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Raining Popcorn, © 2001 Sandy Skoglund
Cibachrome marouflé sur aluminium, 99 x 126 cm vendu


Raining Popcorn was commissioned by the Faulconer Gallery, Grinnell College, and was first exhibited there in June 2001


http://guybae.artgalleries.ch/index.htm ... ange_lid=1

Galerie Guy Bärtschi


Большая подборка работ:


The Green House, 1990, 19/30
Cibachrome sur aluminium
123 x 152 cmn

Крупная версия: http://www.bartschi.ch/images/work/large/03343.jpg

И т.п.:

The Cold War 1999, 5/30
Photo ultrachrome archival inkjet print, 61 x 51 cm

The Laws of Interior Design (True Fiction) 1986-2004, 1/10
Photo ultrachrome archival inkjet print, 48 x 77 cm

The Cocktail party 1992, 25/30
Cibachrome, 121 x 165 cm

 30 дек, 07 22:09
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Elui with tusk, 1962/2006
Color photograph with ink, 189.4 x 127 cm
Signed recto and verso in ink

Peter Beard

…His first exhibit was at the Blum Helman Gallery In New York in 1975 and was followed in 1977 by the landmark installation of his photographs, elephant carcasses, burned diaries, taxidermy, African artifacts, books and personal memorabilia at the International Center of Photography (his first one man show) in New York City.

In addition to creating original artwork, Beard has befriended and collaborated on projects with many artists including Andy Warhol, Andrew Wyeth, Richard Lindner, Terry Southern, Truman Capote, and Francis Bacon.

In 1996, shortly after he was skewered and trampled by an elephant, his first major retrospective opened at the Centre National de la Photographie in Paris, followed by other exhibits in Berlin, London, Toronto, Madrid, Milan, Tokyo and Vienna. He now lives in New York City, Montauk Point, and Kenya with his wife Nejma and daughter Zara.

Jenny and her Jewelry, 2005/2006
Gelatin silver print with gelatin silver and color collage
179.1 x 127 cm


 30 дек, 07 23:42
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Kahn / Selesnick


The Greensward


Помимо родного сайта: http://www.kahnselesnick.com/ можно смотреть другие версии представления серий. В частности, на страницах Pepper Gallery:

Artists Kahn and Selesnick will be holding a Book Signing Event at Pepper Gallery. The Apollo Prophecies (Aperture) depicts on one extravagantly long duotone panorama, an imagined expedition of 1960's American astronauts. Landing on the moon, they discover a lost mission of Edwardian-era astronauts who greet them as long awaited gods. Come meet the artists for a discussion about this and other series of works.

"Eisbergfreistadt": Overview: Kahn/Selesnick's newest project, "Eisbergfreistadt" documents "the creation of this principality which is inspired by an actual incident in 1923 when a mammoth iceberg ran aground in the Baltic port of Lubeck, towering over the town and terrifying the populace. Many decided (not unreasonably) that the iceberg caps were melting and the apocalypse coming. This event inspired gloomy cafe songs and penny dreadfuls, even a deck of playing cards.

The Apollo Prophecies: Overview: The Apollo Prophecies Project has been in development and production since 2002, when it was started at Toni Morrison's Atelier Program at Princeton University. Working with 15 students, Kahn/Selesnick built three major sculptural and architectural installation pieces, The Mind Rocket, Lunar Explorer and the Moon Cabinet. A revelatory text was created in collaboration with a brilliant physics graduate student, Erez Lieberman. This text was altered by Kahn/Selesnick so that American and Russian Astronauts involved in the 1960's-70's Aquarian lunar expeditions became Gods for the Edwardian expedition members who were waiting for them in their Mind Rocket. Initial props and costumes were drawn and created.

Text excerpt from "City of Salt" Exhibition: The city of salt now lies quietly on the flats; its formerly bustling alley ways are now destitute, its market places and squares buried. The city was built by a king in the distant days of the third dynasty. According to local legend, the king had once wandered his capital one night during a time of plague, the more he wandered the more he became enamoured of the deathly silences and stillness that held sway over the capital. By morning he had resolved to build a deserted city as a funerary monument, a city where he could wander in solitude for eternity. In addition to the long panoramic photograph there is a mass installation of small drawings and photographs. These feature Edwardian photographs of moon rocks, schematic drawings and design notes, portraits of astronauts, beaked and “debeaked” i.e. Edwardian and Aquarian, ephemera, etc. Also featured is the visionary text.

Text excerpt from "Scotlandfuturebog" exhibition: In a certain sense, it is irrelevant to speculate on the origins of the bogdwellers because they have become free of the tyranny of history. For this reason traditional written and spoken languages have been abandoned in favour of obscure non-hierarchical acts. In the grand scheme of things the moving of a stone from a bleak hillside to a gloomy valley a long distance hence has more significance than that of a stupendous invention of the invasion of one territory by its neighbour or even that of the apocalypse itself.

THE SIBERIAN EXPEDITION OF 1944-46. An Introduction: In late 1942, former glider pilot and REC member Peter Hesselbach was reported missing in action during the Russian offensive that repelled the German Army back across the Dnieper River. When The Corp's head, Gordon Bindon-Bhore, received the news he immediately assigned a team of psychics to search for Peter using an obscure technique called remote viewing. Several days later, an REC remote viewer named Tyler McWeeks became convinced that Hesselbach was still alive and lost wandering in the vast remote region of Siberia east of the Indigirka River. A three man expedition consisting of Bindon MacRupert, Ian Brockman, and Gerrard Wescott was organized to travel to Siberia and attempt to rescue Peter; as a secondary objective they were to study indigenous tribal shamanism.

http://www.peppergalleryboston.com/arti ... esnick.htm

И вот на такой версии сайта:

KAHN + SELESNICK — Galleries

The City of Salt

Brotmorgendämmerung ( Breaddawn )

We Visit A Mountain Top Shrine Built To Honor A Famous Buryat Lama

Lunar Village


 31 дек, 07 0:08
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Afterimage Gallery (Dallas, TX, USA), одна из старейших фотографических галерей в мире (основана осенью 1971-го), представляет ряд громких имен, но в том числе и авторов новых поколений.

