Встреча с легендой.

From The Absence of All Colors (A Ausência de Todas as Cores), photomontages by Ludmila Steckelberg

The Absence of All Colors
photomontages by
Ludmila Steckelberg

Jim Casper рассуждает о стирании визуальной памяти. Стертые лица мы уже видели. Теперь вот исчезает и все остальное…

С учетом того, что фотография, часто оставаясь единственным свидетельством образа дорогой бабушки или дедушки, на самом деле может лгать, и новые гламурные инкарнации — только жалкое свидетельство того, насколько чудовищной может быть эта ложь в отношении даже внешности человека после ухода живых свидетелей, затронуты многие важные проблемы. В том числе и достоверность фотографической памяти.

Еще когда сохраняется эта живая память, какая-то зыбкая связь картинки и вербальных описаний формирует восприятие фотографического изобажения. Бормотания родственников в семейном кругу при просмотре определяют сомнения или доверие — похожа, не похожа, такой, не такой. Шансы часто неравны — в какой-то момент картинка вытесняет память, подменяя случайным и искаженным слепком все свидетельсва разума. Мы сами начинаем все больше доверять изображению, полагаться на него — память ведь подводит нас постоянно, а фотография так объективна…

Затем кусочек плотной или не очень бумаги остается наедине с новым зрителем, становится очень весомым и часто единственным визуальным фактом. Случайный мостик в недостоверное прошлое, в котором разный возраст, разные настроения и эмоции формировали непередаваемо разное сочетание внешности и состояния… Вместо этого — игра случая… мало когда вообще объективная фотография в силу раритетности, единственности, прирастания веса со временем становится неоспоримым документом, увы, увы…

В этом отношении цветная фотография или (в большей степени) кино — некая гарантия того, что степень несоответствия этой более подробной и многомерной хроники оригиналу все же много меньшая, чем у старой фотографии в альбоме.

Да, нам может быть весьма любопытно это лицо на снимке, которое приписывают конкретному человеку. Мы доверяем снимку — вот какой она была… он был — в силу отсутствия других точек визуальной опоры. Да и внешность для нас — человек…

С другой стороны — хотим ли мы сами выглядеть похоже? Какой фотографией остаемся довольны?

В любом случае, для передачи даже внешнего сходства требовалось все же нечто иное, чем случайный театр одного или нескольких зажатых актеров перед тугодумной камерой непритязательного мастерового… Уже в силу этого фотография имеет разную ценность, и снимок снимку — большая рознь. Жаль, что это далеко не очевидная вещь…

Так что в таком обращении с семейным альбомом есть что-то весьма основательное и верное.



From The Absence of All Colors (A Ausência de Todas as Cores), photomontages by Ludmila Steckelberg

The conceptual photo-based art work of Ludmila Steckelberg is loaded with meaning. It is pointed squarely at the ideas of memory and loss, time and generations, and our faulty reliance on photography for safeguarding the remembrance of people who were once alive, but are no longer here.

By removing the photographic images of the dead ancestors from her family album, but leaving their crisp silhouettes — dark, empty, ominous ghost-like shadows — Steckelberg has created a powerful visual meditation that moves far beyond the edges of her personal universe…

http://www.lensculture.com/steckelberg.htm

Bluegirl, from the series GUISE, by Deborah Oropallo © 2007

Откопана на lens culture на видном месте перепечатка из каталога к выставке работ в Anderson Gallery of Graphic Art at the De Young Fine Art Museum in San Francisco, March 17- September 16, 2007.

Deborah Oropallo essay by Anna Lucas

Photo-based prints, примерно так:

Deborah Oropallo (b. Hackensack, New Jersey, 1954) has moved from traditional painting and printmaking to incorporating digital media and imagery into her work, creating printed canvas paintings and related editions of pigment prints.

Oropallo has always regarded her artwork as based in photography. In her early work she painted imagery from found photographs. Later, she placed objects on a stat camera, capturing a shadow or silhouette from which she made silkscreens and stencils that transformed images of mundane objects into visual abstractions. Recently, Oropallo has been using her own photography, and digital work as a natural evolution. She says:

"I use the computer as the tool, but painting is the language of deliberation that is running through my head. I do not want to just repaint an illustration of what the computer can do, but to push the pixels themselves as paint, and to layer imagery and veils to create depth and volume. Like painting, this process can engage nuance and subtlety. It also has the ability to alter an image in a way that no other medium can deliver or predict."

