Форум фотографов.

Встреча с легендой.

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Валерий Лобко [ 10 сен, 08 19:25 ]

Marcel van der Vlugt

Marcel van der Vlugt — Marcel van der Vlugt has sucked in photography with his mothers milk: his family lived above his parents photo studio in Naaldwijk in the Netherlands. During his study at the School of Photography in the Hague he already shot editorials for Dutch Viva magazine and in 1979 he became assistant in Dusseldorf and London.

There he took up a lot of experience by working both on remote locations and in the studio. In the mean time he made autonomous work, which he exhibited in Eindhoven in 1981 for the first time. A year later he established himself as a photographer in Amsterdam. Since then he has succeeded extremely well in combining autonomous, advertising and fashion photography From 1986 Van der Vlugt has been working exclusively with Polaroid film material. Instead of shooting several images per second, he rather makes one image in a few minutes.

This apparently slow working method enables him to make his compositions very precise. Every exposure is a wellmade choice, a link in a long chain. Every new image can be compared with the previous ones and because of the immediacy of the endresult chance can be monitored consciously. The special color character of the Polaroid film ads to the uniqueness of the image.

He has received numerous awards for both editorial and advertsing work and tv commercials. The mix between freedom en ties can be viewed in his editorial work for magazines such as Avenue, Dutch, Bloom and View on Colour.

Series: Buds

Marcel van der Vlugt, Anthurium 139, 1993
polaroid (dry-dye diffusi.. 24 x 19 cm

Marcel van der Vlugt, Anthurium 138, 1993
polaroid (dry-dye diffusi.. 24 x 19 cm

Marcel van der Vlugt, Poppy 161, 1998
Giclée print, 61 x 47,7 cm

Валерий Лобко [ 10 сен, 08 19:45 ]

Marcel van der Vlugt

a new day

Marcel van der Vlugt, sb 19, 2006
pigment print, 90 x 70 cm / 110 x 86 cm
Edition:6 / 6

Marcel van der Vlugt, sb 13, 2006
pigment print, 90 x 70 cm / 110 x 86 cm
Edition:6 / 6

Marcel van der Vlugt, sb 26, 2006
pigment print, 90 x 70 cm / 110 x 86 cm
Edition:6 / 6

Marcel van der Vlugt, sb 6, 2006
pigment print, 90 x 70 cm / 110 x 86 cm
Edition:6 / 6

Marcel van der Vlugt, sb 35, 2006
pigment print, 90 x 70 cm / 110 x 86 cm
Edition:6 / 6

Это все — из нескольких разделов галереи witzenhausen

http://www.witzenhausengallery.nl/artis ... Artist=115

Валерий Лобко [ 10 сен, 08 19:52 ]

Witzenhausen Gallery

A new Day
Marcel van der Vlugt
03 May 2008-24 May 2008

The latest image from Marcel van der Vlugt's series 'A New Day' bears the title 'New Lilith'. The photo is a remake of the painting Lilith by British pre-Raphaelite painter John Collier (1850-1934). According to Apocryphal scripture, Lilith was Adam's first wife. She refused to subdue him and -when he tried to force her- she fled from paradise. Subsequently, God created Eve out of Adam's rib, but Lilith returns and tempts Eve into eating the forbidden fruit of the tree of Knowledge of Good and Evil. Lilith is the universal archetype of the rebellious woman who refuses to be the underdog, only to be punished by the male oppressor. Oppression leads to revolt, revolt to oppression, thereby completing the circle. The subsequent images in the series show Lilith in bondage. Wrapped like a mummy, she is completely defenseless.

As the first image is a remake the rest of the series is a makeover. 'A New Day' is all about an imaginary beauty-clinic for plastic surgery where - instead of liposuction, Botox, breast augmentation, leg-length increasement or facelifts - implantation of blossom is being performed. Blossom being a metaphor for youth, new life and fertility: A contradiction between eternal youth and transience. The series is not free of irony. By swathing a woman in bandages, barring her naturally perfect breasts, the viewer has the illusion that the breasts have been surgically corrected. Van der Vlugt is fascinated by the different aspects of the term "beauty".

The editorial and autonomous work of Marcel van der Vlugt (1957), is of an unmistakably sensual quality, erotic and titillating, but certainly not abusive of or unkind to women. This is in part due to the use of Polaroid-material, with which Van der Vlugt involves the model in every step of the process. A photo is never "stolen", always taken with consent and participation. This makes Van der Vlugt more poetic than exposing.'

