Встреча с легендой.

Некоторые ссылки к списку персоналий Fotografia europea Reggio Emilia 2008.

Raoul Hausmann

Выходит так, что Raoul Hausmann, который was the cofounder of the Berlin Dada movement in 1917, and the creator of photomontage in the following year, предствлен не известными коллажами, см. крупную иллюстрацию на ArtArchive:

http://www.artchive.com/artchive/h/haus ... critic.jpg

а чисто фотографическими вещами, которые и отыскать невозможно:






Wols

Большой текст: …Wols' photographic vision was not always this restricted. He came to Paris in 1932 at the age of 19, after unsuccessfully trying to study with the avant garde artist and photographer László Moholy-Nagy in Berlin. His early Paris photographs are largely street scenes. Some include figures, while others simply show a section of pavement, cobblestones, a mud puddle, torn posters on a wall…

Graduate Student Introduces Little-Known Artist to U.S. :
http://www.hno.harvard.edu/gazette/1999/04.08/wols.html

Wols на IFA:

WOLS, 1913–1951 (born Alfred Otto Wolfgang Schulze) is seen as the main initiator and pioneer of Tachism. 40 black-and-white photographs, 12 watercolours and 33 etchings reveal influences from surrealist circles in Paris. Wols took most of his photographs – scenes from everyday life, portraits, and absurd, morbid still lives – in the 1930s. Thinking graphically, he composed the light and shade, spaces and lines of his motives in unusual pictorial unities.



http://cms.ifa.de/en/exhibitions/exhibi ... d/bk/wols/

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Дополнительно:

A place to find all kinds of information about collage, Collage Clearinghouse:

http://collageclearinghouse.blogspot.com/

Introduction to the History of Photography: Dadagraphy: the photomontage — Raoul Hausmann

Там же — ссылки:

* W. Benjamin - A Small History of Photography (pdf)
* W. Benjamin - The work of art in the age of mechanical reproduction
* V. Flusser - Caixa Preta (Towards a Philosophy of Photography) Portuguese text
* Vilém Flusser
* Texts by Lev Manovich

http://photographyhistory.blogspot.com/ ... smann.html

The relationship of Czech avant-garde artists to the German avant-garde

http://www.photorevue.com/phprs/view.ph ... 2005010403

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Совсем попутно:

the fuschia house at Wallington, Northumberland UK

http://traumwerk.stanford.edu/figureand ... ingto.html

Taken on a pinhole Ovnipan made by Joachin Casado of Barcelona.
Posted by Michael Shanks on October 16, 2005

Paolo Gioli Self Portrait
4" x 5" pinhole photograph taken with the Snapshot Camera, 1972

Снимок, приведенный ранее — Exiled, 2007, lens photograph on 50 x 60 polaroid. Эта иллюстрация открывает текст

Italian Photographer — Paolo Gioli

This is the first solo exhibition in China of the renowned Italian experimental photographer and filmmaker Paolo Gioli. The exhibition consists of a selection of about 30 Polaroid works, ranging from the early '80s to today. It also includes five experimental films. These same films were screened at the New York Film Festival and Hong Kong International Film Festival in 2006. Curated and hosted by offiCina, an Italian art agency based in Beijing, the exhibition lasts from September 22nd to December 9th.

"Gioli is very famous, he has done some important exhibitions. The most important one, for instance, was at the Centre Pompidou in Paris, who hosted his exhibition in 1983. He has exhibited in Milan, Rome, Switzerland and many other places."

That is Paolo Vampa, a long time friend and representative of the artist. Vampa said that they brought this exhibition to China because they regard this country as one of the biggest art markets in the world.

Gioli is an artist who started in painting, which he abandoned in 1975, to dedicate himself entirely to experimental cinema and photography. His investigation of instant photography via the Polaroid, constitutes an important part of his work.

"He is a photographer who is interested in the essential factors of photography, that is, light; chemical support; lenses; how the image gets formed; and how reality becomes an image."

…Gioli uses Polaroid's in an unconventional fashion. In place of conventional framing, he applies the negative to nobler surfaces, like paper or silk.

"He takes the picture. He takes the negative. He put it on a sheet of paper and with a roller, using pressure; he transfers the image from the Polaroid to paper. So it's in a way like print making."

Thus Gioli brings photography closer to the realm of fine arts.

"Personally, he is a very serious character, like old people who do research, very vigorous, very solitary."

"I would say this personality, it could influence him negatively, in the sense that he is a bit removed from the rest of the world. But he is intelligent enough to follow all the events that matter to him."