The images in her current body of work were initially borrowed from internet sites for sexy costume. Women in revealing pirate, soldier, and other outfits are posed in photographs that recall, in Oropallo's words, "the formal portraiture male power stance with elaborate costume." The artist deconstructs and enhances the images to investigate the seduction and power that are evoked by gesture and pose.

In GUISE, Oropallo further explores the concept by layering the images of men from 17th and 18th century portrait paintings. Painted portraits did not simply document the likeness of the sitter but were often contrived to convey a sense of his importance and authority…

Oropallo uses many famous portraits in GUISE, including several from the collection of the Fine Arts Museums of San Francisco. The valiant sea captain in Rembrandt's (1606-1669) painting Joris de Caulerii (1632) becomes Gladiator; Sir Henry Raeburn's (1756-1823) Sir Duncan Campbell, Scot Guards (ca. 1815) is transformed into the boxer of Knockout; and Paulus Moreelse's (1571-1638) Portrait of a Man (ca. 1640) is reinvented as Lacy…


Helle’s Belle, from the series GUISE,
Chamber Maid, from the series GUISE,
by Deborah Oropallo © 2007

http://www.lensculture.com/oropallo.html

Еще одна рука живописца на фотографической ниве:

Dislecsia
Miguel Rio Branco
Casa de América
E. Madrid, 12 Feb-30 Mar 2008

in collaboration with Magnum Photos


New York, 1972 ©Miguel Rio Branco/Magnum Photos

См. текст:

Dislecsia is a large collage of images made by Miguel Rio Branco since his beginning in photography, when he was still mostly involved in painting. The idea of Dislecsia came from the fact that in poetry the way we construct is not necessarily the same as in usual common daylife. For Miguel Rio Branco it is poetic reality that counts. It is not reality that is real, but the way in which he as an artist experiences it and recreates it. On the basis of his ideas and emotions he composes his collages and installations by assembling apparently disconnected images to create one entity. The result is a confounding game with reality. In this sense, Dislecsia forms the key to his oeuvre. It is not only a 'reconstruction' of the work that was lost during the major fire in his studio in 1980, it is also the ultimate demonstration of the way he works. As a whole, composed according to Rio Branco's own rules into an entirely new artwork, Dislecsia affords a surprising insight into Rio Branco's 'different manner of thinking'. Or as he puts it, into the dyslexia that makes him unique as an artist.

Работы:

http://photography-now.com/popup_ausst_ ... gen=T59020

http://photography-now.com/popup_ausst_ ... gen=T59020

Noorderlicht Photo Gallery сообщает:



It is with pride that Noorderlicht presents the world premiere of Dislecsia, a work that photographer and visual artist Miguel Rio Branco has created especially for the Noorderlicht Photo Gallery. Dislecsia is a large collage of more than 100 photographs from every stage in Rio Branco's life. It includes new, never previously seen work, and there are photographs as far as from 1968, the year in which he debuted as a photographer.

Т.е. это более ранний проект: Photos by Miguel Rio Branco will be on show at the Noorderlicht Photo Gallery, Akerkhof 12 in Groningen, from 17 September to 12 November 2006.

Важное уточнение с Noorderlicht:

Dislecsia is inspired by Rio Branco's young daughter. Rio Branco saw a relationship between her and his own unique way of dealing with the world, the basis for his way of thinking, talking and working. In this sense, Dislecsia forms the key to his oeuvre.

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

Fries Museum, Leeuwarden, the Netherlands
September 7-October 26, 2008

Deadline for submitting work: 1 March 2008

Behind Walls — Eastern Europe before November 1989

The fall of the Iron Curtain and the Berlin Wall changed the world. But for some, the curtains remain closed and the walls still stand. In the old East Bloc countries there were a number of talented photographers active during the Communist era, whose work could not reach the audience it deserved because of censorship and the Cold War.

Even after the changes, their work remained unseen. Where the present generation of photographers travel freely and use the internet to bring their work to a world-wide audience, for this older generation it was too late; too many walls stood in the way.

The Noorderlicht Photofestival 2008 goes in search of these hidden gems of times long gone.