Text by Pim Milo

http://www.artfacts.net/index.php/pageT ... 646/lang/1

http://www.witzenhausengallery.nl/artis ... Artist=115

http://www.witzenhausengallery.nl/docs/ ... %20eng.doc

Все проекты см. на сайте автора: http://www.marcelvandervlugt.com

(Где и раздел видеопроектов)

Видео на YouTube: http://www.youtube.com/view_play_list?p ... 30C4612205

Playlist: Marcel van der Vlugt

Description: If a photographic eye is something one inherits, then the van der Vlugts definitely have the genes. A sensitive and daring photographer, Marcel van der Vlugt is widely acknowledged for his striking and sometimes controversial stills shot on gigantic Polaroids. His cutting-edge editorial work has been featured in magazines like Dutch, Vogue, IT , and Jalouse. In 1991, van der Vlugt spread the wealth and forayed into film where he successfully translated his eye-catching style to commercials. Soon enough he captured a Gold Lion for a PSA in Cannes. Van der Vlugt seamlessly moves between the two disciplines enjoying a symbiotic relationship and continuing to deliver head-turning work.

См. также:

Aschenbach & Hofland Galleries

marcel van der vlugt

As one of the most important Dutch fashion photographers, Van der Vlugt examines another aspect of the term beauty in this series. The model of perfectionism is destroyed. Instead of the finest care products, he decorates his model with pastes, sludges and littering composed of materials from his own addiction and stimulant arsenal: coffee, chocolate, sugar, licorice, ham, cola, etc.

With these unaccustomed substances, Van der Vlugt transforms the models' faces. Other associations are conjured up from the subconscious like in a surrealistic theatre show. The enticing image of beauty is turned into a mirror in the series I Like..., showing us our fears and our darkest desires. This leads to probing pictures that arouse feelings of disgust but at the same time confirm the eroticism and pure aesthetics of the images.

http://www.gerhardhofland.com/exhibit-d ... ?expoid=41

Kunsthal: Beauty and Other Secrets

With the works of photographer Marcel van der Vlugt Kunstal Rotterdam presents a world full of mysterious beauty. The quest for beauty can be considered as the central theme of these works. Various series of photographs show wilted flowers, alluring nude or bandaged bodies and mystic landscapes. These pictures, mostly staged and composed, find their inspiration in the visual language of various media, amongst which the fashion and advertising industry. It is for the very first time that several series are presented simultaneously at an exhibition.

http://www.kunsthal.nl/en-22-386-Beauty ... crets.html

Валерий Лобко [ 11 сен, 08 7:20 ]

Lithuanian Portraits
Antanas Sutkus
White Space Gallery
GB. London, 11 Sep-10 Oct 2008

untitled, Vilnius 1972

1959 Maratonas Universiteto gatveje,1

…Beyond recording events, Sutkus' keen eye finds history in human faces. Portraits such as the profoundly affecting Blind Pioneer (1962) radiate pathos, the product of intense sensitivity on the part of the photographer. Indeed, Sutkus' humanistic approach, in debt to Cartier-Bresson, comes to the fore in both his images of children and old people. Treading a delicate path that is rooted in care for his subjects, the photographer manages to avoid sentimentality in recording the passage of being into life - and towards death. Filled with romance, beauty and sadness, they move beyond photographic realism like stills from an unmade film. His stated aim is 'to make an attempt at drawing a psychological portrait of contemporary man'. He continues - 'future generations will judge our way of life, our culture and our inner world on the basis of photographs.' The selection on show in 'Lithuanian Portraits' are his testimony.

As a child Sutkus worked with his mother digging peat; not earning enough to buy for a bicycle he bought a camera instead. He later became a photojournalist and, since 1969, has worked as an independent photographer. Co-founder and President of the Photography Art Society ofLithuania which championed photography as an art form, Sutkus helped gain international recognition for Lithuanian photographers. He now devotes more time to archiving images but has an enduring passion for photography saying, 'I have not got tired of taking photographs but I find it ever more difficult to find my subjects. One has to love people in order to take pictures of them.'

