her book 'What Remains' and her early career as a writer.

http://discussion-for-you.com/video/1722.cgi

Sally Mann: What Remains, 2004:

Изображение
Sally Mann, Untitled #2, 2000,
from the series What Remains, ambrotype


"Death is powerful," says Mann…

…Untitled, perhaps the most visually shocking section in the exhibition, is made up of images of human bodies going through the natural process of decomposition at a forensic study site. In this series, Mann does not shield the viewer from the reality of bodily decay. "There's a moment where you look at those bodies and say, 'that was a human being.' That was someone who was loved, cherished, caressed," says Mann. "That's a very tough one for me, the whole question of when a human becomes remains. That question came up over and over again while I was doing this work." (right: Sally Mann, Untitled #2, 2000, from the series What Remains, ambrotype, lent by the artist, courtesy of Edwynn Houk Gallery, New York. Copyright © 2003 by Sally Mann)

The middle section of this exhibition features two series of landscape images: December 8, 2000 focuses on the site where an armed fugitive committed suicide on Mann's bucolic property in Virginia's rural Shenandoah Valley. She witnessed life meeting death at her doorstep and this transitional incident served as the raw inspiration from which her photographic project unfolded. The Antietam series of landscape photographs, made at the Antietam battlefield in Sharpsburg, Maryland, go far beyond simple documentation of this rural Civil War location where 23,000 men were killed, wounded or declared missing on a single day in September 1862. These large scale images invite the viewer to contemplate the role of photography in documenting history, time passing and death's sanctification of the eternal soil. In an editorial review of the accompanying book, regarding the Antietam series Reed Business Information, Inc. says "But in the book's most successful sequence -- depicting the Civil War battlefield of Antietam -- there are no literal traces of the dead at all, only an overwhelming psychic weight, which is reflected in intensely dark surfaces pocked with fissures and holes that at times resemble fields of stars laid over the barely visible hills, trees and fields."

Mann concludes the project with What Remains. thirty-six extreme close-up portraits of her three children's faces seen floating in an inky black atmosphere. While the subjects of these loving photographs appear in stark contrast to the ghostly images of death in her other series. the viewer cannot help but recall the other images when looking into the faces of the children. In this context, her children are "what remains."

http://www.tfaoi.com/aa/4aa/4aa339.htm

Все ссылки на одной странице, интервью, видео (включая процесс), презентации работ и т.п.:

http://www.pbs.org/art21/artists/mann/index.html


 
 07 сен, 08 12:47
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Cornelia Hediger

Изображение

Fear, hope, joy, despair, and destruction are but some of the emotions and feelings I explore photographically. Through my series, Doppelgänger I explore an internal dialog and struggle which exists between the conscious and the unconscious. The topics, often complex, are captured in rich and lush colors using flower patterns and polka dots, which allow a certain type of humor to take over.

The images are assemblages, made up of six to nine photographs, allowing me to exaggerate and emphasize certain spatial areas. I am both the photographer and the model, acting out several characters within single set. The characters that represent hope and despair, good and bad, past and present, face each other, watching and wondering if the other is trustworthy. This particular way of photographing allows me to look over my own shoulder and act out internal struggles in the external world.

— Cornelia Hediger, 2008

Изображение
Cornelia Hediger, 03.16.07, 2007, archival inkjet prints, 12¾ x 11¼"

Изображение
Cornelia Hediger, 04.06.07, 2007, archival inkjet prints, 12¾ x 11¼"

Изображение
Cornelia Hediger, 02.15.08, 2008, archival inkjet prints, 12¾ x 11¼"

http://www.cpw.org/exhibitions/2008/Pho ... diger.html

Cornelia Hediger

Изображение
Signed Verso, Editiion of 15, 04.08.07 B

http://www.photoloop.com/photographervi ... id=59&sid=

*
Изображение
c-print 2002-2003, $1400 (unframed)

Изображение
Silver Gelatin Print 2002-2003, $1400 (unframed)

http://www.vlepogallery.com/_22.html


 
 08 сен, 08 10:34
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Conscientious:

A Conversation with Andreas Gefeller

Andreas Gefeller is a German photographer well known for his series Supervisions, which pushes the boundaries of photography by elevating the view point off the ground. I have been extremely interested in Andreas' work for a long time, and I recently had the chance to talk to him about it.