В частности, в этой галерее имеются работы местного автора Nicholas'а McCalip'а, автора с ярко выраженным и свежим стилем, о чем лучше прочитать из первых рук:

Nicholas McCalip

We are pleased to present here in early 2005 the first one-person exhibition of Nicholas McCalip works in the gallery, although in both the gallery and the website he has attracted quite a strong following in his past three years of representation by us. His work has become increasingly ambitious while always producing a diverse portfolio. These selected works have achieved a particular level of abstract realism that gives the viewer all the elements of a traditional landscape without specifying any particular recognizable object. The landscapes then leave the viewer with only the psychological inferences or ambiguity as to what the photographs may be about.

Mr. McCalip states, "In order to avoid subject matter in these photographs, I settled upon areas of man-made engineering where earth had been either excavated or artificially built up. Treating these areas as massive sculpture I would select out my particular surface of interest like a selected canvas. Subject matter was avoided as these artificial hillsides pointed directly upwards to the sky. Surface alone became foreground to vanishing point transposed directly against sky. Surface could be weed growth inside a drainage pit, poured concrete, clay and rock excavation, or steel destined for construction. The concrete in particular could be treated either sculpturally or as a painting in the form of a blank canvas. I applied chisel marks or various paints to record how I perceived the incoming storms. It is purely incidental that I am using man-made engineering to explore the human response regarding place and the psychological impact of an absence of any natural reference point. A response to a particular photograph is then a unique experience to each viewer. The ultimate psychological impact is as intangible as the locations that these photographs fail to remotely suggest."

Nicholas McCalip was born in the Dallas area in 1973 and continues to live in the Metroplex. Besides us, he is represented by galleries in Santa Fe and New Orleans.


Крупно: http://www.afterimagegallery.com/mccalip_275.jpg


Крупно: http://www.afterimagegallery.com/mccalip_301.jpg

Другие работы подборки:


Больше информации на странице Fine Art Photography Gallery:


Nicholas McCalip
July 19th, 2007

Untitled 203, April 2003

Nicholas McCalip’s gallery is one filled with luscious and artistic bodies accented with the intimation of almost every aspect of human emotions. The expressions are original and real; his pictures are “rough-edged” but artistically polished and refined. McCalip sets his models against canvases: simple and primitive settings which add light to the subject of a piece instead of digressing from its focus. Both land and water; McCalip utilizes the natural world to intensify the grace and definition of his models.

In his photographs, it really is as if the setting that the person is placed into tells the story of that character’s thoughts and sentiments. To be able to express emotions and feelings through a painting, a sculpture, or, in this case, a photograph has always been believed to be a work of art’s greatest triumph. McCalip has achieved this and more in his photos by also closely commenting on the similarities between nature and human emotions as well as the relations between people and the world around them.

Placing his models in terrestrial environments, McCalip portrays the undisguised propensities of human equations; linking his canvas to his subjects with this bond that people unequivocally feel with nature, he also strengthens this tie by undressing his models and allowing them to pose in their most natural forms: nude.

The land that serves as a setting in a number of his photographs expresses uniqueness and the instinctive reliance that we as humans seem to have to things that are solid and constant and cogent; things that are all native to humanity while water, when displacing the same exact points, also brings forth the human proclivity and inevitability of emotions. The water symbolizes fluency and the continuous movement of our lives; also enunciated by the elegant curves of the naked human body. Water represents rage when unsettled but also illustrates, along with the nudity, the strangest sorts of plain and simple purity. We, as humans, are able to find most palpable resemblances between ourselves and these natural elements, but not only do these elements reflect our images back upon us; they also affect us in the most remarkable ways.

As Nicholas McCalip implies himself, nature extracts from humans: urgencies and anxieties that are inexplicable. He further explains this through his artwork with scenes depicting stormy dark skies pasted behind a naked human expression that communicates tension and a feeling of restlessness.

These are but a few examples of Nicholas McCalip and the effect of his work. Check out his gallery, and take a look at fine art photography in another perspective. If there’s any work in the world that exemplifies the relationships between humans and nature so explicitly, it’s this.


Такие его высказывания находятся:

Which artists inspire you?, who are your masters?

Sally Mann as she is the only photographer who has never compromised an emotional integrity in any image, Chuck Close because he is seeking the key to why art can create space, Emmett Gowin and Harry Callahan because they were never afraid and made their own trends, and Pollock because he created the choreography and movements of the drip before he ever painted them and that is why no-one could ever mimick his work. All we’ll ever be able to see are the results of his dance.

What is your best advise?

1) The post-modernist portrait requires the inclusion of the nude.
2) Straight photography did not refute Pictorialism, it merely came up with its own “pictorialist” solutions to the photographic problems while using a stopped-down (f-64) lens.
3) Have a consistent vision.

Лучше, конечно, составить свое мнение, пусть и по сетевым картинкам. В то же время смотреть снимки на родном сайте — убедиться в том, что и в этом случае автор отличается заметной индивидуальностью. Реплика на ЖЖ на странице не самой характерной подборки:

«…2000-2003 годы. На сайте есть изумительные снимки из этой серии и другие. Но... скачать ничего невозможно, и сайт забабашенный :(
Здесь — только случайно найденное…»


Еще вот тут галерейка на Flash с таким предисловием:

Сексуальный фото-шторм

«Если бы Айвазовский жил в наше время, не исключено, что он бы пририсовал к Девятому валу парочку обнаженных женских тел.