In 2001-02, Sutkus won the Erna & Victor Hasselblad Foundation Grant, Sweden, for 'Documentation and Conservation of Antanas Sutkus' Archive of Photographs'…

Part I, London: 11 September-10 October
Anya Stonelake / White Space Gallery

Part II, Moscow: 26 September - 26 October
Bottling Hall, Winzavod Contemporary Art Centre,
4th Syromyatnicheskiy pereulok, 1/9 Moscow

Весь текст + 2 иллюстрации:

http://photography-now.com/popup_ausst_ ... gen=T62130

Валерий Лобко [ 11 сен, 08 7:22 ]

Одна из недавних выставок в White Space Gallery —

Bright, Bright Day — Polaroids by Andrey Tarkovsky


White Space Gallery, in association with the Tarkovsky Foundation, has published a book of previously unseen photographs by the legendary Russian filmmaker Andrey Tarkovsky (1932 - 1986). The book's launch will coincide with the exhibition Polaroids by Andrey Tarkovsky at White Space Gallery in London (22 November - 20 January 2008), as well as the release of a limited edition portfolio of polaroids. These events, and many others celebrating the 75th anniversary of the filmmaker's birth, including screenings at the Curzon Mayfair (7-13 Dec) are part of the Tarkovsky Festival in London (Nov 07-Jan 08 ).



Электронная версия книги:



Валерий Лобко [ 11 сен, 08 10:52 ]


Фотография на память
Анастасия Палёнова, 22/08/2008

Московские фотогалереи ведут борьбу за покупателя. Одни прибегли к услугам авторов популярного интернет-ресурса, другие сделали ставку на звезд агентства Magnum.

«…Попытку приучить московского покупателя к фотографии делали не только малочисленные профильные галереи и главный вдохновитель фотодвижения Ольга Свиблова, но и западные гости на Арт-Москве. В 2007 году ярмарку посетила галерея Lumas, отделения которой есть в крупнейших городах Европы, Америки и Австралии. Lumas — явление на западном рынке вполне типичное: галерея торгует отпечатками, чей тираж может достигать от сотни до нескольких тысяч экземпляров. «Обнаженная» Нобуеси Араки обойдется всего в $3250 (тираж 100 экземпляров), а известный снимок Мартина Мункачи с голыми мальчиками на озере Танганьика — в $230 (неограниченный тираж).

На Арт-Москве Lumas досталось не самое завидное место — стенд на третьем этаже ЦДХ, куда усталый посетитель ярмарки доходит не всегда. Галеристы сидели угрюмые и не скрывали разочарования — принцип тиражированного отпечатка не нашел отклика в сердцах московских покупателей. Последняя Арт-Москва дела не поправила. Конечно, уже были представлены две первые фотогалереи Москвы — «Победа» и Photographer.ru. Однако цены на их стендах колебались очень серьезно, а ниша бюджетной фотографии по-прежнему осталась не заполнена. Галерея Lumas, естественно, не приехала, а остальные западные гости словно вернулись на десять лет назад — к примеру, миланская B & D привезла в Москву Дэвида Лашапеля, цены на которого отнюдь не доступные.

В таких непростых условиях тому, кто решил собирать фотографию, стоит четко определиться с тем, чего же он все-таки хочет, поскольку формат отечественных фотогалерей не слишком очевиден: одну стенку могут делить работы как юных талантов, так и признанных или забытых мэтров фотографии. Кое-какие направления выделить все же можно…

http://www.openspace.ru/art_times/galle ... ails/2577/


Борис Михайлов, или Cудьба свободного времени
Давид Рифф, 19/08/2008

«Фотографии Бориса Михайлова могут напоминать домашнее порно, но на самом деле они — о любви, творчестве и подлинной свободе…

«Откуда начнем?» Пока я сидел у входа на персональную выставку Бориса Михайлова «Исторические инсинуации» в залах RIGroup, я то и дело слышал, как люди задавали этот вопрос. Оно и неудивительно: написано, что выставка приурочена к семидесятилетию фотографа, так что многие ожидают чего-то вроде ретроспективы. А у ретроспективы всегда есть начало, середина и конец. Снова и снова я слышал, как смотрительница дает неверный ответ. Она советует посетителям начать с «Сюзи и другие», самой ранней серии. На мой взгляд, это ошибка…»



Сергей Братков: «Тема гадости становится главной»

«Русско-украинский классик фотографии о том, как изменились люди за последние десять лет…»


Все публикации по фотографии >

Валерий Лобко [ 11 сен, 08 23:32 ]

Борису Михайлову — 70!
11.09.2008 — 23.09.2008

Учасники: Чічкан, Рідний, Попов, Волязловський, Гнилицький. До України вперше повертаються роботи Бориса Михайлова із серії «Я не Я».


Репортаж, надо полагать, будет позже.