'Behind Walls' concentrates on the area between Moscow and Western Europe, those nations that fell under the influence of the Kremlin in times of the iron curtain. Most of them now joined or are trying to join the European Union. Our field of action contains:

* Eastern Germany (DDR, now: Germany)
* Hongary
* Romenia
* Bulgary
* Czechoslovakia (now: Czech Republic and Slovakia)
* Poland
* Western part Sovjet Union (now: Estonia, Latvia, Lithuania, Belarus, Ukraine and Moldova) (to be confirmed)

This 15th Noorderlicht festival is the fifth and last of the series with a non-Western region-theme, that is being held in Leeuwarden since 2000. Starting 2010 the event will take a new approach for bringing non-Western photography to the attention of the West.

Submissions are welcome. For more information on how to send in work click here.

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

Из чего же, из чего же из чего же
Сделаны наши мальчишки?

Эта песенка на слова Я. Халецкого вполне, как кажется, могла бы сопровождать работы Vee Speers, настроение, разве что, несколько иное:



Vee Speers
Untitled #1, 2007
Untitled #6, 2007
C-Print hinter Diasec auf Aludibond, 95 x 70 cm

You Aren't Happy At All!
Vee Speers
Galerie Anita Beckers
D. Frankfurt (Main), 16 Feb-05 Apr 2008

You Aren't Happy At All!
Vee Speers' "Birthday Party" Series

The list of photo artists who have taken the theme of childhood for themselves is long. That's understandable, for it is a rewarding photographic subject. What's fascinating is the position of in-between, the ambiguity of being a child: The child's ego is fragile, there are plenty of options. Is this only at the beginning: in a paradisiacal state, as has often been written?

When Vee Speers places children in front of the same white wall to photograph them in their costumes for the "Birthday Party" series, one might at first wonder about this visual concept. We tend to associate childhood with spontaneous movement rather than immobility. This is different with Vee Speers: Her models act within a strictly laid-out frame.

Lisette Model was one of the first female photo artists to take pictures of young people not only in their freedom of movement but also in regard to their future roles. Childhood is a period of time in which one practices taking on roles - something which Vee Speers' "Birthday Party" series also explores. It's not that their role corsets are already threatening to overpower them, since the children depicted here are anything but free and innocent. They stand in their fantastic costumes, but don't look very cheerful. "Aren't you happy at all?", you want to ask them. And although some of them are even smiling or singing, they don't appear to be truly happy…

"I wanted to capture the last moments of childhood by means of an imaginary party," says Speers. What she has cast in strange, pale colour photos is an ambivalent state between freedom and role play, between spontaneity and premonition (later on I will be a sad old witch!), between the world of children and the world of adults. The childlike game of dressing up, of putting on costumes, reinforces the surreal tone of the series. Boxing gloves alone don't make a boxer, a helmet doesn't make a Roman legionnaire. That's what Vee Speers tells us. But we should indeed think more frequently about the dreams we have.

Marc Peschke
(Art historian and culture journalist, Wiesbaden & Hamburg)

Весь текст:

http://photography-now.com/popup_ausst_ ... gen=T59042

А вот тут — уже не дети:

http://zonezero.com/exposiciones/fotogr ... index.html

В связи с выставкой работ drawn by the light (Roland Pleterski) забрался на Anzenberger Gallery, где, как помните, имеются две серии Андрея Ленкевича:

http://www.anzenbergergallery.com/en/ar ... iography=1

Очень большая коллекция работ Плетерского ( http://www.anzenbergergallery.com/en/ar ... iography=1 ) заслуживает внимания:

http://www.anzenbergergallery.com/en/article/1073.html

Перед открытием агентства в Нью-Йорке в 1960 он еще довольно долго работал у Irving’а Penn’а:

1959 After a visit to Vienna, Pleterski returns to New York and to Irving Penn’s studio where he becomes studio manager and head of the department of experimental photography.

1960–1966 He opens his first studio in 1960 on the Upper Eastside in Manhattan and in 1963, with Al Tremaine, he founds Tremaine-Pleterski Studio Enterprises Inc. Files Corporation, the photo agency, which represents master photographers Irving Penn, Richard Avedon and Horst P. Horst, amongst others, takes him under contract in 1962.