Именно этим занимается сегодня американский фотограф Николас МакКэлип (Nicholas McCalip). Его стихия — шторм, мощь морской бури и сексуальная энергия женского тела.

Амбициозный 34-летний фотограф выбрал для себя нечто среднее между пейзажной съемкой и ню-артом. Разделить эти два понятия на его фото невозможно — из снимка не выбросишь ни красоту фона, ни откровенность и притягательность мокрых женских тел.

Вся штормовая эротик-серия выполнена в ч/б. Нечеткость силуэтов, эффект запотевшей камеры, тревожные взгляды — все это придает фотографиям какую-то особую сексуальную мрачность и возбуждающее ощущение того, что вот-вот грянет буря».


 31 дек, 07 4:46
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Nicholas McCalip, Untitled 2540

Nicholas McCalip на fotoprojx llc

Сервис, обещающий авторам для продвижения их работ очень многое, предоставляет все с той же, но менее утомительной игрой в мышку посмотреть 34 его работы.

Nicholas McCalip, Untitled 2540

Вообще же в списке «Портфолио» — шесть авторов; использование такого рода сервиса, по всей видимости, тоже способ от ников и любительского статуса трансформироваться во что-то более основательное по имиджу.

Во всяком случае, в списке имеется и Louviere+Vanessa, часть работ которых весьма сложно отнести к достижениям состоявшегося мастера, а вот на результат непрофессиональных претензий или фотографического капустника — весьма похоже…

Я не могу сказать, что у других представленных авторов нет потенциала или что это не обычная разносортица более или менее случайно набравшихся за годы или, что чаще, за одну съемку работ. Да и выборка из нескольких представленных портфолио может стать очень впечатляющей и убедительной.

Но достаточно примет, по которым несколько авторов этого небольшого списка отличаются и от крепких профессионалов ремесленного цеха, без больших креативных амбиций, но с достаточно точными попаданиями в «мастерскую зону», и от безусловно талантливых авторов, последовательно, с ярким персональным стилем, разрабатывающих собственные темы.

Вполне отчетливая грань отличает, да.

Упражнения с фотографией, как мастерством больших цифр и отбора, и, напротив, глубокое переживание и творческий голод достаточно ощутимы в работах. Часто даже не нужно пролистывать десятки снимков портфолио и заниматься исследованиями текстов, что обычно необходимо для корректной оценки…


 31 дек, 07 13:46
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D'log ( http://wiki.znyata.com/D'Log?v=12if ) добавляет еще какое-то количество любопытных ссылок к раскопанным на американских галереях любителям создавать параллельные миры.

В числе свежих ссылок — серия Madame Figaro by Eugenio Recuenco:

Изображение Изображение
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http://www.eugeniorecuenco.com/images/p ... S/tira.htm


Загрузите, к слову, если интересно, текстовый очерк на D'log:

BRITISH PHOTOGRAPHY: towards a brief historical outline


 31 дек, 07 17:39
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The Boatman, Giclee print, Edition of 10

Charlotte Corey, Rebecca Art Hossack Gallery

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M. Giclee print, Edition of 10
The Photographer, Giclee print, Edition of 10, 100 x 150cm
Photographer to the Queen, Giclee print, Edition of 10, 85 x 117cm

ИзображениеИзображение Изображение

The Harpist, Giclee print, Edition of 10, 85 x 117
* * * Giclee print, Edition of 10
Captain Dymond and Dog, Giclee print, Edition of 10

http://www.r-h-g.co.uk/Artists/charlott ... s%20I.html


Similar in approach to Andrew Mamo’s 2000 series Are We Not Men?, and the original freak-show carte-de-vistes of the 19th century.

Andrew Mamo : Are we not men?

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http://www1.wooloo.org/new/s2/s2Art.php ... amo&ex=467

Special People

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Among the best known of Barnum's performers were Charles Sherwood Stratton, AKA General Tom Thumb and his wife Lavinia Warren. We have a number of Brady photographs of their 1862 wedding party in carte-de-visit and stereo format. Also well know are the photographs with the pretend Thumb's baby, a real baby but not really the Thumb's baby.

Admiral Dot, a Barnum midget from the same era as the Thumbs. Like General Tom Thumb the military title was obviously ironic. Born Leopold Kahn, he met Barnum in 1868 and had a career of 20 years.

Nellie Keeler was another of Barnum's little people. In the carte-de-visit on the left Bogardus uses massive furniture to emphasis her tiny size. The information on the card front tells us that she is 11 years old, 28 inches high, and weighs 12 pounds.

Текст и все иллюстрации:

http://www.brightbytes.com/collection/s ... eople.html

 31 дек, 07 18:11
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Robert ParkeHarrison: The Architect's Brother, The Sacrifice

Еще одна ссылка:

Robert ParkeHarrison: The Architect's Brother


Выставка, доступная для показа на определенных условиях, Traveling Exhibition:

Robert ParkeHarrison: The Architect's Brother

Robert ParkeHarrison's innovative approach to picture-making draws upon the use of the paper negative and collage to construct stories of healing and restoration amid landscapes scarred by technology and over use. In herculean actions that are both humorously metaphorical and lyrically poetic, ParkeHarrison constructs beguiling stories that gently remind us to consider the state of our one and only earth.

At the center of each of his pictorial tales is a lone individual—ParkeHarrison himself as "everyman"—the "architect’s brother." This suit-clad figure patches holes in the sky, creates rain machines, chases storms to create electricity, and communicates with the land to learn of its needs.