Since the 1970s, Gioli has devoted himself to deconstructing the very essence of film as art. Drawing on his background in painting, Gioli creates films by reframing older images, or central elements, from a century of cinematic traditions.

Filmarilyn is a film made by Gioli in 1992. The work aroused public attention immediately after its release.

Крупная иллюстрация:

http://english.cri.cn/mmsource/images/2 ... 5B1%5D.JPG

См. пордробнее:

http://english.cri.cn/4406/2007/10/10/47@282647.htm

Views from the Avant-Garde: Paolo Gioli



http://www.filmref.com/journal/archives ... _paol.html

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PAOLO GIOLI. QUARANTA POLAROID 50X60
Palazzo Casotti, Reggio Emilia, 30 aprile-8 maggio 2008,
in Umano Troppo Umano a cura di Elio Grazioli.
Mostra nell'ambito di Fotografia Europea Reggio Emilia 2008.

http://www.paologioli.it/



См. раздел фотографий:


"Corpo sorpreso poco dopo l'alba", 1973
stampa fotografica in bianco e nero da negativo microstenopeico
realizzato con il bottoncino automatico, cm 18x13

http://www.paologioli.it/fotografia1a.htm

И далее…

Jorge Molder

Jorge Molder was born in 1947 and studied Philosophy. Since 1977, when he had his first solo exhibition, he has showed his work all over the world in all the major museums and art centers.

PROJECTS

I apply the word series , to use a well known philosophical concept, to univocal and uniquivocal models of time, of belonging and also of other attributes that I have difficulty in clarifying. I know perfectly well when it begins, I manage to discover when it ende, I am able to understand its constituent elements, but its working and its occurrence tottaly escape me.

Really, this is not very different from life, we understand almost everything with the exception o fan essential detail. This ignorante should not make us queasy, even when we are able to devine in it the origino f the hallowed forms of disheartenment and insecurity. They are the famous alpha and omega questions.

Waiters, 1986





The Taste of Bread, 1988



nox, 1989/9



Vasistas, 2005







Проекты: http://www.jorgemolder.com/gallery/projects_gallery.php

Тексты: http://www.jorgemolder.com/texts/texts_on.php

Salvation, if it comes, will come to all or no one.
Delfim Sardo
2007-01-15

The pupil is an immense black hole, a well, a fear.
Such a fear is only existent due to the scale of the image, a very, very big image. Not big in the absolute, for there are no images absolutely big, but only relatively big - relatively to where they're placed, but also to which they represent and, above all, in relation to the body that looks at them.

artpress, CGAC
Ian Hunt
2006-06-04

The work of Jorge Molder, most of which consists of self-representations, involves the viewer in a game of looking, which the subject himself is also preoccupied by. There are clues to look for, and an atmosphere of mystery to be penetrated.

Pierre et Gilles

В представлении не нуждаются; пару ссылок для проформы.



Active since 1976.
Live and work in paris suburbs.

Pierre et Gilles form a couple, an entity whose work is inseparable from their life and everyday universe. They create portraits of stars and unknowns in unique hand-painted photographs, through an established process:

- they first draw a sketch of the work they have imagined together, according to the model and the role they want him to play;

- they conceive the entire production from the set made with carefully selected materials and accessories, collected worldwide during travels or shopped all around. They also realize the lighting in order to animate and magnify the subject by a play of angles and filters. They select or even realize themselves the costumes, make-up and hairdressing, sometimes with the help of the best specialists;

- Pierre photographs the scenery they have imagined together. Gilles then paints the unique print with successive layers of paint and glaze, exceeding reality. It results in a unique, perfectly aesthetic image that definitely cannot be done by any kind of digital software;

- finally, they conceive the specific frame that is an integral part of the work. Actually, they consider the frame as the extension of the image's universe ;

Everything is considered in order to achieve an aesthetic perfection and a vision of an enchanted world, corresponding to their dreamed reality. As they state: "This is a little bit of photo, a little bit of painting. There is the idealization of the sopped moment; Gilles with his brush can go and go back, and there is no time limit."

Their own universe always shows the same reoccurring idealized set of themes: stars and unknown friends, sailors and princes, saints and sinners, fairy paradises and lowest depths, popular iconography and magic, all mixed together in a world of love and grace.

http://www.denoirmont.com/artiste.php?id=14

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Pierre et Gilles, Pierre Commoy and Gilles Blanchard, are gay French artistic and romantic partners. They produce highly stylized photographs, building their own sets and costumes as well as retouching the photographs. Their work often features images from popular culture, gay culture including porn (especially James Bidgood), and religion.