Такая вот она, жизнь в Берлине…


Там же:

Найновіший фотопроект Бориса Михайлова та Миколи Ридного
06.09.2007 — 17.09.2007


Валерий Лобко [ 11 сен, 08 23:50 ]

Institut tvůrčí fotografie — любопытные снимки на странице новостей:


Там же — кадры из серии Адама Тухлинского о Беларуси. См. на сайте автора:


32. Some use has been found for the old uniforms of the Red Army soldiers taken from the wardrobe of a theatre in Minsk. The props from the Brezhnev era enjoy second youth. For Belarusian authorities, everything goes according to the plan: the Soviet symbolism has good associations for older generations who still remember their younger days, and young people have no choice – they have to like it, because these are the only costumes in Belarusian theatre.



Валерий Лобко [ 12 сен, 08 8:45 ]

Ну что бы мы делали без Blogs Speaking Photography… [EV +/-] Exposure Compensation:

Tom Chambers

Ранее упоминался в рассылке (ссылки от Игоря Крашевского).
Фотошопные манипуляции, такие, в общем, приземленные мечты…

Крупно: http://www.oswaldgallery.com/images/303.jpg

Tom Chambers
Cow Girl, 2006
Digital pigment print

Oswald Gallery (Jackson, Wyoming)
September 2nd-October 30th, 2008


The photomontages created by Tom Chambers are based, not on art historical or philosophical tenets, but on the purely emotional and visceral reaction of the viewer. His dream-like creations are built upon Mexican and Native American ritual, the mysteries inherent in spirituality and, just as importantly, personal and collective childhood fears. Chambers first sketches a concept, then photographs each piece of an image that eventually forms the ensemble that is the finished photograph. Emphatically real, Chambers’ photographs reach into the netherworld of our imaginations and nightmares and pulls from them his Improbable Dreams.

Крупно: http://www.oswaldgallery.com/images/309.jpg

Tom Chambers
Making Fire, 2004


Miguel Garcia-Guzman:

Great photography can also be imagined and created by mixing elements of reality in ways that become a new imaginary world, different from our real life but able to touch our feelings. Photography becomes then a dream of our reality. This is how I see the work of Tom Chambers. His images are both so real and so surreal that I have to respond to them. They become part of a story that I like to know about.

'Usually, photography by its nature wants to document a precise moment in time. My work doesn’t consist of documenting but rather illustrating fleeting moods that can’t be captured by a traditional camera or seen by the naked eye. Therefore, I consider myself to be both an illustrator and a photographer. My grandfather was a painter. Maybe I am following a family tradition within a different artistic realm'. Tom Chambers

Сайт автора: http://www.tomchambersphoto.com/

Все preview: http://www.tomchambersphoto.com/galleries/view_all.php

Как это сделано:


Информация (PDF) вот здесь:

Process statement
I initially sketch out a concept or idea I have for an image. I photograph each piece of the image using a medium format film camera, generally a Mamiya Pro TL or a Fuji Rangefinder. I am careful to make sure the light intensity and direction are similar in each of these shots. This process may take a month depending on how quickly I am able to get all the shots and sort through them picking the ones which work best together. "Pieces" of the final image may include the landscape or background, often shot in sections, as well as the sky, a human figure, an animal, or another object. The processed film is scanned at a high resolution, approximately 80 megabytes per frame. Then, I use Photoshop software with a Macintosh computer to combine each "piece", thus creating the final image. Lastly, the image is printed with an Epson printer using archival inks and paper.


См. специально большую статью

Kimberly Brooks
Photography Undergoes a Sex Change: The Art Of Tom Chambers

Over the last ten years, the art of photography has undergone a sex change. The rather masculine act of capturing or "shooting" a moment ("the hunt") with a sound subject and composition has evolved into one where the real art comes in the editing, not the capturing. The initial "kill" gets skinned, dressed and prepared for a meal by the wonderful witchy post production tool known as Photoshop. The photographer, like a woman putting on make up at her vanity before going out for the evening, edits reality: the best features and colors are enhanced and sharpened, and a new, hyper-realistic art form, with a nod to surrealism of last century, is born.

Of course, there's no question that a digitally manipulated photograph cannot compare to the majesty of a single moment captured 4 x 5 or 8 x 10 film. In truth, manipulating images with lenses or the dark room has occurred since photography was invented. But the difference is that working in Photoshop overtakes the camera as the instrument of creation. Some art schools and galleries still hold a fundamentalist/purist view that such imagery is not authentic and therefore not art. But the reality is that labs are harder to find, Leica is out of business, and Photoshop's sorcery are shaping a new aesthetic which is finally being taken seriously as an art form and is injecting itself into the mainstream culture. Limited editions by some artists such as Loretta Lux (below) fetch up to $100K per print and her style was happily ripped off by none other than Van Cleef and Arpels for their recent ad campaign.