Jörg Colberg: With the view from above, Supervisions, you produced an entirely new view of the world, which also differs from the bulk of contemporary photographic practice. How did you get the idea for the series?

Andreas Gefeller: …25 years later (around 1998) I am on a picnic at the river Rhine with a friend, who is taking a nap, while I am bored. So I'm starting to survey the ground, taking photos with my Minox camera - I as a satellite and the ground beneath me as the alien surface of the planet Mars, except that instead of being hundreds of kilometers above ground, it's only two. Later, when I cut the contact sheets and assemble them I note that I can really move away from the ground like something flying - not in reality, of course, but in a photographic way.

JC: Of course, I have to ask this question, if I may: How do you take those images? Do you use a camera on a ladder? And how much work goes into the postprocessing? Or is this all a secret?

AG: It's no secret. Just like a scanner, which works across lines on a piece of paper, I walk across a certain area line by line, and with each step I take a photo. I carry my camera, which is pointed towards the ground, in such a way that my own feet don't end up in the images. Postprocessing requires more time than the actual taking of the photographs. However, it's very important for me that, strictly speaking, it's not a "modification". The images are not changed by adding or removing something; I also do not change the scale or the placement of individual objects in them. Which makes my work hard to categorize: On the one hand it's purely documentary, because I record the world meticulously and correctly, on the other hand the work is fiction, since I take photos from a view point, which in reality does not exist.



JC: Because of what they show your photos need a corresponding size, so the viewer can actually see what there is to be seen. The photos I saw at your exhibition at Hasted Hunt gallery all were huge, which, on the one hand, is very impressive, but which, on the other hand, creates distance from the images. A "small" size, maybe 20 inches on the side, I can't imagine for your photos - and as much as I liked the Supervisions book, in the end they don't think it delivers quite the same impression as the big prints. Alec Soth once described this kind of phenomenon as the difference between wall and book photography. What do you think about this?



Все интервью:
http://www.jmcolberg.com/weblog/2008/09 ... .html#more

Hasted Hunt Gallery:
http://www.hastedhunt.com/photos.php?a= ... er&i=57029

(там же — ролик с экспозицией)

Ранее: http://forum.znyata.com/viewtopic.php?p=36960#36960


 
 08 сен, 08 15:37
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В том же интервью:

JC: And in general, what would you say is the difference between the German and American photography scene? Is there something like a "German" and "American" kind of photography or aesthetic?

AG: Again, I'm sure there are differences, but it's hard for me to tell what they are. Someone participating in both the American and German "photography scene" would be in a better position to give you an answer. I do notice, however, that the increasing number of art fairs promotes — to express it in a positive way — the exchange of ideas. Or to express it in a negative manner: People are copying each other's work as if there was no tomorrow! As a result there is a world art market (almost) without local relations — fairs in Miami or New York look just like those in Berlin or Basel, and the only difference are their visitors. You either see always the same works by the usual suspects, or you notice that "this image looks like it was done by photographer XYZ", or "that's done in photographer XYZ's style".

I furthermore think that if you wanted to objectively answer your question your own selective perception would stand in the way: You mostly notice works you are interested in — be it because they have the same conceptual background or because they are totally different. Coming back to your question of the presumed coldness of German photography: I recently noted a very good, extremely strict and conceptional body of work, and it was done by an American artist, Chris Jordan. I also like Gregory Crewdson very much — his photos are very narrative, but they are also very conceptional and cool. I could easily add other American and German artists to the list. Contrary to the stereotype, there are photographers in Germany who work in a very emotional and personal manner. In other words: I think the differences between American and German photography, which I'm sure formerly were present, barely exist any longer, or they are being covered by a powerful world art market.

Gregory Crewdson уже назывался здесь:

http://forum.znyata.com/viewtopic.php?p=40378#40378

А вот Chris Jordan — похоже, только в 2005-м в рассылке, так что хороший повод соорудить закладочку…

В новостях на сайте у него, кстати говоря, имеется вот что:

Chris' work has been shortlisted for the first annual Prix Pictet in Paris. This $100,000 prize is the world's premier photographic award in sustainability. The eighteen shortlisted photographers will participate in an international touring exhibition this fall, starting in Paris in October. For more information, please visit the Prix Pictet website.