ParkeHarrison’s wife Shana is his collaborator in all works which have received world-wide critical acclaim. This is their first solo museum exhibition and tour. The Architect's Brother has been published as a monograph by Twin Palms Press and is available to accompany the exhibition. The ParkeHarrisons are often available for lecture.

http://www.eastmanhouse.org/inc/exhibit ... rrison.pdf

Все снимки:


Часть крупных версий снимков оттуда на одной странице:



Robert ParkeHarrison, The Architect's Brother

" I love to try to capture that quality of the Earth looking like the world's just started or been destroyed and is starting all over again -- that feeling of being way back in the past or way ahead in the future," ParkeHarrison explained in an ArtNews interview in March 2001. "Some of these acts are impossibilities, of course, or dreams, like controlling the weather. What would that be like&?hellip;A lot of people can associate with this character because he's not heroic. He's slightly failing. Maybe when we see someone like this who isn't idealizes and is sort of sad, we identify."

Robert ParkeHarrison: The Architect's Brother is divided into five different sections: Exhausted Globe, Industrial Landscapes, Promisedland, Earth Elegies, and Kingdom. He has been influenced by photographers Edward Steichen, Clarence H. White, Oscar Rejlander, and Timothy O. Sullivan, Lucas Samaras and Ruth T. Thorne-Thomsen. His inspiration has come from Thomas Edison, Leonardo da Vinci, and George Orwell, along with personalities from theater and cinema. Each image takes about five weeks to create and begins with notes and drawings made in a sketchbook, as well as library research. ParkeHarrison then builds the set and the props and photographs a carefully-staged image.

http://www.uwyo.edu/ArtMuseum/displaypa ... hibitid=32


The Mary Brogan Museum of Art and Science

THE ARCHITECT'S BROTHER : December 8, 2007- February 3, 2008

Written by Cynthia Hollis

In this exhibition, photographer Robert ParkeHarrison conjures a destiny in which humankind's overuse of the land has led to a spent and abandoned environment, inhabited by one indefatigable spirit (portrayed by ParkeHarrison). Donning the ill-fitting suit of the Everyman, ParkeHarrison is the earthbound relation of the Creator-the Architect's Brother-complete with human foibles. With lyric poeticism and wry humor, he is the romantic anti-hero, taking up tasks of preservation that appear futile: he attempts to patch holes in the sky, construct rain machines, and chase storms to create electricity. While doing so, ParkeHarrison also lays the foundation for the potential redemption of the natural world.

…His inspiration has come from Thomas Edison, Leonardo da Vinci, and George Orwell, along with personalities from theater and cinema. Each image takes about five weeks to create and begins with notes and drawings made in a sketchbook, as well as library research. ParkeHarrison then builds the set and the props and photographs a carefully-staged image.

http://www.thebrogan.org/index.php?opti ... 0&Itemid=1

A visionary moved by the earth's plight
By Jennifer Wolcott | Correspondent of The Christian Science Monitor

'FOREST BED': From the 'Promised Land' series, 1998,
gelatin silver print and mixed media on panel by Robert ParkeHarrison.
The artist appears as an Everyman figure in his works,
which are photographed by Shana ParkeHarrison.

…Inspired by the classic story of "The Little Prince," among many other cultural and historical influences, the ParkeHarrisons' collaged works - mostly either photogravure prints or gelatin-silver prints and mixed media panels - always feature a lone man in a barren world. While struggling to eke out an existence, he takes an interest in preserving the natural world around him. Representing this man is ParkeHarrison himself, who appears in every image as the stand-in for humanity, or Everyman. He wears the same tight-fitting dark suit, white oxford shirt, and slightly worn dress shoes.

Their Everyman evokes quiet reflection, curiosity, and the occasional chuckle as viewers observe his preoccupation with pursuits both serious and absurd.

In "Cloud Cleaner," for example, a gelatin silver print and mixed media on panel constructed in 1999, he carries a backpack full of mops and brushes as he looks up at a dark, ominous cloud. In his 2000 image "Flying Lesson," ParkeHarrison holds both a large birdcage containing a single crow and several other lassoed birds that soar upward as they attempt to pull him up behind them. And in "Mending the Earth," the figure attempts to sew together a deep crack in the earth's surface with an enormous needle.

Their images can be interpreted in many ways, but one thing is certain: They stir thought, says Diana Gaston, a contemporary art curator who narrated a recent public-television special about the ParkeHarrisons' work. "The images make us reflect on our role within the universe," says Ms. Gaston. "The ParkeHarrisons don't lecture us about the environment. Instead, they are all about posing questions and getting us to think about what we are doing."

The ParkeHarrisons don't take shortcuts. Each image takes several weeks of continuous work to complete. Their artistic journey begins by investigating a variety of subjects, including art, film, theater, dance, as well as texts on spirituality, literature, and mythology. During this research stage, says Robert, they are "filling the well" with possible ideas. Then they choose one idea for which they construct a set and sculptures out of their home studio in Great Barrington, Mass.

The work is subsequently moved outdoors - but only at dawn or dusk or on "a perfect cloudy day," he says. "We prefer softened light, and the quality of outdoor light at those times is exactly as we like it." After experimenting with various gestures and movements, Robert takes his agreed-upon pose as Everyman and Shana gets behind the camera to further direct the action before she releases the shutter.

Back in the darkroom, the ParkeHarrisons produce paper negatives, about three to seven of which are pieced together to create the finished image. "We don't want to be restricted by what we see in the lens," says Shana, "so instead of accepting the reality of a single photograph, we manipulate many photographs and layer images just the same way that we layer ideas. We use so many techniques to make the final image; photography is just the recording device."