Pierre Commoy, the photographer, was born in 1949 in La Roche-sur-Yon. Gilles Blanchard, the painter, was born in 1953 in Le Havre. After art studies, they moved to Paris in 1973 where they met in 1976, and began to work together.

People photographed by Pierre et Gilles include: musicians Lio, Khaled, Étienne Daho, Marie France, Mikado, Marc Almond, Marilyn Manson, Madonna, Kylie Minogue, Erasure, Deee-Lite, The Creatures, Nina Hagen and CocoRosie (the cover of their 2007 album The Adventures of Ghosthorse and Stillborn); model Naomi Campbell, actress Catherine Deneuve, actor Layke Anderson and designer Jean-Paul Gaultier.

They directed Marc Almond's 1990 music video for the song "A Lover Spurned".

http://en.wikipedia.org/wiki/Pierre_et_Gilles

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Bright Lights Film Journal | Pierre et Gilles:



http://www.brightlightsfilm.com/24/pierregilles.html

*



http://www.art-forum.org/z_P_et_G/gallery.htm

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Sex

Pierre et Gilles

An enduring couple make glittery photographs filled with myth, camp and homoeroticism.

By Glen Helfand

Вторая страница:

"We photograph people whom we know and love"

http://archive.salon.com/sex/feature/20 ... index.html

Antoine D'AGATA

Born in Marseille in 1961, Antoine D'Agata left France in the early eighties, studying photography at the International Centre for Photography in New York in 1990 alongside of Larry Clark and Nan Goldin.

Fotografia europea Reggio Emilia 2008 — photogallery





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The City of Fremantle Festival of Photography

UNTIL THE WORLD NO LONGER EXISTS
2006 Festival Photographer: Antoine d'Agata


Untitled © Antoine d' Agata

"What we see is not made up of what we are seeing but rather from what we are," Fernando Pessoa.

The night, the sex, the wandering… and the need to photograph it all, not so much the perceived act but more like a simple exposure to common and even extreme experiences… It is an inseparable part of photographic practice, in a certain sense, to grasp at existence or risk, desire, the unconsciousness and chance, all of which continue to be essential elements. No moral posturing, no judgement, simply the principle of affirmation, necessary to explore certain universes, to go deep inside, without any care. A ride into photography to the vanishing point of orgasm and death…

…A photograph is nothing but a lie. The space is cut off, the time, manipulated. They are two uncontrollably false appearances of an image condemned to choose between hypocrisy – and good conscience – and being fake. The language used is often one of class: dominator but alienated, unaware of the actual matter at hand: appearance, ambiguity, the imaginary. In my photographs, in my every day practice of the lie, I cannot pretend to describe anything but my situation itself – my normal states of being, my kinky intimacies… I can only comment on the mere insignificance of the photographic moment.

…The only photographs that truly exist are the « innocent » images. We find them in the family photo albums or in the police archives. Beyond serving as a simple documentation of reality or of a certain aesthetic sense, they attest to the role of the photographer, of his implication, of the authenticity of his position in that moment. The compositions of light, narrative, are no longer, for me, fundamental problems but superfluous lies. What interests me today in an image? The perspective that has justified the act of photography, the interference of the experience, of the ongoing scene, the texture, the material, the meaning of the self-portrait, of the individual, the incoherence of the unfolding sequence, the maniacal reconstruction of the random experience – the photographs, like words, are meaningless when isolated…

Весь текст:

http://www.fotofreo.com/2006/dAgata2006.shtml

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December 12, 2007

Magnum Magnum: Antoine d'Agata by Patrick Zachmann

With the publishing of Magnum's latest book "Magnum Magnum" (see Martin Parr's introduction) we present you three sample chapters of this epic 6,5kg book on the Magnum Blog. In this book each Magnum photographer is represented by six works chosen by, and accompanied by a critical text from, another member. We started with Chien-Chi Chang by Bruce Davidson, continued with Eve Arnold by Elliott Erwitt and finish our presentation today with Antoine d'Agata by Patrick Zachmann.


I like the idea that Antoine d'Agata is part of the 'Magnum family', because there is nothing more stimulating than trying to make photographers fit in who don't conform to the usual image of our venerable agency. Nothing could be more boring than accepting a new photographer who is a clone of ourselves.