…11/07/2008 – Prix Pictet 2008 Shortlist Announced

The Independent Jury of the Prix Pictet is delighted to announce the 2008 Shortlist. From an exceptional field of over 200 photographers from 43 countries, the judges have shortlisted 18 photographers who have produced works that are of outstanding artistic merit and communicate messages of urgent global significance…

http://www.prixpictet.com/

http://www.chrisjordan.com/


 
 08 сен, 08 15:52
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Chris Jordan

Running the Numbers
An American Self-Portrait

Изображение
Plastic Cups, 2008, 60x90"
Depicts one million plastic cups, the number used on airline flights in the US every six hours.


Изображение
Barbie Dolls, 2008, 60x80"
Depicts 32,000 Barbies, equal to the number of elective breast augmentation surgeries performed monthly in the US in 2006.


Изображение
Detail at actual print size

Изображение
Cell Phones, 2007, 60x100"
Depicts 426,000 cell phones, equal to the number of cell phones retired in the US every day.


Изображение
Cans Seurat, 2007, 60x92"
Depicts 106,000 aluminum cans, the number used in the US every thirty seconds..


Running the Numbers looks at contemporary American culture through the austere lens of statistics. Each image portrays a specific quantity of something: fifteen million sheets of office paper (five minutes of paper use); 106,000 aluminum cans (thirty seconds of can consumption) and so on. My hope is that images representing these quantities might have a different effect than the raw numbers alone, such as we find daily in articles and books. Statistics can feel abstract and anesthetizing, making it difficult to connect with and make meaning of 3.6 million SUV sales in one year, for example, or 2.3 million Americans in prison, or 32,000 breast augmentation surgeries in the U.S. every month.

This project visually examines these vast and bizarre measures of our society, in large intricately detailed prints assembled from thousands of smaller photographs. Employing themes such as the near versus the far, and the one versus the many, I hope to raise some questions about the role of the individual in a society that is increasingly enormous, incomprehensible, and overwhelming.

~chris jordan, Seattle, 2007

http://www.chrisjordan.com/current_set2.php?id=7


 
 08 сен, 08 16:04
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Chris Jordan

Еще две галереи:

Intolerable Beauty, 2003–2005

Изображение
Sand & Gravel Yard, New Orleans 2005 44 x 82" (All print sale proceeds will be donated for hurricane relief)

Изображение
Gas Cylinders, Seattle 2003 24x72"

http://www.chrisjordan.com/current_set.php?arch_id=1

In Katrina's Wake, 2005

Изображение
Phone book, New Orleans

Изображение
Photos on a refrigerator, New Orleans East

http://www.chrisjordan.com/current_set.php?arch_id=6


 
 08 сен, 08 16:31
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*
Yossi Milo Gallery

Chris Jordan
Intolerable Beauty: Portraits of American Mass Consumption
September 8–October 15, 2005

Изображение
Crushed Cars, 2003
Ultrachrome Pigmented Inkjet Print


http://www.yossimilo.com/exhibitions/2005_09-chri_jord/

http://www.yossimilo.com/artists/chri_j ... i_jord.pdf

*
Washington Speakers Bureau: Chris Jordan

Running the Numbers: Portraits of Mass Consumption

Oceans of discarded plastic bottles; a giant whirlpool of cell phones; aluminum cans stacked a mile high: Chris Jordan's startling photographs provide a perspective on mass culture like no other. Zooming from the enormous to the detailed, from the collective to the individual, his commentary inspires reflection on the complex roles we all play, and the responsibilities we all hold, in the stewardship of our planet and each other. Lecturing with slides of his internationally acclaimed images, Jordan walks unabashedly into the maw of consumerism, illuminating this frightening dark side of the American dream. Beginning with colorful scenes of shipping ports and container yards, his slideshow tours through more than 100 darkly beautiful and troubling photographs, covering issues such as e-waste, the environment, global warming, smoking deaths, painkiller abuse, prison overpopulation and many others…

http://www.washingtonspeakers.com/speak ... kerId=6111

A Q&A With Photographer Chris Jordan
by Roger Richards

A Q&A With Photographer Chris Jordan
by Roger Richards

“Chris Jordan's large-scale color photographs portray the detritus of American consumption. Gaining access to some of the country's largest industrial waste facilities, Jordan photographs the refuse of consumer culture (e.g., diodes, cell phone chargers, cigarette butts, circuit boards) on an immense scale. Spanning up to ten feet wide, Jordan's prints are at once abstract and detailed.” From the intro to Chris Jordan’s recent show at the Yossi Milo Gallery in New York.