См. еще реплики здесь:


My husband and I got to the campus about five minutes before the place opened, skies were dark and ominous. As soon as the doors opened, we raced downstairs to the gallery where "Architect's Brother" was being exhibited. It was just us, quiet, meditative, peaceful. The photos were stunning and evocative and I was so pleased to see them printed so large. Even with their size (some must have been 3 x 3'??) they were still delicate, dreamlike, fragile and soft in a way I hadn't expected--painterly.

The images handled these terrifying environmental themes with a gentleness and caring that made me want to crawl into them and be of some help. I especially loved the pieces that were not behind glass, but were mounted like canvas paintings. There was no barrier to the experience of them, no reflections on glass to bring you out of this dark yet hopeful reverie. I loved the scale within the images, with fragile twigs and strings holding up huge looming clouds and bodies. I felt as though I was seeing images from my dreams brought somehow into the waking world. They really, to me, felt like coming home. It was a show I will never forget. I wish everyone could see this. I feel like I'm not the same person for having experienced these pieces. Breathtaking, sad, dreamy, hopeful. I cannot say enough about it all.

Интервью (фр.) : Obscurs objets du rêve par Shana et Robert ParkeHarrison


Другие работы Robert'а и Shan'ы ParkeHarrison см. на странице

Jack Shainman Gallery:

Undergrowth, 2006
C-print on aluminum with acrylic, 60 x 60 inches

http://www.jackshainman.com/dynamic/art ... tistID=136

Сайт авторов:


 31 дек, 07 20:07
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Некоторые фотографы успешно сидят на многих стульях…

Mick Ryan








 01 янв, 08 20:59
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Нужно как-то мягко перейти от новогодних страшилок к праздничным будням… Возможно, вот так:

Sarah Charlesworth

Objects of Desire, Red Mask, 1983, Cibachrome with lacquered wood frame, 32" x 42", Edition of 3 + 2 APs

Text, 1992–1993, Gelatin silver print, 26" x 31”, Edition of 25 + 2APs

0+1, Book, 2000, Fujiflex print with lacquered wood frame, 34” x 44”, Edition of 8 + 2APs

Simple Text, 2005, Fuji Crystal Archive Print with lacquered frame, 31.5” x 41.5”, Edition of 8 +2 APs



«Публикации», «Коллекции», «Выставки» — все в одном файле PDF:

http://www.sarahcharlesworth.net/admin/ ... ba1be3.pdf

 01 янв, 08 21:33
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RCA Photography 2007 / Matthew N Booth, Untitled Black Photograph, 2007

Интересно, какими такими специальными вредными привычками может обладать грузчик для маленького фруктового киоска в нашем районе?

Это я вот все думаю думаю над объявлением, попавшееся на глаза момент глубокого философского размышления по поводу картины на входе в рынок. Продавали календари; вспомнилось, как разметали плакат Виктора Гончаренко (с ветреницами)… где то золотое время?

Календари, которые продавали, не тронуло ни одно время перемен. Такой цветной печати я не видел со времен советских букварей, да и то, как кажется, производство там было получше.

Но что печать! От таких котят в сочетании с розами специалист-семиолог мог бы зайтись в экстазе; но, вот что главное, вторую, для равновесного спроса, пачку листов со щенками, прижимал увесистый томик. Зеленый такой томик, с золотом:

Фридрих Ницше. По ту сторону добра и зла. Прелюдия к философии будущего.

Так что погрузился я в пролистывание от всех этих впечатлений в эфемерное, не всегда доброе и далеко не в каждом случае разумное:

Conscientious : http://wiki.znyata.com/ColbergConscientious?v=bmg

У Кольберга было интервью с Andrew Miksys'ом, между прочим. Нашел я сегодня этот замечательный по пятилетним ссылкам блог, разыскивая информацию о Beate Gütschow:

http://www.jmcolberg.com/weblog/2007/10 ... how_1.html

Загляните, там любопытна и первая реплика на публикацию.

Свежая ссылка в блоге у Кольберга весьма заслуживает внимания, если продолжать философские экзерсисы:

'Nick Ut: Double Negative'

This article has an interesting — and quite uncomfortable — comparison to make: "If there's an irony here, it's that the photographers who lie in wait for the latest celebrity smash-up probably aren't that different to the young photographers who headed off to Vietnam almost 40 years ago. Whereas once South-east Asia was the Wild West for ambitious thrill-seekers eager to make their names, now it's the streets of Beverly Hills. But it's not just the location that's changed; attitudes have, too. When he saw Kim Phuc running towards him out of a cloud of smoke 35 years ago, Ut's first instinct — after he'd taken her photograph — was to save her life."

Статья в «Телеграфе»:

Nick Ut: Double Negative >

По какой-то ссылке я попал на Tashen, не уверен, что от Кольберга, но как-то она весьма попадает в струю рассуждений о судьбе фотографии, в которой домохозяйки и любители, в том числе просто прохожие с мобильными телефонами, начинают играть основную роль. Кодак со своим «Нажмите кнопку…», похоже, уже отдыхает.