http://www.huffingtonpost.com/kimberly- ... 99886.html

Валерий Лобко [ 12 сен, 08 8:59 ]

В галерее: Thomas Allen, только закончилась выставка:



Hiroshi Watanabe, классическое серебро:

Hiroshi Watanabe
Hirokazu Nishijima, Matsuo Kabuki
Gelatin Silver Print

Hiroshi Watanabe
Rikuto Tada as Onohachi, Matsuo Kabuki
Gelatin Silver Print

Hiroshi Watanabe
Ikki Tada, Matsuo Kabuki
Gelatin Silver Print

Hiroshi Watanabe
Marina Ema, Matsuo Kabuki
Gelatin Silver Print


Галереи на сайте автора:

http://www.hiroshiwatanabe.com/HW%20web ... ntent.html

Валерий Лобко [ 12 сен, 08 9:21 ]

Kimberly Brooks в статье Photography Undergoes a Sex Change: The Art Of Tom Chambers ссылается на публикацию в New York Times, которая напрямую по ссылке недоступна:

Sepia No More
Published: April 27, 2008

Forget the art-school aesthetic. Photo-sharing Web sites have their own ideas about beauty.

Первая страница, впрочем, открылась один раз:
http://www.nytimes.com/2008/04/27/magaz ... ium-t.html

См. еще здесь:
http://themedium.blogs.nytimes.com/2008 ... a-no-more/


Thomas Hawk's Digital Connection: The New York Times on the New Art of Flickr:
http://thomashawk.com/2008/04/new-york- ... lickr.html

Don't get what I'm saying wrong. I do believe that some of the photographers that the fine art world has historically bestowed as worthy are very much in fact worthy. But there are many new photographers that I believe are every bit as worthy. And I think that they too will begin to see the success that they equally deserve -- even without an MFA, even without networking like hell with the fine art crowd, even without the right group shows or whatever that civ thing is that the fine art types tend to obsess over, and even without being 21 and beautiful and just the right type that just the right curator likes to sleep with.

Worthwhile reading: Merkley's treatise, "I'm Not a Photographer."

http://www.threequestionmarks.com/blog/ ... apher.html

Валерий Лобко [ 12 сен, 08 11:37 ]

В унисон:

Flak Photo: http://flakphoto.com/


Flak Photo is a photography blogzine featuring distinctive work from an international community of contributors that promotes interesting visual approaches to seeing the world and celebrates the art of exhibiting quality photography online. The blog is produced by Andy Adams and features work from new photo essays, book projects and gallery exhibitions from established and emerging photographers. Flak Photo is updated frequently, attentively edited and open to submissions from the general public.


To submit your work for consideration, email your photograph (sRGB JPG format, minimum 1000px on the longest dimension) with title and place of capture including city, state/province, country and year to photo@flakmag.com. Contributors are encouraged to include their website URL with their submission. Although we are unable to offer monetary compensation, your work will be seen by Flak Photo's growing readership of photographers, galleries, publishers and photo editors.

Собственно, вот это:


Hijacked, Volume One | Australia and America
Flak Photo is pleased to team up with Big City Press to feature a selection of images from Hijacked, Volume One, a photographic book + exhibition that gives voice to some of the most exciting and provocative photographers working in Australia and America today. These images erase traditional boundaries between art, document and snapshot to point towards the future of contemporary photomedia.

In support of the project, Flak Photo highlights twenty-five of these photographers in the month of September and includes images from Timothy Archibald, Greta Anderson, Grant Willing, James Mellon, Robin Schwartz, Lisa Kereszi, Mark McPherson, Gareth Willis, Alana Celii, Bill Sullivan, Caitlin Harrison, David Griggs, Emily Portman, Graham Miller, Janelle Ryan, Jason Lazarus, Juha Tolonen, Karron Bridges, Martin Mschkulnig, Michael Gray, Nathalie Latham, Nicholas Chatfield-Taylor, Shen Wei, Suzy Poling and Amy Stein.

Shunning repetitive and predictable curatorial structures, Hijacked's aesthetic is driven by the mindset and energy of young and emerging practitioners. Embracing the prevailing wanderlust of their generation, their work exhibits a fascination with international subcultures, fragmented trends, alternate life styles and urban landscapes. The exploration of suburban pleasures is placed on par with 'high' artistic experimentation.

Relentless in its ambition, much like the photographers, writers and contemporaries whose work it presents, Hijacked is a hybrid of real time photography and life in real time.