Собственно, разговор про Annet van der Voort с любопытными «двойками», A Lifetime, где образ юности представляет та или иная королева красоты времени молодости собственно героини сюжета:



http://www.anzenbergergallery.com/en/article/667.html

По поводу Miss Russland 1929 см. http://de.wikipedia.org/wiki/Miss_Russland

Еще одна галерея — «Метаморфозы», где, похоже, никакой внешний антураж преображения не дает:

http://www.anzenbergergallery.com/en/article/210.html

Серия Madonna & Co.:

… — portraits of Madonnas and other holy women. In the depots of various museums in Germany and The Netherlands the photographer Annet van der Voort has found religious art works up to 700 years old. Suspended from their original function these sculptures still reflect traces of magic in their wonderful faces.





http://www.anzenbergergallery.com/en/article/209.html

Еще одна ее серия — Oh my baby (children having children):

http://www.anzenbergergallery.com/en/article/785.html

http://www.shorpy.com/4x5-large-format-kodachromes

снимки военного времени, снятые на БФ, кодаковский позитивный процесс Kodachrome. просто волшебные снимки!



Полный размер: http://www.shorpy.com/node/2672?size=_original







... и прочее.

спасибо фото.ру за наводку

Это один я не вижу снимков в предыдущем сообщении?

Shorpy :: History in HD

Очень интересный проект для историков фотографии и массы других studies. С таким разрешением, как в полных версиях — просто поразительно!

Смотрю вот раздел Pretty Girls:

http://www.shorpy.com/image/tid/30

Rosie Takes a Break: 1942


October 1942. "Noontime rest for an assembly worker at the Long Beach, Calif.,
plant of Douglas Aircraft Company. Nacelle parts for a heavy bomber form the background."
4x5 Kodachrome transparency by Alfred Palmer.

Полный размер: http://www.shorpy.com/node/2592?size=_original

Becky Beasley, Les Mélancoliques (Gordon's), 2003/7
Gelatin silver print, 60 x 60 cm, Ed. 3

Becky Beasely, философ, по всей видимости, в первую очередь, скульптор-фотограф.

Из пресс-релиза в выставке Eleven Years Later:

The exhibition "Eleven Years Later" brings together five different bodies of work, including a recent series of sculptures referred to as "woodworks" that were drawn from William Faulkner's novella "As I lay Dying" (1930).

…photography and originates in both personal and more universal encounters. Its subject matter is largely composed of autobiographical recollections mediated through literary references. Aesthetically it engages in a questioning of the relations between hand made objects and their (re-)presentation as photographic objects. The language of her practice is at times noir with oneiric, dream state images in a low key sfumato of misty environments but bears equal references to surrealism and minimalism. Beasley's work deals with death and fear using elements from the visual and the literary realms to allow her to meditate on issues of personal fate and destiny.

http://www.artfacts.net/index.php/pageT ... 738/lang/1


The Gift (L) or "Dead Air" (as a pair), 2007
Gelatin silver print, 130 x 90 cm, Ed. 7

Это из Office Baroque Gallery, Antwerpen:

http://www.officebaroque.com/beckybeasley.htm

Меньшая, но чуть отличная подборка в Laura Bartlett Gallery:

http://www.laurabartlettgallery.co.uk/Artist-work/8

См. еще подборку на ubuart:

http://www.ubuart.org.uk/artist%20pages/becky.htm

Информация оттуда:

Beasley is currently studying for a PHD in Fine Art at the Royal College of Art in London, where she graduated with an MFA in Fine Art Photography in 2002. She graduated with a BA Hons (First Class) from Goldsmiths College, London in Fine Art / Art History in 1999. Since graduating from the RCA she has had three solo shows, in Athens (Millefiori Art Space), Amsterdam (The Bakery) and London (The Whitechapel Project Room.) Her work is contained in many private collections, both in the UK and abroad. In May 2006, she was successfully short listed for Bloomberg New Contemporaries. She also writes for a number of specialist photography magazines (including SOURCE, Hotshoe and Portfolio) and is the Editor of the Independent Publishing House, Grey Area Books.