When I saw Antoine's work for the first time, I had a shock. I had become saturated with photography in general, which I found repetitive and limited. I had tried other formats - square, panoramic, colour, then cinema - all in an attempt to escape boredom or repetition. Suddenly, Antoine's work proved to me that with photography you could still surprise and move people.

…Henri Cartier-Bresson claimed that one has to step back from reality and become invisible. Robert Capa said you have to get so close to your subject that you feel fear. As for D'Agata, while he belongs perfectly properly to the tradition of reportage, he gets close enough to his subjects to make them blurred, and even includes himself in some pictures, as if to show that to leave oneself out would be a delusion.

Whether it is the work of a photographer, painter or film-maker, a work of art makes sense and touches me when it bears traces of the artist's self-portrait.

http://blog.magnumphotos.com/2007/12/ma ... hmann.html

Stills Gallery — Antoine D'Agata

Выставлялись две серии; первая:

Insomnia


Italy, Palermo, 1999
Gelatin silver print


France, Paris 2001
Gelatin silver print, 40.5 x 30.5cm


Mali, Bamkako, 2001
Gelatin silver print, 35.5 x 28cm


Mexico, Tamaoros, 1999
Type C print, 28 x 35.5cm


Mexico, 2000
Type C print, 28 x 35.5cm

http://www.stillsgallery.com.au/artists ... main&nav=1

Stills Gallery — Antoine D'Agata

Stigma


France. Brest, 2004
Type C print, 51 x 61cm


France. Paris, 2004
Gelatin silver print, 40.5 x 305cm


Italy. Naples, 2004
Type C print, 40.5 x 305cm


Lithuania, Vilnius, 2004
Type C print, 40.5 x 305cm


Canaries, Las Palmas, 2004
Type C print, 40.5 x 305cm

Все снимки:

http://www.stillsgallery.com.au/artists ... s_02&nav=2

Antoine D'Agata

Другие ссылки:

Mala noche 1991-1997



http://www.documentsdartistes.org/artis ... oche1.html

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19 ноября 1961 года родился известный французский фотограф Антуан Д'Агата

«Антуан Д'Агата (Antoine D'Agata) изучал фотодело в Международном центре фотографии (International Center of Photography) в начале 1990-х годов в Нью-Йорке вместе с Нан Голдин и Ларри Кларком, которые к тому времени были уже известными фотографами (позже Ларри Кларк ушел в кинематограф и в 1995 году снял знаменитый фильм «Детки» — «Kids»). По всей вероятности, именно от Голдин и Кларка Д'Агата перенял стиль съемки под названием «raw insider»…».

…Этот стиль не был совершенно новым, в аналогичном ключе в 1960-х годах работал американский фотограф Дэнни Лион. Но Д'Агата, в отличие от Лиона, не погружался в некоторую среду с целью сделать фоторепортаж и исчезнуть — для него это была не работа, а образ жизни. «Потребность фотографировать, не осуществлять продуманный акт фотографирования, но просто фиксировать как ординарные, так и экстраординарные события», — пояснял фотограф суть свого метода, — «Деятельность, неотделимая от определенного подхода к жизни, в котором риск, желание, подсознание и удача — самые существенные элементы. Никаких моральных ограничений, никаких суждений, только одна этика — ты должен жить тем, что фотографируешь. Шаг к фотографированию становится шагом к исчезновению, наслаждению или смерти».

В 1990-х годах Д'Агата проходил стажировку в нью-йоркском отделении знаменитого фотоагентства «Магнум», а в 2004 году стал членом агентства. С 1996 по 2006 год он издал пять фотоальбомов, участвовал в большом количестве выставок, получил ряд престижных наград, в том числе премию Ньепса».
http://www.photoisland.net/pi_hist_text ... ist_id=217

Antoine D'Agata — Magnum Photos : http://www.photographer.ru/blog/view_me ... opic=13033



Dix photographes de l'agence Magnum à la Cinémathèque française
Par Nathalie Lenoir, jeudi 5 avril 2007

Довольно большая подборка здесь:

http://virgina-poly.livejournal.com/30283.html

См. еще попутно:

сексуальность на снимках агентства Magnum Photos

http://bezumnypiero.livejournal.com/252627.html

«Фото Арт» — таким было название проекта, который уже даже начинал приобретать слабые видимые очертания. Вообще не так много шансов было появиться журналу, для которого (в расчете на собственное макетирование) в начале девяностых не удавалось даже найти шрифты, имелись только системные Windows 3 и растровые, по сусекам собранные и самодельные, добрых старых времен Windows 2. Попалась было какая-то на коленке кирилизованная Гельветика, вернее, ее попытка с частью знаков — до первых доступных программ работы с PS было еще ох как далеко… Более вменяемым и последовательным был спонсор у журнального фотографического проекта Галины Москалевой, но было это уже в цивилизованные времена…