TASCHEN Books: Uwe Ommer, Do it yourself

Shoot yourself: Sexy self-portraits by everyday women

Inspired by a babysitter he surprised in front of the bathroom mirror shooting pictures of herself with his Polaroid, photographer Uwe Ommer decided to put together a book of erotic self-portraits by inexperienced photographers. Arming participants with cameras and basic technical instructions, Ommer asked them to photograph themselves in any way they pleased—liberated, so to speak, from the voyeuristic eye of the photographer. Some chose to use mirrors as they captured their portraits, while others braved the camera without the help of their reflections. While many subjects required no intervention by Ommer, for others he acted as “ghost photographer,” helping them with the lighting and setup; in both cases, the models were free to indulge their inspirations in any ways they pleased—from sexy and provocative to romantic to simply being themselves. The cast of self-portraitists includes a wide range of personalities, from students to artists, actors, stylists, dancers, models, musicians, teachers, and more. This highly original book gives us a rare glimpse at the way everyday women see themselves—or wish they did.


http://www.taschen.com/pages/en/catalog ... urself.htm

 02 янв, 08 22:30
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Собственно, вот страница галерей некоторых выпускников (ссылка с http://www.iheartphotograph.blogspot.com/ , где как раз речь о sally verrall):


RCA Photography 2007

Lisa Byrne, Untitled, 2007

Разные, конечно, да и разного времени, разных умений… Похоже, это вошедшие в издание работы. Я смотрел в два захода; в первом случайным образом более интересные попались. И я, естественно же, не начинал с первого автора. Со второго и четвертого, а сам поход на страничку был, собственно, по поводу Sally Verrall.

Matthew N Booth, Self Portrait in Black, 2007

Там же, помимо галерей, Essays from book project:

Becky Beasley, Mark Cousins, David Evans, Paula Rabinowitz, Olivier Richon Prof, James Westcott.

Последний раз редактировалось Валерий Лобко 04 янв, 08 9:02, всего редактировалось 1 раз.

 03 янв, 08 7:12
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Нашел вот у Кольберга еще давнюю ссылку:

Cristian Stan: eidolonia

Изображение Изображение Изображение Изображение

И вот как излагается:

An eidolon (greek word for "image") is the pale reflection of a being that has gone from the physical to the astral plane, a sort of "shadow" reflection. This shadow is sometimes reffered to as a "shade" or "ghost" and generally decay gradually and dissapear.

Автор: born in 1974, lives and works in Bucharest, Romania

Что интересно, указывает в числе других две публикации в местных журналах: artlines b&w almanach, issue two, Bucharest, February 2004
и nukontrast magazine, issue four, Bucharest, February 2004. Не такая большая и богатая страна, как я понимаю…


Хвалил он еще очень портреты Иры Винокуровой. Все те же эксперименты со временем, в самом деле, очень выразительно.

Ira Vinokurova

Geb. 1975 in Kaliningrad / Rußland

1995-1997 Moskau, Studium an der Kulturuniversität im Fach Regie für Film und Fernsehen

seit 2000 Studium an der Düsseldorfer Kunstakademie
seit 2002 in der Fotoklasse Prof. Thomas Ruff

2004 Gruppenausstellung "Das photografisches Portrait ", Forum für Fotografie, Köln




 03 янв, 08 17:53
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Idris Khan, Caravaggio...... The Final Years, 2006
Edition of 6, Digital C type print, 257 x 173cm

Еще одно имя, которое обратило на себя внимание при беглом просмотре списков Кольберга:

Idris Khan

1978 born Birmingham, lives and works in London.

Khan creates multi-layered photographs, often of appropriated art and books, in a way that both augments the aura of the original and reveals the idiosyncratic trace of his own hand. Khan's work explores the history of photography and literature, the beauty of repetition and the anxieties of authorship. "it's obviously not about re-photographing the photographs to make exact copies, but to intervene and bring a spectrum of feelings — warmth, humour, anxiety — to what might otherwise be considered cool aloof image. You can see the illusion of my hand in the layering. It looks like a drawing. It's not systematic or uniform. The opacity of every layer is a different fallible, human decision". Idris Khan graduated with an MA in Fine Art from the Royal college of Art in 2003.

Галерея Victoria Miro 14 (Лондон):

Изображение Изображение
Idris Khan, every... Bernd & Hilla Becher Spherical Type Gasholder, 2004
Edition of 1 with 2x APs, Lamda digital C print mounted on aluminium
Triptych, each panel 80 x 65 inches

Idris Khan, Rising Series....After Eadweard Muybridge 'Human and Animal Locomotion', 2005
Edition of 6, 5 x Platinum prints, Each print 20 x 16 inches


 03 янв, 08 21:11
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Institute of Contemporary Arts

All Tomorrow's Pictures: limited edition print sale : Idris Khan

A Memory of Kate

Idris Kahn, A Memory of Kate
A3 print on inkjet photo satin paper. Printed with long term pigmented inks. One of a limited edition of ten unsigned prints.

Там же:

Idris Khan talks about his vision of tomorrow.


Посмотреть на него:

http://www.iniva.org/library/archive/pe ... khan_idris

Idris Khan achieved an MA with Distinction in Fine Art at the Royal College of Art in 2004 and his work is included in the worldwide travelling exhibition '50 photographers of Tomorrow' selected by the Musée de l'Elysée in Lucern Switzerland. This year he is exhibiting at the San Francisco Museum of Modern Art in a group show called 'Imposing Order' and he has recently been featured in The Independent Magazine as one of the ‘Faces to Watch in 2006’ and in Art Review’s ‘Future Greats’. He lives and works in London.

Galleries showing Idris Khan

Yvon Lambert Gallery : http://chelseaartgalleries.com/Yvon+Lam ... llery.html

Shows with Idris Khan
reGeneration: 50 Photographers of Tomorrow at Aperture Gallery

Panel discussion with the artists and curators: Aperture will host a panel discussion with curators William A. Ewing and Nathalie Herschdorfer and artists Idris Kahn, Josef Schulz, Angela Strassheim, Shigeru Takato...

A Tribute to Cézanne at Yvon Lambert Gallery

YVON LAMBERT NEW YORK PRESENTS A Tribute to Cézanne With Works by Francis Alÿs, Spencer Finch, Nan Goldin, Idris Khan, Koo Jeong-a, Jonathan Monk, Damian Moppett, Melvin Martinez, Vik Muniz, Thomas Struth and Others. Yvon Lambert New York is...