Gene at Home, Perth, Western Australia, 2006
Photo © James Mellon — featured in Hijacked, Volume One: Australia and America

Hijacked, Volume One | Australia and America



Валерий Лобко [ 12 сен, 08 11:40 ]




О молодых авторах:

The New Breed of Documentary Photographers

Verve: endurance, fire, force, gumption, gusto, intensity, moxie, passion, spunk, stamina, strength, toughness, vigor

Photographer and photo editor Geoffrey Hiller has created Verve to feature photos and interviews by the finest young image makers today. Verve is a reminder of the power of the still image. Verve will also point you to new photo agencies, publications and inspiring multimedia projects.


Валерий Лобко [ 12 сен, 08 12:03 ]

И еще:

„Foto:Buch“ – Der 4. Kasseler Fotofrühling

Bilder vom Fotofrühling 2008 …

http://www.kasselerfotoforum.de/index.p ... rent_id=10

… в том числе и вот эта книга:

Kiyoshi Suzuki: Soul and Soul 1969-1999







Вот тут — подробности о выставке:


Крупная картинка с выставки:


См. также рецензию и три больших (длинных) иллюстрации здесь:

5B4: Soul and Soul by Kiyoshi Suzuki

Before a few days ago I had not even heard of the Japanese photographer Kiyoshi Suzuki. By the suggestion of a friend I ordered the new catalog from the Noorderlight Photogallery in the Netherlands on Suzuki called Soul and Soul 1969 - 1999. Suzuki was a photographer who began his career in the late 1960s and he self published eight books between 1972 and 1998. He died at the age of 57 in 2000. By odd coincidence, the day I received a catalog in the mail I had also started cat-sitting for a friend who happens to have a large photo book collection and while skimming his book shelves I found the original edition of Kiyoshi Suzuki's first book published back in 1972. The Japanese title of Soul and Soul, Nagare No Uta can be translated as Song of Drifting / Song of Wandering / Song of Floating.

…The catalog is is as seductivly tactile as it is visual. The paper used has a nice texture and the cover design -- which is a full bleed facsimile of the maquette cover of Soul and Soul with crop marks etc -- looks wonderfully aged. Another aspect that I like is that the texts for the catalog appear in a small 6X6 inch booklet which is laid into the catalog. All in all, this serves as a fine introduction to Suzuki although I do take exception to the rearranging of the page order for the sake of the catalog. Suzuki seemed to be someone who painstakingly ordered his work to find the voice and here Botman has restructured labored sentences.

http://5b4.blogspot.com/2008/05/soul-an ... uzuki.html

Валерий Лобко [ 12 сен, 08 14:42 ]

Что-то снимки с сервера Znyata не линкуются… Приаттачиваю, посылочка из Киева:


mick_coll.jpg [ 40.96 Кб | Просмотров: 575 ]

mick_exhb.jpg [ 332.59 Кб | Просмотров: 596 ]

Валерий Лобко [ 12 сен, 08 15:07 ]

Бегло если по именам в witzenhausen gallery:

Daniele Buetti

A taste FOR LUXURY doesn't mean NECESSARY GOOD taste

Вся галерея: http://www.witzenhausengallery.nl/artis ... xArtist=86

Hendrik Kerstens

Hendrik Kerstens: Black Fur, January 2008

http://www.witzenhausengallery.nl/artis ... xArtist=12

Lalla Essaydi

Lalla Essaydi: Converting Territories, Apparel #6

http://www.witzenhausengallery.nl/artis ... Artist=179

Paul Blanca

Paul Blanca: Domestic violence Giullia

http://www.witzenhausengallery.nl/artis ... xArtist=15

Paul Bogaers

Paul Bogaers: Sexual obsessions

http://www.witzenhausengallery.nl/artis ... Artist=186

И другие (там не только фотографы, так что смотреть нужно подряд)…

http://www.witzenhausengallery.nl/index ... 1&fmode=10

Валерий Лобко [ 13 сен, 08 9:21 ]

Две выставки, две эпохи…

Epoche der Eleganz
Regina Relang
Aplanat Galerie für Fotografie
D. Hamburg, 12 Sep-25 Oct 2008

http://photography-now.com/pn/Bilder/Ha ... T62567.jpg



Regina Relang gilt als die bekannteste Modefotografin der 50er und 60er Jahre. Sie arbeitete für Magazine wie "Vogue", "Madame", "Harper's Bazaar", für die großen Designer wie Christian Dior, Pierre Cardin oder Yves Saint Laurant.

http://photography-now.com/popup_ausst_ ... gen=T62567


Hatje Cantz:

Regina Relang
The Elegant World of Regina Relang. Fashion and Reportage Photography

1928–32: studied painting at the Kunstakademie Stuttgart and the Hochschule für Bildende Kunst Berlin; moved to Paris in 1932; travel and fashion reportage from locations in southern Europe for Vogue and Die Dame; photo features for Madame, Constanze, Film und Frau, Annabella, and Quick after World War II. Awarded numerous photography prizes; recipient of the German Order of Merit, 1972.