Photo Art — название книги, которую подготовили Uta Grosenick, редактор книг Art at the Turn of the Millennium и Art Now, Volumes I and II и Thomas Sellig куратор Fotomuseum Winter­thur, Winterthur, Switzerland. Книга издана Aperture Foundation; другие весенние издания — здесь:

http://www.aperture.org/store/browse-preview.aspx

Сергей Братков из Харькова (теперь — в Москве), кажется все же случайным в списке. С другой стороны, нет гипнотизирующих имен, по поводу которых мне уже задавали вопрос, как я отношусь к легендам «Фотосайта.Ру» и «ЖЖ».

Часть авторов в списке довольно хорошо известна и/или уже имеется в списке на дистансе или здесь, в «Легендах».

Далее, не все цифра в персоналиях, но цифро-интернетная фотография, похоже, одна из доминант издания.

Photo Art: Photography in the 21st Century



Photo Art.
Photography in the 21st Century.
Edited by Uta Grosenick, Thomas Seelig.
Aperture, New York, 2008. 512 pp., 520 color and 45 b&w illustrations, 8¼x10½".

Book Synopsis
As digital technologies and the homogenization of trends continue to impact photo­graphy, there are those artists who rise above the fray, producing compelling work that causes a commotion. Photo Art: Photography in the 21st Century features the latest, greatest, and newly up-and-coming artists responsible for this furor. A com­pendium of more than 120 image-makers from around the globe, Photo Art reads like an international art fair between covers.

This luscious compendium showcases the work of artists to watch now and in the future: from established figures such as Richard Billingham, Takashi Homma, and Luc Delahaye to representatives of the newest generation: Beate Gütschow, Barbara Probst, and Roe Etheridge. Each artist’s work is showcased in a generous four-page spread; many of the layouts are enriched by installation views, book layouts, and shots of art­ists’ websites.

Texts by sixteen of the world’s top international curators and theorists, along with a glossary of the most important technical and theoretical terms, elevate this breathtak­ing volume beyond the realm of the coffee-table book.

Artists include:
Roy Arden, Olivo Barbieri, Yto Barrada, Valerie Belin, Richard Billingham, Ruth Blees Luxemburg, Sergey Bratkov, Adam Broomberg/Oliver Chanarin, Collectif_fact, Kelli Connell, Tacita Dean, Luc Delahaye, Charlotte Dumas, Ruud van Empel, J. H. Engström, Roe Ethridge, Charles FrŽger, Yang Fudong, Stephen Gill, Anthony Goicolea, Marnix Goossens, G.R.A.M., Beate Gütschow, Jitka Hanzlová, Naoya Hatakeyama, JosŽ Antonio Hernández-Diez, Takashi Homma, Rinko Kawauchi, Pertti Kekarainen, Iosif Király, Justine Kurland, Luisa Lambri, An-My Lê, Jochen Lempert, Zbigniew Libera, Taiji Matsue, Hellen van Meene, Florian Maier-Aichen, Zwelethu Mthethwa, Multiplicity, Oliver Musovik, Simone Nieweg, Mika Ninagawa, Arno Nollen, Simon Norfolk, Ohio, Gabor Ösz, Barbara Probst, Wang Qingsong, The Atlas Group/Walid Raad, Xavier Ribas, Guadelupe Ruiz, Anri Sala, Ann-Sofi Sidén, Santiago Sierra, Alec Soth, Jules Spinatsch, Eve Sussmann, Ana Torfs, Janaina Tschäpe, Sze Tsung Leong, Jens Ullrich, Useful Photography, Santos Vasquez, Back Seung Woo, Takashi Yasumura



Texts by Paolo Bianchi, Reinhard Braun, David Brittain, Florian Ebner, Erik Eelbode, Roy Exley, Barbara Hofmann-Johnson, Karen Irvine, Martin Jaeggi, Sarah Lewis, Jan-Erik Lundström, Nadine Olonetzky, Johan Sjöström, Rik Suermondt, Ossian Ward, and Grant Watson

http://www.aperture.org/store/books-pre ... spx?ID=640

Uta Grosenick

She has edited numerous volumes on contemporary art, including Art Now (2002) and Art Now Vol. 2 (2005), which profile dozens of today's most influential figures. Other books include Art at the Turn of the Millennium (1999), Women Artists in the 20th and 21st Century (2001) and 14 volumes in the series "Art Movements of the 20th Century."