Idris Khan 2007 at Yvon Lambert Gallery

Yvon Lambert is pleased to announce Idris Khan’s first solo exhibition in New York. Marking an important development in the British-born artist’s work, the exhibition features a new multiple-screen film installation and photographs. The show will be...

Auction Results

Phillips De Pury, Photographs - Including the Brits, November 20, 2007

Struggling to Hear... After Ludwig van B... (2005) (Estimate: $15,000-$20,000) — $23,900

http://chelseaartgalleries.com/artists/ ... +Khan.html

 03 янв, 08 21:26
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gravestmor » Becher on Becher by Kahn : : architectural ephemera
June 25th, 2006

“every…Bernd and Hilla Becher Spherical type Gasholders” Idris Khan 2004

Очень интересное обсуждение, в котором, в частности, имеются вот такие сообщения:

Jacques Lesage Says:
June 30th, 2006 at 5:01 am

I have just encounter the works of this photographer, Krzysztof Pruszkowski, who made interesting pictures in the same style. I have one fine exemple in a magazine of a blend of De Gaule, Pompidou, Giscard and Mitterrand, but could’nt find it on the web.

Alex Novak Says:
November 25th, 2006 at 10:40 am

I really have to take exception with both Doug Keyes and this work by Kahn. It is totally a rip-off of Christophe (Krzysztof) Pruszkowski’s work, which was done over six years before Keyes, and 18-19 years before Kahn. Mark Hayworth-Booth and other knowlegeable curators have decried this blatant copying of Pruszkowski’s concept and images. His exhibition, KMK, in January 1991 showed these photographs, which he termed a homage to the Bechers, and there is an exhibit catalogue of the work. I do not currently have any of these images up on the website, but you can see the rest of his work at: http://www.iphotocentral.com/showcase/s ... php/75/1/0 . The lead off image will give you a better idea of his concept.

http://www.gravestmor.com/wp/archives/2 ... r-by-kahn/

Вот здесь версия для печати, полегче:

Contemporary Photography of Krzysztof Pruszkowski: Photosynthesis

http://www.iphotocentral.com/showcase/p ... php/75/1/0

Изображение Изображение

15 Miradors, Maydaner, Pologne
22 Chairs de la Cathedrale de Bourges

Изображение Изображение

JFK Airport, New York (Fotosinteza)
Laurence a Kazimierz (Fotosinteza)


1990, Le Cafe de Farafra, Egypt, Silver print,. 300 x 451 mm

Photosynthesis of a cafe in the middle of no where in Egypt. Signed, titled and dated in ink on recto of print in lower margin. I talked to the artist recently, who told me that he considered it one of his most important photosyntheses because of the fact that he initially thought that nothing was happening here. But when he noticed the light at the far right and the empty chairs, the image took on greater significance. See: Januszewska, et. al., Photologie: Egypt-Lumiere et Fotosinteza de Pruszkowski (published by the Musee National de Varsovie (Warsaw)), p.115. Shipping and insurance costs will be added to the price and must be paid for by the buyer. Pennsylvania and New York buyers must pay appropriate sales tax. International clients are responsible for their VAT and other custom's oriented charges.

 03 янв, 08 21:48
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Такой вот еще подход: Masato Оnoda лишает предметы цвета. Такой прием со сплошным покрытием краской я видел в эффектной инсталляции в самом начале девяностых… ну и в Академии искусств это просто непреходящий прием.

Отличается все тем не менее, от студенческих упражнений достаточно сильно; в данном случае «рафинирование» позволяет не только перенести акцент на новую эстетику чистых форм, но и углубиться в рассуждения о новых подчеркнутых смыслах.

Out of color

Dec 12, 2007(my 35th birthday!)

How does the world look like without color?
Do we see more light and shade, and character?

Minnie's sweet dream, 2007

This is Minnie's sweet dream of being archipunctured by kiss chocolate, or Minnie being tortured on a needle or spear in what we think as hell in Asian view of after life. No, no, this is supposed to be a nice scene.

Summer time, 2007

This camera never worked well. Somehow, its ground glass didn't match to film plane. That means you never get focused image on film. I would take this camera to beach in summer and shot some nice soft images. It doesn't take any photograph anymore but it looks great in this photograph.

Celebration of Rebirth, 2007

Everything turns into ash and into nothing at the end. Why don't I celebrate it? Those stuffs came from somewhere and stayed with me. They are about to be gone. Or, I just terminated them. No, I reinvigorated them as an art. Yes, this is the process of rebirth and celebration! It's your imagination and passion that rule the reality.

Food still life#1

The idea behind food still life painting must have been its preciousness. For example, for Dutch people in 16th century, lemon was a treat traveling all the way from Italy over mountains. A painter must have been drooling on food. Now, we enjoy any kinds of food from anywhere. Do we appreciate it? Maybe I don't. See, this is what I've done to food; they are painted and no longer edible. Really bad. But I couldn't resist because it was beautiful.


"Out of color" is on view at L'asso, 192 Mott st., New York, NY, Dec 10-Jan 12, 2008

 04 янв, 08 12:55
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Ментальная карта литовской фотографии:

photo/carto/historio/graphy is starting up

vytautas michelkevičius, 4/08/2007


http://www.3xpozicija.lt/kartografija/w ... ekstas.jpg

The second project called "Mapping Lithuanian Photography: Histories and Archives" (working title "photo/carto/historio/graphy") is starting up. It comprises of two exhibitions, a weblog and a book which acts both as a catalogue of the exhibitions and as a wider context (reader) for the project. The community of curators, artists, architects and designers are developing maps and objects for the exhibition which is going to be launched in December 2007.