Собственно, все это в связи с тем, что Becky Beasley одной строчкой уже называлась (RCA Photography 2007):

http://forum.znyata.com/viewtopic.php?p=22469#22469

А нашел страничек несколько ее на Re-title.com вчера (
http://www.re-title.com/search/header/?cty=84 ):

Becky Beasley: http://www.re-title.com/artists/Becky-Beasley.asp

Inez van Lamsweerde et Vinoodh Matadin


Kissing

Это не только известные фотосессии, вроде Lara Stone, "Dutch Pearl" Ph: Inez & Vinoodh, V Magazine Spring 2007:

http://community.livejournal.com/modelc ... 09621.html

См. также разные работы здесь: http://www.airdeparis.com/inezvin.htm


Björk (Poisson-Nageur), 2000
c-print in plexiglass, 126 x 158 cm
ed 6

Но также

The Now People — Part Three: The Women
Inez van Lamsweerde & Vinoodh Matadin, Eugene van Lamsweerde
Galerie Andreas Grimm
D. München, 14 Mar-03 May 2008



After a 6 year absence from the European exhibition circuit, Andreas Grimm Munich is pleased to present The Now People Part Three: The Women, by Inez van Lamsweerde and Vinoodh Matadin in collaboration with Eugene van Lamsweerde.

The show is the third installment of an ongoing series entitled The Now People which began in 2003 at the Matthew Marks Gallery in New York.

Part One: Paradise contained photographs depicting the modern day Adam, Eve and God.

Part Two: Life On Earth opened at the Matthew Marks Gallery in 2005 and was presented as a group show with M/M Paris and the sculptor Eugene van Lamsweerde as collaborators. This was the first time Inez and Vinoodh combined photography and sculpture. Together with Eugene, they produced several large-scale sculptures from industrial scrap metal and wax, some of which actually pierce the surface of the photographs.

Part Three: The Women includes some of the sculptural works from Life on Earth as well as an installation entitled The Seance, which is a collection of silk screened photographs pierced by metal as to actualize thoughts, energies, and emotions into a physical tangibility. Three large scale new photo works entitled Woman 1, 2 and 3 have been made specifically for this show that investigate the erotic portrait by means of sculpting the female face into a phallic shaped object.

This show contains only images of women — inspired by new and old female archetypes: the feminist, the object, the demon, the earth mother, the trickster, the shaman and the innocent.

http://photography-now.com/popup_ausst_ ... gen=T59168

Сколько все же исчезает важных и освященных традицией, в том числе сценами кино, вещей. Разбитая камера, засвеченная пленка… Жуткий процесс вытягивания кишок из кассеты, такое обнажение на свету, после которого спасти, похоже, можно было только черно-белую пленку.

Читаю: If I’m asked to wipe my memory card do I have to do it?

— Ой-ой. Правда, воображение рисует все же, как может быть раздавлена или разломана хрупкая карта памяти, но где тут пафос былой трагедии…

В галерее BrancoliniGrimaldi http://www.brancolinigrimaldi.com/ состоялась как-то выставка Untitled : Francesca Rivetti (4/12/2005)

На сайте галереи можно посмотреть пять примеров ее работ (но кажется, что это — вся выставка) — сопоставление почти намеков на изображение и громадных пустых пространств. Покопавшись вначале в разделе выставок, чтобы найти снимки, можно обнаружить последовательность этих пяти работ, в последней из которых некая остаточная деталь все же присутствует, ее можно разглядеть при желании. И этот ряд может служить топорной и точной в силу этого иллюстрацией к остаточной традиции в новой фотографии…

Впрочем, это такая универсальная все же иллюстрация выходит, ко многому…




Abbastanza vuoto
120X180CM, Ed. of 5

Симптоматично также, что на Photography-Now в пресс-релизе текста просто нет:

http://photography-now.com/artists/popup/B006538.html

Peat, Salt and Moondust
Kahn & Selesnick
AEROPLASTICS contemporary
B. Bruxelles, 22 Feb-29 Mar 2008


stinkend
26,7cm x 77,5cm | 10.5" x 30.5"
archival digital print, Ed. of 5, 1999
from Scotlandfuturebog series

Текст с Photography-now:

Kahn and Selesnick : From Image to Story

Defying easy classification, the work of Kahn/Selesnick -artists Richard Selesnick and Nicholas Kahn- incorporates photography, painting, sculpture, design, and narrative text. With diverse influences including Italian Renaissance painting, 19th century panoramas, and Sufi tales among them, their images are very complex while graphically elegant, and in dialogue with various traditions of written and visual narrative. The viewer of their elaborate and fantastic scenes may decode the images symbolically and decipher the accompanying texts, yet still remain seduced by an enigma.