Masterly composed, poetic, and extraordinarily elegant photographs from the world of fashion were Regina Relang’s hallmark. With her photo features composed with verve and grandeur, the great postwar German photographer soon became the darling of Paris haute couture. During the fifties and sixties, she photographed the breathtaking new fashion collections of Christian Dior, Pierre Cardin, and Yves Saint Laurent, capturing as if in passing the evolving image of woman in the second half of the twentieth century.

http://www.hatjecantz.de/en/collectorse ... f=09201588

Schupmann Collection: Regina Relang



a true story of beauty and obsession — Regina Relang



Самая большая подборка:

Regina Relang | Регина Реланг

Наташа ([info]journalistka2) wrote in ruguru:

«Регина Реланг, настоящее имя Regina Lang (* 1906 Штуттгарт † 1989 Мюнхен) - одна из самых известных модельных фотографов Германии. Она изучала живопись в Штуттгарте и Берлине. Вслед за сестрой, обучавшейся фотографии, она поехала в Париж. Регина путешествовала по всей Европе и с 1936 года начала публиковать свои фоторепортажи. Ее работы также появлялись в таких журналах, как Harper's Bazaar, Vogue и Bild der Frau.

После войны Регина переезжает в Мюнхен. Работает с Робертом Капа. Фотографирует для знаменитых дизайнеров, как Диор, Пьер Карден и Ив Сен-Лоран. Ее фотографии презентаций Haute Couture в Париже появлялись во всех модных журналах Германии и Европы. Ее имя становится известным, в конце 70-ых–начале 80-ых ее работы выставляются по всей Германии. В 72-ом году Регина Реланг награждается Bundesverdienstkreuz (Крест за заслуги перед Федеративной Республикой Германия).

Увы, ее работ и информации о ней очень мало в сети. Большая часть фотографий отсканированы мной».


(см. там дискуссию)

Валерий Лобко [ 13 сен, 08 9:28 ]

50 Starfotografen zeigen ihre Vision von Schönheit
Haus der Photographie / Deichtorhallen
D. Hamburg, 20 Sep-26 Oct 2008

Miles Aldrige: Homeworks #3, 2008, Lambdaprint, 101,6x152,4 cm.

CAMILLA ÅKRANS: Sara Blomqvist, Paris, 2008, Inkjetprint auf Büttenpapier, 70x70 cm.

Camilla Åkrans, Miles Aldridge, Enrique Badulescu, Walter Chin, Liz Collins, Elaine Constantine, Greg Delves, Michelangelo di Battista, Horst Diekgerdes, David Drebin, Tony Turan, Arthur Elgort, Jenny Gage & Tom Betterton, Nathaniel Goldberg, Torkil Gudnason, Henrik Halvarsson, Pamela Hanson, Steve Hiett, Marc Hom, Matt Jones, Greg Kadel, Ali Kepenek, Paola Kudacki, David LaChapelle, Peter Lindbergh, Glen Luchford, Dan Martensen, Ralph Mecke, Sheila Metzner, Nino Muñoz, Adam Munro, Sheryl Shields, Vincent Peters, Rankin, Bettina Rheims, Paolo Roversi, Satoshi Saikusa, Luis Sanchis, Norbert Schoerner, Stephane Sednaoui, Peggy Sirota, Michael Thompson, Donna Trope, Diego Uchitel, Max Vadukul, Albert Watson, Bruce Weber, Jan Welters, Olaf Wipperfürth, Yelena Yemchuk

…50 internationale Top-Fotografen wie Peter Lindbergh, Sheila Metzner, Bettina Rheims und Albert Watson waren aufgefordert, neben eigenen Fotografien jeweils ein Statement der persönlichen Ansicht von zeitgenössischer Schönheit einzubringen. Entgegen der Vermutung, es ginge sicher nur um junge Mädchen mit Größe 34 oder Stars wie Angelina Jolie, präsentieren die Künstler einen komplexen Kosmos unterschiedlichster Typen und Altersstufen.

http://photography-now.com/popup_ausst_ ... gen=T62633

Dreamwomen. Beauty in the 21st century.