См. еще здесь:
http://www.3xpozicija.lt/kartografija/w ... storio.jpg




 04 янв, 08 14:26
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(post) fotografija [2006, Nr. 2/13]

Литовский (двуязычный) журнал в PDF:

This current issue of the magazine is a little different from previous editions as it is bi-lingual (Lithuanian and English) and is focussed on a specific topic. Topically, it deals with postphotography and is aimed at covering of the related discourses and institutional problems. The issue, and its subject, have been generated as the result of collaborative work of young artists, art critics, theorists and curators, so it represents a reflection of a new attitude towards photography and its shift towards postphotography.

Specifically, we have set ourselves the task of trying to answer the question whether photography is approaching its end, or are new technologies and the integration of photography into the context of contemporary art going to give it new energy? We are curious about what is happening, thus we are interested in manifold attitudes towards postphotography, considering both its Lithuanian and international context. This, in effect, summarises the contents and goals specific to this edition. Postphotography begins at the moment when we are trying to decide from what angle we will be looking at photography.

We take a minute break from taking pictures and writing on photography out of inertia, keep a distance from tradition and the archive, and start wondering where we are, what we do, what is going on around us, and finally – how we appear to others.

Postphotography is a reflection of the photographic tradition, it’s a turn of a new page, and an attempt to realise that we are already in the state of “post“, or “after” something. Even though the critical task of defining postmodernism and postmodernity has nearly run its course, and is out of fashion, our efforts to reflect contemporary phenomena in both art and photography from a “post“ position is still alive.

It was about 15 years ago that the world started reasoning about postphotography.

One of the first critics to do so was William J. Mitchell in his book The Reconfigured Eye: Visual Truth in the Postphotographic Era, published in 1992, while photographs and artists had been creating postphotographic images from as early as 1979–1981.

The topic, however, remains untouched by Lithuanian art critics, philosophers and theorists, even though certain postphotographic tendencies may be traced in the artistic works of the late 1980s. In this magazine, we go looking for those postphotographic traces in Lithuanian photography and art together with Agne Narusyte, while Valentinas Klimasauskas is having dreams about searching for reality in photography. A review of the local context will continue in the presentation of the 3xpozicija.lt community and comments@3xpozicija.lt, an exhibition of Lithuanian postphotography.

The international photographic context is introduced in interviews with Jonas Ekeberg in Norway and Niclas Östlind in Sweden, who are two of the major players on the Scandinavian art scene interested in the shift of photographic discourse.

Jonas Ekeberg, the director of the Preus museum of photography, talks about the Norwegian photographic experience and apply the term of photography’s extended field to its postphotographic transformations.

Niclas Östlind, curator of Liljevachs Art Centre in Stockholm, is more sceptical about the long-running usage of the contemporary art concept. Both of the curators will share their ideas on curating photography exhibitions and on changes in the work of photography institutions.

When you leaf through this magazine, you will also see artists’ pages, displaying the daily life and creative experience of young artists who study and/or use photography.

Some of them introduce their reflections on photography, others reveal their creative strategies, and a number of them are simply trying to get out of the visual noise that we all have to suffer in our everyday work.

Vytautas Michelkevicius


[02.] Vytautas Michelkevičius Introduction: Curiosity and Questioning
[04.] Agnė Narušytė The Trace of Postphotography in Lithuania: Explorations In the Local Context
[16.] Searching for “Post” in Photography and Thinking: What’s Going to Be After Contemporary Art…? (Interview with Niclas Östlind)
[24.] www.3xpozicija.lt: about public curatorship and community impact on the artwork creation and exposition
[30.] Comments on Comments: about exhibition comments@3xpozicija.lt
[40.] Photography’s Expanded Field and the Role of Photography Specific Institutions in the Contemporary Art Scene (interview with Jonas Ekeberg)
[54.] Valentinas Klimašauskas How to Rob a Bank and Remain Unrecognized by Witnesses
[62.] Chronicle of Union of Lithuanian Art Photographers

Artists’ pages

[13.] Gintaras Didžiapetris
[37.] Tomas Čiučelis
[51.] Milda Zabarauskaitė, Robertas Narkus
[59.] Akvilė Anglickaitė

http://www.3xpozicija.lt/wp-content/upl ... nalas(post)fotografija.pdf

 04 янв, 08 17:38
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Гламур, гламур!!! Перуанская девушка — с выставкой из Нью-Йорка у себя на родине:

Galería de arte — Lucia de la Puente : ORAL CUTE

Изображение Изображение

Oral Cute 11. 2007, Fotografía, 65 x 85 cm
Oral Cute 8. 2007, Fotografía, 65 x 85 cm

Изображение Изображение

Oral Cute 1. 2007, Fotografía, 65 x 85 cm
Oral Cute 10. 2007, Fotografía, 65 x 85 cm


Текст: http://www.gluciadelapuente.com/exposicion/nota2.html

См. еще текст на Arte en la Red:

Cecilia Jurado, nacida en Lima en 1977, estudió artes plásticas en la Pontificia Universidad Católica del Perú (PUCP) así como fotografía profesional en el Instituto Antonio Gaudí. Ha expuesto en Estados Unidos, Francia, Suiza, Austria y Perú. Cuenta en su haber la publicación del libro titulado "Madame Frankie Stein" con la editorial Onestar Press de París. Su trayectoria ha sido seguida por importantes publicaciones como NYArts Magazine, Revista Arte al Día, BLINK Magazine, Revista Luna Córnea, VOGUE Magazine, La Prensa de Nueva York, entre otras. La presente es su décima primera individual. Vive y trabaja en Nueva York.

http://arteenlared.com/latinoamerica/pe ... -cute.html

 04 янв, 08 18:57
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