The Englishmen Kahn and Selesnick - both born in 1964 - have been collaborating since 1988 : first creating installations combining painted portraits on plaster panels and bread, honey, and wax sculptures displayed in wooden ritual architecture. Tired of working locked up in a studio, they returned to photography on location, experimenting with 360-degree panoramic photographs set in the English countryside, and eventually integrating costumes and sets in vast productions rife with curious anachronisms. In 1996, their first large exhibition of photographic panoramas, The Flight Series, was a body of work that brought to fruition the various components that would become the team´s primary modus operandi: story and history intertwined to weave a personal mythology, accompanied by museological display of found and fabricated artifacts and archives. The Flight Series recounts the story of a fictional expeditionary brotherhood, the Royal Excavation Corps; its visual "documentation" depicted on sepia-toned panoramas appears historically accurate for the era in which the R.E.C. was said to have been active, the 1930s. The exhibition also included two R.E.C. gliders allegedly used in aerial reconnaissance.

1999´s The Circular River, the R.E.C. Siberian Expedition of 1945-46, continued the story of the R.E.C. begun in The Flight Series. Objects purportedly loaned by the Novosibirsk Museum of Ethnography accompanied the show of artificially-aged laser-print panoramas…

Весь текст:
http://www.photography-now.com/popup_au ... gen=T59264

Во многом самодостаточный сетевой проект:

http://peatsaltmoondust.aeroplastics.net/index.php

Еще больше:

http://kahnselesnick.aeroplastics.net/index.php

Читаю, цитату положу:

Эжен Атже, Евгений Орлов
10.06.2005

«Одним из ранних поклонников Эжена был юный Ансель Адамс, который писал в 1931 году: "Обаяние Атже заключается не в превосходном владении техникой его времени, не в старомодной изящности одежды, архитектуры и персонажей его работ, а в объективном и глубоком видении предмета... В его работах простое открытие простых аспектов жизни его окружения. Нет никакого наносного символизма, никаких дизайнерских наворотов, никаких скрытых интеллектуальных проблем. Фотографии Атже — непосредственные и эмоционально чистые записи редкого и утонченного восприятия и представляют может быть самую раннюю форму чистого искусства фотографии"».

http://club.foto.ru/info/articles/article.php?id=161

Положу и вот эти ссылки вот сюда, чтобы поближе были:

О встречах с фотографами в “Захенте”
http://svetapoleschuk.blogspot.com/2008 ... _7766.html

Размышляя о фотографии после Лапина. Часть 1.
http://svetapoleschuk.blogspot.com/2008 ... st_20.html

История и теория фотографии для культурологов
http://svetapoleschuk.blogspot.com/2008 ... _7471.html

Family Photographic Albums at the Turn of the Cent...
http://svetapoleschuk.blogspot.com/2008 ... rn-of.html

Фотография, время, любовь
http://svetapoleschuk.blogspot.com/2008 ... -post.html

О семейном фотоархиве
http://svetapoleschuk.blogspot.com/2007 ... -post.html

Walter - Assembly, 2007

Lenticulars

…I am a complete techno-fanatic

Margeaux Walter’s 3D lenticular prints exploring our future as a technologically dependent society.

В общем, статичные фотографии смотреть — не увидеть ничего, так что лучше сразу сюда:

http://www.margeauxwalter.com/home.html

Несколько ссылок в связи с выставкой:

ONENESS
Margeaux Walter
Nohra Haime Gallery
USA. New York, 12 Feb-12 Mar 200


MARGEAUX WALTER
STUDY 1 (ONENESS) , 2007
lenticular, diptych, ed.5
24 x 20 in. each p. 61 x 50.8 cm.
24 x 40 in. overall 61 x 101.6 cm.
Edition of 5

Текст:
http://photography-now.com/popup_ausst_ ... gen=T59273

Art Space Talk Margeaux Walter
http://www.myartspace.com/blog/2008/01/ ... alter.html

Laura Pabst from the Nohra Haime Gallery introduced me to the art of Margeaux Walter. Margeaux recently graduated from The Tisch School of Arts in NYC with a BFA in Photography. She uses photography and photographic lenticulars "to explore the evolution of human interactions, technological innovations, and the relationship between them."

…The solo exhibition will be mostly of work from my new series, Oneness. This is a collection of minimalist portraits that highlight subtle motions, gestures, and expressions that I notice in everyday interactions. They express the growing distance between people, as even the simplest act of making eye contact may cause discomfort. These portraits convey the isolation that occurs with every lost, unseen, and confused interaction, and forebodes a mechanical existence.