Most recently, Grosenick edited International Art Galleries: Post-War to Post-Millennium (2006), the first comprehensive history of the modern gallery system and its impact on aesthetic discourse. The lavishly-illustrated book profiles more than 75 influential galleries from around the world, ranging from New York's Art of This Century, Betty Parsons and Leo Castelli to Galerie Iris Clert in Paris, Tomio Koyama in Tokyo and kurimanzutto in Mexico City.

Forthcoming volumes include China Art Book, which highlights 80 of today's most important Chinese artists; and Photo Today, a survey of 120 young photo artists written in collaboration with Thomas Seelig, curator at Fotomuseum Winterthur in Switzerland.

Grosenick's visit is held in conjunction with the exhibition Reality Bites: Making Avant-garde Art in Post-Wall Germany, on view at the Kemper Art Museum…

http://news-info.wustl.edu/news/page/normal/9006.html

Collectif_fact

К фотографиям группы, созданных, возможно, в большинстве своем на основе 3D-упражнений, нужно продираться некоторым образом… имеются проекты, где в отдельных разделах даны фотографии, есть и художественные «Интервенции»…

Проект

NO COMMENT, 2006

5 photographies
200x75 cm
tirage lambda, collées entre 2 plaques de plexiglas de 4mm





http://www.collectif-fact.ch/nocomment/ ... aphie.html

WIREFRAME, 2002
3 photographies
70 x 100cm
tirage lambda
collée sur aluminum



http://www.collectif-fact.ch/wireframe/wire1.html

Useful Photography

Развлечение, похоже, как раз для пасмурного воскресенья после субботника:

Рекомендую смотреть в такой последовательности:

Girls and Coffins

Magic Mountain

На закуску — Amphibious…

http://www.usefulphotography.com/

См. там специально раздел Issues.

См. также:

Useful Photography No. 1 : http://www.artbook.com/9072007700.html

Useful Photography # 002 / e-flux: http://www.e-flux.com/shows/view/578

Miguel Garcia-Guzman в старой версии блога опубликовал несколько заметок и рассуждений, которые был бы смысл посмотреть.

The reason we photograph…



http://exposurecompensation.wordpress.c ... /#more-268

The print is the photograph

I spent one day at Photo LA 2008 last weekend and I was immersed in a vast array of spectacular “printed” photographs. Close to 100 galleries exhibiting side by side contemporary photography with work of the masters. I had the opportunity to see prints of images that I remembered from photographer’s websites. I though I had seen the images before, but I was wrong. I hadn’t.

If you ever think that you have experienced an image by looking at it using the LCD of a computer, it is just because you forgot what it is to look at a master print. You have seen only a possibility, but you have not experienced the performance.

Photo LA 2008 reminded me something obvious but easy to forget in this computerized times: the print is the photograph. The rest is just a possibility.

Изустная фотография…

Photographs not taken

У него же:

…Usually we see and enjoy fine art photographs without words, with not even a single caption in most cases.

Now let’s go to the other side. Let the photographer communicate with just words, not pictures, and let these words make us wonder about the image so we can recreate with our own visual aesthetics a world of possibilities based on the text. From words to pictures? It sounds unusual, it is uncommon. Related with this I came across a very interesting project, “Photographs not taken“, where photographers talk about images they did not take but they hold in their memory.

“The Photographs Not Taken” is a collection of essays by photographers about the times they didn’t use their camera. This collection is a series of photographs not taken with a camera, but, instead, lived and remembered.

http://www.thephotographsnottaken.com/

… Unphotographable, where the pictures not taken are indeed described with words.

http://www.unphotographable.com/

На новой версии блога:

Why I love looking at photographs?

…My first reaction to a question like this is to think about what gets my attention when I first see an image. The response is actually quite simple: quality of the composition, quality of the subject and the quality of the moment. Even if this sounds as a cliché, it is not more than that.

(Это, если позволите, такая своеобразная реплика по поводу вспомненных неоднократно в последнее время книг, или, если точнее, мысли-не-философии Александра Лапина. Здесь, на ветке неподалеку, а также в дневнике у Светланы:

«Перечитываю Лапина. Третий раз в своей жизни. Тяжело».