Q: How did you get into photography?

A: My Dad is a photographic collector and Mom is a professional watercolorist, so I absorbed an interest in art from early on…

http://digitalfilmmaker.net/photo/cjordan/index.html

Chris Jordan
Posted by Charley Parker at August 1, 2008

I find Chris Jordan’s images genuinely frightening…

http://www.linesandcolors.com/2008/08/01/chris-jordan/

Rachael Ray Show Chris Jordan -- How Cool Is He?

They say, "A picture is worth a 1,000 words," but artist Chris Jordan gets his photos up to 106,000 ... aluminum cans, that is! Check out the video to see how America's trash has become his artistic treasure.

http://www.rachaelrayshow.com/show/segm ... is-jordan/

Photographic Artist Chris Jordan

"All I was interested in about photography was aesthetic beauty...places where color appears inadvertently."

Yet after photographing a large pile of garbage that he deemed "really beautiful," friends began to point him toward the social repercussions inherent inhis work regarding waste and American consumerism. "It's something that I truly cannot take credit for, is finding my way to consumerism as my subject. Becauseit found me."

Текст и видео:
http://www.pbs.org/moyers/journal/09212 ... file4.html

Talks Chris Jordan: Picturing excess

Видео и реплики:
http://www.ted.com/index.php/talks/chri ... stats.html

Download this talk : Video to desktop (Zipped MP4)
http://www.ted.com/index.php/talks/down ... 6/talk/279

VIDEO: Chris Jordan At Greener Gadgets
by Jill Fehrenbacher

http://www.inhabitat.com/2008/02/13/gre ... s-keynote/

Книга:

[url=http://books.google.com/books?hl=ru&id=usnsSB-LNRQC&dq=Chris+Jordan&printsec=frontcover&source=web&ots=dcyQzlsSnt&sig=eIxdofoP1FTIpzI152fYq9s2jbI&sa=X&oi=book_result&resnum=3&ct=result#PPP1,M1]In Katrina's Wake: Portraits of Loss from an Unnatural Disaster — Результат из Google Книги
[/url]


 
 08 сен, 08 16:34
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Борису Михайлову — 70! Запрошуємо!

Друзі,

Запрошуємо Вас відзначити 70-річний ювілей легендарного Бориса Михайлова.

У четвер 11 вересня, о 19.00, в галереї «Колекція» матимемо унікальну можливість привітати ювіляра особисто.

Презентуємо перший великоформатний проект Бориса Михайлова «Я не Я»…

Побачимо нову живописну роботу Олександра Гнилицького та спеціальний проект-рімейк Іллі Чічкана «Я не Я -2».

До зустрічі!
Галерея «Колекція»

На сайте галереи — пока ничего: http://www.collectiongallery.com.ua/

О галерее:

«Колекція» — новая киевская галерея современного искусства, которая применяет западный подход к проведению выставок и обслуживанию клиентов: заключение контракта с художником, издание большого каталога, снабжённого научным аппаратом, проведение презентации с культурной программой. Объем инвестиций оценивается примерно в 500 000 долларов США. Основатель галереи — известный киевский бизнесмен Юрий Когутяк.

Юрий Когутяк, основатель галереи «Коллекция»:
«Было несколько ключевых факторов, которые подвигли меня заняться галерейным бизнесом. Во-первых, мне нравится визуальное искусство, живопись в частности. То есть это просто такой человеческий интерес к определенной области человеческой деятельности. Вряд ли я когда-нибудь стану инвестировать, например, в баскетбол или хоккей на траве. По моему мнению, инвестиция должны быть красивой и доставлять удовольствие. А основным фактором стало осознание того, что этот рынок еще не сформирован и, следовательно, в нем скрыт большой потенциал, который можно раскрыть при умелом ведении бизнеса. Кроме того, благодаря моему давнему другу, Олегу Байшеву, который сейчас является творческим директором галереи, я смог понять, с какой стороны подступиться к этому бизнесу. Минимальные требования на данный момент – это обеспечить безубыточность текущих операций через 3-6 месяцев после открытия, максимальные — обеспечить приемлемый возврат инвестиций порядка 20-30% годовых».