BFA Thesis Exhibition 2006
http://photo.tisch.nyu.edu/object/pi_BFA06.html

Интересно вот тут на карте выходит:

Литва есть, Украина — есть, Беларусь — нетути.

http://artforum.com/guide/region=EU

Foam: http://forum.znyata.com/viewtopic.php?p=26499#26499 , декабрьский:

AVAILABLE ONLINE: #13 / SEARCHING
Friday, 21 December 2007

Out now! Foam Magazine's Winter 2007-08 issue 'Searching'.
With surprising portfolios by six well known artistis: Stephen Shore, Wolfgang Tillmans, Inez van Lamsweerde and Vinoodh Matadin, Thomas Ruff, Philip-Lorca di Corcia and Hans Aarsman. As always, the portfolios are accompanied by essays and interviews, for this issue written by Philip Gefter, Lisa Le Feuvre, Penny Martin, Valeria Liebermann, Aaron Schuman and Hans Aarsman respectively.

At the start of this issue is an extensive interview with New York gallery owner Jen Bekman, who is particularly active online with different projects. And in the regular but always unpredictable feature On My Mind... six people from the cultural world present the photo that has captured their attention most powerfully of late: Gerhard Steidl, Anton Corbijn, Geoff Dyer, Michael G. Wilson, Philippe Garner and agnès b.

http://www.foammagazine.nl/index.php?pageId=2


ME#3/ ME#11, 1998 © Inez van Lamsweerde and Vinoodh Matadin


1,236 sheets of negatives from the 1980s, thrown away on 19 August 2004 © Hans Aarsman

*
Еще у Кольберга:

Thoughts on Portraiture

People often tell me that Thomas Ruff's portraits are boring. What does that mean: "boring"? How can a portrait be boring?

Первая часть:

http://www.jmcolberg.com/weblog/2008/02 ... .html#more

Sabine Wild

Vertikale
Sabine Wild
ARD-Hauptstadtstudio
D. Berlin, 26 Feb-18 Apr 2008

Не помню уже, здесь или на дистанционном курсе была записка по поводу работ Sabine Wild. Заметные вещи в качестве учебных примеров по самым разным темам, поэтому, думаю, скорее всего в дистансе вначале было все же.



Текст (нем.):

http://www.photography-now.com/popup_au ... gen=T59250

Все серии автора (много, довольно крупные иллюстрации):

http://www.kunstwild.de/index1.shtml

Sabine Wild, Vita

Born in Padua, Italy, in 1962, raised in Münster, Germany. Studied German, linguistics and Spanish in Bielefeld, Münster, Cologne and Berlin. Masters of Arts awarded by the Technical University of Berlin.

Has lived In Berlin since 1985. Free phography since 2003. Seminar under Jonas Maron 2008 at the Ostkreuzschule für Fotografie.

Represented by the Editionsgalerie LUMAS.

Co-dounder of the producers' gallery Galerie en passant In December 2005.

Part of the artists' group lu biks since 2005.

Since 2007 member of neunplus – photography community for the promotion of author photograhy.

Counsellorfor fine arts in GEDOK (Gemeinschaft der Künstlerinnen und Kunstförderinnen e.V.).

Member in the Neue Gesellschaft für Bildende Kunst (NBGK — New Society for Fine Arts).

LUMAS:

http://www.lumas.com/verzeichnis/seite/ ... /1602.html

Про Sabine Wild пишет Mrs. Deane (nothing is too amazing to be true):

German photographer Sabine Wild’s portfolio will offer you an overview of various contemporary photo techniques, ranging from tiltshifting to photographing through vehicle windows, using slit pinholes and simple straight photography. Although the New York series aren’t really my thing, I did enjoy looking at malapolska, diffus, norwegen and, most of all, tier sein (being an animal), which communicates what I perceive as the horrors of life in a zoo.

malapolska,
http://www.kunstwild.de/photography_18.shtml

diffus
http://www.kunstwild.de/photography_16.shtml

norwegen (ага, очень интересно)
http://www.kunstwild.de/photography_20.shtml

tier sein
http://www.kunstwild.de/photography_16.shtml

Здесь (очень интересный блог):

http://www.beikey.net/mrs-deane/

Днями как раз была закладочка на Annet van der Voort:

http://forum.znyata.com/viewtopic.php?p=25637#25637

но тогда не попалась иллюстрация подходящая к ее серии о девочках-мамах. Colin Pantall (photographer and Writer based in Bath, UK), читая Conscientious, затронул эту тему еще и на примере Ditte Haarlov Johnsen, написав перед этим про Annet van der Voort:

Annet van der Voort looks at young mothers with their new borns in a direct way that captures something of the physical and emotional trauma of becoming a mother. There's a real sense of fatigue in there and I like the feeling of the frailty of mother and child.



http://colinpantall.blogspot.com/

Одна информация, актуальная для тех, кого интересует проблема обучения, а вторая — для тех, кто работы представляет и продает.