А я вот все никак не соберусь даже первый раз…

http://istota-rzeczy.livejournal.com/

http://exposurecompensation.com/2008/04 ... otographs/

Недавно у Гарсиа-Гузмана были рекомендации по поводу подкастов:

The Candid Frame

…one I don't miss is The Candid Frame. These are excellent interviews by Perello Ibarionex with a broad range of photographers. The interviews are extremely well conducted, and the discussions focus mostly on the meaning and experience of photography, touching sometimes on the business of photography, but very little on the technical aspects of photography.

The most recent podcast is an interview with Freeman Patterson, a great photographer and educator, who has written very interesting books on composition including "The Art of Seeing", a great book discussing the art of seeing in photography…

http://exposurecompensation.com/2008/04 ... did-frame/

Далее, я не буду называть вслух, кто у нас во время обучения в институте на востоке страны занимался фотографией… похоже, это достаточно характерная особенность, важно просто покопаться в биографиях…

The unexpected photographer

I purchased a camera and together we dedicated ourselves to the clandestine task of taking photographs in the parks, together with a Mexican who had a small laboratory where we developed our photographs. We got to know the whole Mexico City, walking from one end to the other to deliver our dreadful photographs, fighting with every kind of client to convince them that in truth the little child in the photograph was very beautiful and that it was worth paying one Mexican peso for this wonder.

— Che Guevara



Еще:

Doug Stockdale at Singular Images has posted an interesting article about his experience attending the portfolios review at the recent Palm Springs Photo Festival.

http://singularimages.wordpress.com/200 ... xperience/

Aruha Yamaoka

Очень хвалят, очень талантливая, пишут.


2007 Aruha Yamaoka, Asymmetry


2007 Aruha Yamaoka


2007 Aruha Yamaoka


2007 Aruha Yamaoka

Pulse at Onishi Gallery Apr 17, 2008-May 10, 2008

The Onishi Gallery is proud to present the photography of Aruha Yamaoka in an exhibition entitled Pulse. This is Yamaoka’s first solo exhibition in New York, and the work of this important young photographer has occasioned eager anticipation. Frank Franca, a photographer and a faculty at the International Center of Photography and at Pratt Institute, summarizes the interest that Yamaoka has garnered in the following text:

“As a young Japanese woman living in New York City, Aruha Yamaoka’s exposure to its myriad of cultures has made her keenly aware of the ways in which cultural identity plays out in this cosmopolitan environment. Going about her life, doing the ordinary things that are universal to our shared experience as citizens of the city, she often encounters misconstrued cultural, racial and gender traits projected onto her. Having these alien roles thrust upon her has made her sensitive to the signals she sends out, and to how they might be perceived by those who share a background very different to her own. As she examines these projections, she is intrigued by the dynamic between what she might be signaling and what others might be perceiving.

“This interplay of assumptions has inspired in her a type of mirror of self-evaluation. As she comes to terms with these illusions and realities, she is intrigued by the ways in which they might actually be changing her, marking her both physically and spiritually and ultimately imprinting themselves onto her very being.

“Aruha’s self-portraits are her record. In them she attempts to record who she is, who she has been, and who she is becoming. These delicately nuanced explorations of her body are her attempt at a type of validation. At the same time they illustrate an open process in which she attempts to understand while trying to explain.

“Using a muted color palette, her gently beautiful images, with their soft light and careful composition provoke a quiet meditation in the viewer. As if holding up a small hand mirror to herself, and looking into it, she is meticulously focusing on the details in an attempt to grasp the whole. In the process, she is urging us to join her in her explorations and to examine our own presumptions and the facile ways in which we often look at things. Aruha’s tender studies invite us all to ponder timeless notions of beauty, femininity, history, aging, love, pain and other universal truths known to us all.”

http://www.onishigallery.com

На выставке выпускников (ICP Alumni) :

http://www.icp.org/site/c.dnJGKJNsFqG/b ... n_2007.htm

http://www.aruhayamaoka.com/

Попутно:

ICP-Bard MFA Exhibition 2007 — International Center Of Photography

ICP-Bard MFA Thesis Solo Exhibitions

Explore a variety of works by the 2007 graduating class of the ICP-Bard MFA program. As always the works are an eclectic mix of photography, performance, installation, and video. Each is a testament to the unique vision and experiences of the students. The content ranges across genres, including elaborately orchestrated floral still lifes, chilling portraits of gun wielding soldiers, philosophical and perceptual puzzles, and elegant, haunted office interiors.

http://www.icp.org/site/c.dnJGKJNsFqG/b ... n_2007.htm

На блоге We Can’t Paint как-то была вот такая заметка:

Jeff Wall: Cell Phone Photography is the New Black

…From November 3, 2007 until January 20, 2008 the exhibition Jeff Wall: Exposure, a selection of Wall’s new and old work, is on view at Deutsche Guggenheim. Scanning the museum’s website I noticed something interesting. Wall has a limited edition print titled Searcher, 2007 taken with a cell phone camera.