http://www.hoshvapr.com.ua/rus/about/news/25/

Там была, кстати говоря, выставка «Преступление в раю» Руслана Вашкевича:

http://vashkevich.atlant-m.ua/rus/gallery.php


 
 09 сен, 08 6:56
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В Hasted Hunt Gallery обнаружился и GERALD SLOTA

http://www.hastedhunt.com/photos.php?a= ... ta&i=57430

*
Новая серия, Urbania, о которой уже шла речь:

http://www.geraldslota.com/#/urbania2008/4529486558

Интересно, что на сайте автора, кроме галерей узнаваемых работ, имеется и раздел Editorial (New York Times, обложки) в том же стиле. Один из разделов:

http://www.geraldslota.com/#/editorial/4522523624

Gerald Slota on artnet:

Изображение
Gerald Slota, The Phone Call, Quality Pictures, 2008

http://www.artnet.com/artist/15688/gerald-slota.html

См. еще ролик:

Gerald Slota Reel 2008 — Photography — Music Video — Film

http://www.youtube.com/watch?v=NCuycjt5vKQ

Gerald Slota, Найденные негативы, случайности и рука художника — вот здесь :

http://forum.znyata.com/viewtopic.php?p=13273#13273

http://forum.znyata.com/viewtopic.php?p=38126#38126


 
 09 сен, 08 7:51
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Noorderlicht International Photofestival 2008
Behind Walls — Eastern Europe before 1989


Изображение
© Tóth József Füles
Advertising Photographs, 1962-1970 / Hongary


http://www.noorderlicht.com/eng/fest08/index.html

Каталог:

http://www.noorderlicht.com/eng/fest08/behind-phot.html

Sergey Kozhemyakin: The Childish Album

Изображение

Sergey Kozhemyakin makes new prints from old, frequently damaged negatives that he found in the wastebasket of a cheap photo studio in Minsk. The photos are of children posing in a hotchpotch of Russian clothing styles. The attire ranges from the kokoshnik (a traditional Russian women's head-dress) and uniforms from the Napoleonic era to contemporary military uniforms and insignia. For Kozhemyakin this monotonous succession of children in nationalistic costumes is symbolic of their spiritual situation. Under the totalitarian regime everyone must be alike. Outward appearances came before inner self, and was definitive for actions. In this perspective, the children's photographs are a tiny detail in a great mechanism that was directed toward suffocating the individual.

http://www.noorderlicht.com/eng/fest08/ ... index.html

Uladzimir Parfianok: Persona Non Grata

Изображение

Towards the end of the 1980s the Belarussian Uladzimir Parfianok did portraits of about 25 of his countrymen. These were people who did not fit in the communist system, although they had been born into it and had to function in it. According to Parfianok, the degree to which they literally exposed themselves corresponded to the degree to which they did that figuratively. Most of the photographs were made in the homes of their subjects, without adding any items to the backgrounds. A number of the subjects - such as the man in the gas mask reading the newspaper Sovietskaya Kultura - decided for themselves how they were to be portrayed. Parfianok used an analogue camera and coloured and scratched the photographs by hand. Each result is as unique as the person it records.

http://www.noorderlicht.com/eng/fest08/ ... index.html

Galina Moskaleva: Reminiscences of Childhood

From her birth to 1960, the year in which she turned seven and her parents divorced, Galina Moskaleva's father photographed the family. In 1988 her father gave the negatives to her as a present. Moskaleva thought of the photographs more as a psychological investigation than as a collection of snapshots. With the aid of the negatives she began a reconstruction of her earlier life. For her, it was not remembering that was central to this process, but rewriting. Communism constructed a past that the contemporary Russian would rather forget. Moskaleva, on the contrary, wants to bring this past to life. To that end she literally revises the images of her childhood by colouring them in and duplicating them. The duplication points to how 'memory is never static, but always in movement'.