Foto/©: Dan Martensen

They have the most beautyful women in front of their camera: the top fashion photographers of the world. But what is their personal relationship to beauty? What is the inspiring power behind the idealised image of the zeitgeist? How does the power of the muse define itself? What evolves, what results beyond the requirements of the market or the order to produce, what evolves „out off itself“?

For the first time the exhibition and the book turn out the elite of fashion photography and place it in an artistic creative frame.

Whether intimate, tender moments or unsual, unsparing views – it concerns much more than the reflection of social ideals, it concerns the „the truth of beauty“ and how it reveals itself. And how the truth hides itself in the appearance (countenance) of the public image, which imposes the dubious (questionable) idols of a permanent image of slimness and of youth. A project, which shows us ways into the future of our perception.


Валерий Лобко [ 13 сен, 08 9:39 ]

Интересно сравнить два подхода, Museum für Photographie и Photography-Now. Выставка

Jerry Berndt
Museum für Photographie
D. Braunschweig, 19 Sep-02 Nov 2008

alle Abbildungen © Jerry Berndt, White Trash Contemporary, Hamburg


Jerry Berndt, White Trash Contemporary, Hamburg

Die Serie "The Babies" ist in der Zeit von 1980 bis 1992 entstanden. Berndt fotografierte die erstaunlich komplexen und zum Teil sehr komischen Inszenierungen, die seine Tochter im Alter von 2-12 Jahren mit Puppen, Spielzeugen und anderen Gegenständen im täglichen Spiel arrangierte. Begleitet werden die Bilder von den teils witzigen, teils auch anrührenden Kommentaren der Tochter.

http://photography-now.com/popup_ausst_ ... gen=T61347

Валерий Лобко [ 13 сен, 08 10:21 ]

Любопытная ссылка на Conscientious (и обратите внимание на информацию о кураторах выставки Lemm'а в Sean Kelly Gallery ниже):

Sebastian Lemm's website is filled with very conceptual art work, a lot of which works with an overabundance of shapes.

Экспозиции ( http://www.sebastianlemm.com/files/installation1.html ):




Sebastian Lemm, a native of Germany, relocated to New York City in 2000 after receiving a diploma (MFA equivalent) from Berlin University of the Arts.

Sean Kelly Gallery featured Sebastian's photo-based work in “Unframed First Look” curated by Adam Fuss, Jack Pierson and Cindy Sherman in 2004. Since then, Sebastian had group and solo shows at galleries and cultural organizations throughout the US, including Platform Gallery (Seattle, WA), Bank Gallery (Los Angeles, CA), Ellen Curlee Gallery (St. Louis, MO), and Margaret Thatcher Projects, Pierogi Gallery, Michael Mazzeo Gallery, Peer Gallery, Nurture Art and Art Omi (all in New York).

Critical recognition has come from Art World (UK), Time Out Chicago, NY Arts Magazine, The New Yorker, as well as 2wice Magazine, Los Angeles Times, Palm Beach Daily News, The Village Voice, and visual art blogs such as Art Moco and I Heart Photograph. His work has also been selected for editorial features in H-Magazine (Spain) and Someone’s Garden Magazine (Japan) and was included in the book ‘Light and Lens’ by Robert Hirsch. In 2008, the Goethe-Instituts in Chicago and New York hosted artist talks with Sebastian Lemm and critics Gregory Volk and Michael Weinstein.

artist statement

As a photo-based artist, I see myself as the link between two realities—the one outside of the camera and the one that begins once the photograph has been taken. Rather than documenting or ‘capturing the moment,’ I want to show what is not immediately visible.

…Apart from experiences in my own life, inspiration for my work comes from concepts of Romanticism especially those of Caspar David Friedrich, texts by Edmund Burke (about '‘Sublime and Beautiful’), Gilles Deleuze (‘Rhizome) and Roland Barthes ('Camera Lucida') among others.


Ссылки: http://www.sebastianlemm.com/files/press.html

Light and Lens – Photography in the Digital Age
Focal Press, 2007, by Robert Hirsch.

My series 'subtraction' is introduced among work by Edward Burtynsky, Tim Davis, Thomas Demand, Mitch Epstein, Adam Fuss, Andreas Gursky, Jenny Holzer, Martin Parr, Jeff Wall and others.

http://www.sebastianlemm.com/sebastian_ ... ESS_07.pdf

(в файле, собственно, все публикации…)

Некоторые проекты — весьма поучительны; часть — просто пособия для занятий с дизайнерами…

Встреча с легендой.