Somayeh Bardai

This intensive ONE-YEAR residency offers international participants the opportunity to work in technologically advanced facilities with renowned photographers to bring critical rigor to the advanced photographer. The function of the program is to advance the content of individual work through critique, lectures, museum and gallery visits and dialogue with other participants.

Seminar Leader: Marc Joseph

Guest Photographers and Lecturers Include:
Gregory Crewdson | Tim Davis | Taryn Simon | James Welling | Larry Sultan | Jessica Craig-Martin | Elinor Carucci | Jack Pierson | Collier Schorr

Students will receive 30 credits for successful completion of the certificate program. This school is authorized under Federal law to enroll nonimmigrant students. Please direct all inquiries to photoglobal@sva.edu.

For more information, visit www.sva.edu/photoglobal.

APPLICATION DEADLINE: may 1, 2008
Scholarships available.

For more information or to apply, visit www.sva.edu/photoglobal

BFA Photography Department
School of VISUAL ARTS
209 East 23 Street, New York, NY 10010-3994
Tel: 212.592.2340 Fax: 212.592.2336
www.sva.edu


Antonio Ibarra Jimenez

http://photography-now.com/popup_ausst_ ... gen=T59385
http://photography-now.com/popup_ausst_ ... gen=T59385
http://photography-now.com/popup_ausst_ ... gen=T59385

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The AIPAD Photography Show New York
USA. New York, 10 Apr-13 Apr 2008

One of the most important international photography events, The AIPAD Photography Show New York, will be presented by the Association of International Photography Art Dealers (AIPAD) from April 10 through 13, 2008. More than 75 of the world's leading fine art photography galleries will present a wide range of museum quality work by contemporary, modern and 19th century masters at the Park Avenue Armory in New York City. The 28th edition of The AIPAD Photography Show New York will open with a Gala Preview on April 9 to benefit the John Szarkowski Fund, an endowment for photography acquisitions at The Museum of Modern Art in New York City. The AIPAD Photography Show New York is the longest running and foremost exhibition of fine art photography.

"The AIPAD Photography Show is renowned among connoisseurs of fine art photography as the place to find the best work on the market," said Robert Klein, President, AIPAD, and President, Robert Klein Gallery in Boston. "This year, expect to see more large-scale contemporary work in newly designed, spacious booths."

Exhibitors
A wide range of the world's leading national and international fine art photography galleries will show at The AIPAD Photography Show New York. New York galleries include Bonni Benrubi Gallery, Inc., Deborah Bell Photographs; Howard Greenberg Gallery; Hasted Hunt; Edwynn Houk Gallery; Charles Isaacs Photographs, Inc.; Hans P. Kraus, Jr. Fine Photographs; Robert Mann Gallery; Laurence Miller Gallery; Robert Miller Gallery; Yancy Richardson Gallery; Silverstein Photography; Staley+Wise Gallery; Throckmorton Fine Art, Inc. and Zabriskie Gallery.

Galleries from across the country include Stephen Daiter Gallery/Daiter Contemporary and Catherine Edelman Gallery, Chicago; Fay Gold Gallery and Jackson Fine Art, Atlanta; Robert Klein Gallery, Boston; Robert Koch Gallery, San Francisco; Lee Marks Fine Art, Shelbyville, IN; Weinstein Gallery, Minneapolis; and Joseph Bellows Gallery, La Jolla, CA.

International galleries include: HackelBury Fine Art Limited and Michael Hoppen Gallery Ltd., London; Baudoin Lebon, Paris; Stephen Bulger Gallery, Toronto; Galerie Daniel Blau, Munich; Photology, Milan; Kicken Berlin, Berlin; Galerie Priska Pasquer, Cologne; Galerie Zur Stockeregg, Zürich; and Picture Photo Space, Inc., Osaka.