Изображение

http://www.noorderlicht.com/eng/fest08/ ... index.html

Vladimir Shakhlevich: Portrait for the Kolkhoz's Board of Honour

Изображение

In 1980 Vladimir Shakhlevich photographed the leaders of the Red Banner collective farm. The photographs were intended for an honour roll, and were made close to their homes or in the subject's workplace. The photographs show serious, proud men clad in their neatest clothing. Some wear a medal for their services to labour. A drape is held up behind them, intended to provide a uniform background after the print is cropped. In 1989 Shakhlevich reprinted the photos, without cropping them. Thus one can see where and how the photos were made, and the emphasis shifts to their constructed character.

http://www.noorderlicht.com/eng/fest08/ ... index.html


 
 09 сен, 08 8:07
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Noorderlicht 2008: Beyond Walls

Beyond Walls - Eastern Europe after 1989
Ancillary exhibition

http://www.noorderlicht.com/eng/fest08/beyond.html

Каталог:

http://www.noorderlicht.com/eng/fest08/beyond-phot.html

Igor Savchenko: Mysteria / Faceless

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The snapshots that Igor Savchenko draws upon were made in the 1930s, '40's and '50s. By scratching or bleaching them and removing elements from them and adding others to them, Savchenko gives them new meaning. Often only the outlines of a person and his/her relations to others and the surroundings remain. Glances and gestures become mysterious codes. The viewer is carried back to the moment at which the photograph was made, as if listening to an old gramophone record on which each cough in the auditorium can be heard. In the Western world Savchenko's work is related to the destruction of the individual by the Soviet regime. In extreme cases Soviet citizens burned their family albums on their own initiative. With images from the series FACELESS and MYSTERIA Savchenko pauses to honour the fact that personal memories do not yield themselves to collectivisation.

http://www.noorderlicht.com/eng/fest08/ ... index.html


 
 09 сен, 08 8:17
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15th Noorderlicht International Photofestival
Stichting Fotografie Noorderlicht
NL. Groningen, 07 Sep-26 Oct 2008

Обложка каталога (плакат?), в соответствии с новостью на Photography-Now, выглядит вот так:

Изображение

http://photography-now.com/popup_ausst_ ... gen=T62164


 
 09 сен, 08 13:04
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The New Generation
HUP gallery
NL. Amsterdam, 05 Sep-07 Sep 2008

Sofie van Dam, BeaJansen, Sofie Knijff, Isabella Rozendaal

HUP WEEKEND
UNTITLED


5, 6 en 7 september 2008

HUP Gallery presents 'The New Generation':
four talented photographers; Sofie van Dam, Beatrice Jansen, Sofie Knijff en Isabella Rozendaal.

HUP Gallery mostly shows work of established photographers. Many times we have been asked about the star of the future. That's why we decided to organise a weekend in which we show the work of four very talented photographers. This weekend is the perfect chance to buy the work of the future stars, photographers that are at the beginning of a very promising career.

The first buyers are stimulated with a discount of 10%. Besides that we offer special, very affordable editions. On Saturday and Sunday there will be a bookstore with photo books of 'young' photographers, a portfolio review and a workshop for children.

Изображение
Sofie van Dam (1983)

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Beatrice Jansen (1980)

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Sofie Knijff (1972)

Биографии:

http://photography-now.com/popup_ausst_ ... gen=T62473

http://www.hupgallery.com


 
 09 сен, 08 14:36
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HUP Gallery

The HUP (Holland Unique Photography) Gallery has been up and running since 2005. The gallery has its own character and identity and represents a selection of top photographers who deliver high quality work on an
international level.

HUP Gallery organizes around 6 (solo) exhibitions a year. For every
exhibition a catalogue is published and/or a Special Edition for printed.

Besides the exhibitions in the gallery, HUP also organizes every year the
HUP Photo Festival in Amsterdam and the PUP Award (Prize for Unique Photography).

HUP also has its own publishing company HUP Editions. HUP Editions publishes its own catalogues and every 2 months the GUP magazine
(www.gupmagazine.com). The magazine is for sale in many outlets and museums in the Netherlands and abroad.

Artists Represented
Artists: Jehsong Baak, Machiel Botman, Rutger ten Broeke, Willem Diepraam, Robert van der Hilst, Christien Jaspars, Ata Kando, Barry Kornbluh, Hannes Wallrafen, Chris Shaw

Private Collections:
Sanne Sannes, Gerard Fieret, Eva Besnyö

Два автора, работающих в цвете, остальные — с черно-белыми работами. По первому впечатлению — предельно одностильный отбор, что, в общем-то, не так.

Изображение
Christien Jaspars

Изображение
PenF chair, Machiel Botman

Изображение
Jehsong Baak, From La Ou Ailleurs

Изображение
Rutger ten Broeke, Venus Callypique naar Derger, 1981

Информация вот отсюда, там же — остальные примеры работ из галереи:

http://www.saatchi-gallery.co.uk/dealer ... 15217.html

См. еще здесь:

http://www.galeries.nl/mngalerie.asp?ga ... =848289479

и здесь: http://www.photography-now.com/institut ... I08340.htm


 
 09 сен, 08 15:09
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GUP | International Photography Magazine

GUP Magazine is your Guide to Unique Photography. Published bimonthly and distributed worldwide. GUP devotes each issue to a specific theme, featuring every angle of photography. And yeah, there's a lot to see. From extensive portfolios of respected photographers and young talent to a complete international gallery and museum exhibitionlist. It makes GUP a smart and inspirational guide for photographers, professionals in the business and all those interested in the art of photography.

GUP#15

Introduction

Graduating from a photo academy or an art college is a once in a lifetime experience made unique by the years of work often dedicated to the final result. You have to set the jewel in the crown of your study, and at the same time face the uncertain life of a professional photographer.

Any guarantees of time, attention and experimentation disappear. Here’s another take on it; next to producing quality work you have to put food on the table. While not everybody finishes on a high note with their graduation show, others realise their vision. Neither situation need determine your future as a photographer.

In this Graduates Issue we review a number of photographers fresh out of (predominantly Dutch) academies. You can also see the work of four photographers who have been going at it hammer and tong for a few years, and not without credit due. A glance into the future.

Изображение

Изображение

Изображение

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Изображение

http://www.gupmagazine.com/site/gup15


 
 09 сен, 08 15:24
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Предыдущие выпуски:

The Amsterdam Issue

Изображение

http://www.gupmagazine.com/site/gup12

The Rotterdam Issue

Изображение

http://www.gupmagazine.com/site/gup09

The Photo Book Issue

Изображение

http://www.gupmagazine.com/site/gup10

The New Dutch Heroes Issue

Изображение

http://www.gupmagazine.com/site/gup11

The Fashion Issue

Изображение

http://www.gupmagazine.com/site/gup08

The Japan Issue

Изображение

http://www.gupmagazine.com/site/gup05

The Nude Issue

Изображение

http://www.gupmagazine.com/site/gup04

The Manipulation Issue

Изображение

http://www.gupmagazine.com/site/gup03

The Portrait Issue

Изображение

http://www.gupmagazine.com/site/gup02

Все выпуски:

Изображение Изображение Изображение

(4-ый, 3-ий, 2-ой)

http://www.gupmagazine.com/site/backissues


 
 09 сен, 08 15:40
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New Photography 2008: Josephine Meckseper and Mikhael Subotzky
September 10, 2008–January 5, 2009

The Robert and Joyce Menschel Photography Gallery, third floor

New Photography is the annual fall showcase of significant recent work in photography. This year's exhibition features the work of Josephine Meckseper (German, b. 1964) and Mikhael Subotzky (South African, b. 1981). In her photographs and signature vitrine displays, Meckseper explores the media's strategy of mixing political news and advertising content. Her installation includes a selection of life-size photographs of models dressed in vintage lingerie from the 1950s, from her 2006 Blow-Up series. Also included is Quelle International (2008), a new group of pictures culled from a mail-order catalogue popular in Germany in the 1970s that have been printed on reflective Mylar. In both series the artist uses the semantic codes of advertising to address issues of power and consumerism.

Subotzky's recent body of photographic work, Beaufort West (2006-2008), portrays a small desert town in South Africa's Western Cape blighted by unemployment, rampant crime, domestic violence, poverty, and segregation. The artist was drawn to this subject by the local jail, which is strangely situated in the center of the town, in a traffic circle at the intersection of the main highway between Johannesburg and Cape Town. His photographs of Beaufort West's various populations—inmates, outcasts, families, residents, and passersby—formulate a stirring vision of South Africa's strained post-apartheid condition.

http://moma.org/exhibitions/exhibitions.php?id=8380

! Видео:

New Photography 2008 (Josephine Meckseper and Mikhael Subotzky), on view at MoMA
http://ca.youtube.com/watch?v=XmrkvjjGK1Q&feature=user

Ранее и довольно полно по ссылкам, начало июля было:
http://forum.znyata.com/viewtopic.php?p=37875#37875

Пару дополнений:

GALERIE REINHARD HAUFF — JOSEPHINE MECKSEPER (кликабельно)
http://www.reinhardhauff.de/artist.php?id=4&task=works

Artkrush, One to Watch, Josephine Meckseper

People walking past New York's Elizabeth Dee gallery this past May likely wondered whether multimedia artist Josephine Meckseper had crafted an art installation or a boutique display. Adverting to the deepening US economic crisis, Meckseper's transformation of the gallery into a politically charged emporium came complete with rotating shelves, mannequins, and found objects. Working at the intersection of politics, consumer society, and the iconography of advertising, Meckseper is as intrigued as she is ambivalent about the interdependence of art and commerce in late-capitalist society…

http://www.artkrush.com/170519

Elizabeth Dee: Josephine Meckseper (крупные иллюстрации экспозиции)
http://www.elizabethdeegallery.com/arti ... -meckseper

Загляните и на страницу публикаций:
http://www.elizabethdeegallery.com/arti ... -meckseper

*

To read Aperture’s web-exclusive interview with Subotzky, click here:

http://aperture.org/store/mag-webex-subotzky.html


 
 09 сен, 08 23:59
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Exposures:

Last Night’s Blowout Opening for Josef Koudelka

http://exposures.aperture.org/wp-conten ... delka2.jpg

http://exposures.aperture.org/wp-conten ... delka1.jpg

http://exposures.aperture.org/wp-conten ... dleka3.jpg

The fall art season kicked off with a resounding bang last night. Crowds poured into Chelsea, the heart of New York’s art district, and the excitement of multiple exhibitions opening all at once electrified the neighborhood. Almost 1,300 people came to see Invasion 68 Prague, featuring the work of legendary photographer Josef Koudelka. This pivotal group of images is presented on the occasion of the 40th anniversary of the Soviet-led invasion of Prague and runs through October 30.

Read the review by Bill Meyers in the New York Sun here:

http://www.nysun.com/arts/protests-of-p ... ate/85148/

http://exposures.aperture.org/?cat=7

Josef Koudelka Exhibitions Opening Tonight in NYC: http://exposures.aperture.org/?p=290

photo-eye | Magazine, блог:

This last Thursday, August the 21st, was the 40th anniversary of the Soviet invasion of Czechoslovakia. Jim Johnson over at (Notes On) Politics, Theory and Photography had a couple good posts on how Magnum, Aperture and some of the general media have addressed the anniversary. Most interesting is perhaps Sean O'Hagan's profile on Josef Koudelka, recently published on the Guardian UK's website.

In 1969, a year after Russian tanks rolled into Prague, Josef Koudelka visited London with a Czech theatre group. One Sunday morning he was walking out of his hotel near the Aldwych Theatre when he saw some members of the theatre group perusing a copy of the Sunday Times magazine. As he passed, he saw to his surprise that they were looking at his own extraordinary photographs of that Russian invasion and the spontaneous street protests it provoked. The same photos have since become the definitive pictorial record of a pivotal event in 20th century history...

The article goes on to shed much light on some of the lesser-known chapters in the legendary Czech photographer's personal and professional history. It is well worth the read.

http://politicstheoryphotography.blogsp ... l/Koudelka

http://www.guardian.co.uk/artanddesign/ ... hotography


 
 10 сен, 08 0:16
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Там же, на Exposures:

Polixeni Papapetrou: Games of Consequence

Изображение

http://exposures.aperture.org/?p=260

Foley Gallery

POLIXENI PAPAPETROU: Games of Consequence
September 4-October 11

Изображение
Polixeni Papapetrou, Miles from Nowhere, 2008
44 x 44 inch Pigment print, Edition of 6


 
 10 сен, 08 0:33
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В связи с именами в The Fashion Issue ( http://www.gupmagazine.com/site/gup08 ), если Терри Ричардсона пропустить…

Marcel van der Vlugt

Ранняя серия:

Before and After

Изображение
Marcel van der Vlugt: saskia before and after, 1998

Изображение
Marcel van der Vlugt: slaaf before and after, 1998

Изображение
Marcel van der Vlugt: louise before and after, 1998

Изображение
Marcel van der Vlugt: sylvia, 2002
Edition:5-15


2x Giclée print, 47 x 37 cm/100 x 79 cm


 
 10 сен, 08 19:18
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