Searcher, 2007 © Jeff Wall

At first I wasn’t terribly shocked to find out that Wall has embraced and decided to use a popular form of photography such as the cell phone camera, but I was surprised at the price. The digital photo is a 13″ x 19″ (26.6 x 35.5 cm) inkjet print which can be purchased for 2,200 euros and is also signed by the artist. The Deutsche Guggenheim describes the image as follows:

Jeff Wall has long been interested in the language of realism, in the values and aesthetics of representing daily life. Many of the photographs on view in Jeff Wall: Exposure portray people in straitened circumstances — a traditional subject of documentary film and photography. On the occasion of his exhibition at the Deutsche Guggenheim, Wall has created an inkjet print entitled Searcher. He has captured with his cell phone camera a fleeting moment of life on the street. Although the moment captured is of seemingly small significance, it also resonates with the photo-grapher’s own existential search for subjects worthy of representation. In the case of Searcher, the figure bears a strong resemblance to Seurat’s late-nineteenth-century oil studies of field workers. And just as Seurat embraced the latest developments in optics and color theory to create pointillist scenes of everyday life, Jeff Wall uses one of the latest technologies for visualizing our world to represent life as it is experienced today, transformed into an abstract chromatic harmony.

Весь текст:

http://wecantpaint.com/2007/12/19/jeff- ... new-black/

Перебираю закладки с персоналиями на курсе студийной фотографии; похоже, некоторые имена все имеет смысл держать в поле зрения.

Lovisa Ringborg

Шведская девушка была замечена в Tidningen FOTO, в январском выпуске 2007-го.

На сайте — четыре галереи. Небольшая выборка…

Первая:

[ untitled ]

Вторая:

[ untitled ]

Третья:

[ untitled ]

Четвертая:

[ interior ]

http://www.lovisaringborg.se/gallery/sh ... e=pictures
http://www.lovisaringborg.se/gallery/sh ... e=pictures
http://www.lovisaringborg.se/gallery/sh ... e=pictures
http://www.lovisaringborg.se/gallery/sh ... e=pictures

In my work I am interested in the borders between fantasy and reality.

I have no intention to make a portrait of any specific person; the people in the pictures serve as actors or metaphors for a feeling or a condition.

In the pictures the characters move in a symbolworld that is their own. A world where the borders between child, adult, dream and reality are dissolved.


[ 'New nordic photography' — Hasselblad Center/Gothenburg - 2006 ]

Lovisa Ringborg – born 1979 – resident Gothenburg

Имеется приятный список достижений, университетское (фото, магистр) образование:

http://www.lovisaringborg.se/index_new.php?link=cv

Еще:


[ gallery Westberg-Spåman/Gothenburg- 2005 ]


[ Röda Sten/ Gothenburg - 2006 ]


[ the chosen one ]


[ untitled ]

Кольберг:

Lovisa Ringborg's digital manipulations are cleverly done, but as in the case of Loretta Lux's work, it's all a bit too candy-like for me.

Подборки можно посмотреть здесь:

http://2photo.ru/2007/02/15/fotograf_lo ... gborg.html

http://community.livejournal.com/ruguru/410998.html

( portfolio at http://transfer.to/lovisa
portfolio at www.hff.gu.se )

Postcript
Veronica Bailey
BANK
USA Los Angeles, 14 Apr-19 May 2007

*
Представьте себе: вы хотите фотографически отрефлексировать на историю доверительных отношенией, историю любви. Дело давнее… в руках — письма. Что может сделать фотограф? Да, на ум почти сразу приходит монокль, двойная экспозиция, заваленный вещами и безделушками стол, переносящий нас в нужную эпоху, черно-белая стилистика… что-то такое.

Музейный экспонат — заключенный под стекло лист, мумифицированная письменная жизнь.

Наверное, все это можно сделать очень талантливо, плюс: так и просится ручная подпись под каждым снимком. Что-то еще?

А вот что еще: серия Postscript, в которой буквальность, поставленная на ребро, переигрывает фотографический романтизм.



Veronica Bailey • 'Missing You'
Veronica Bailey • 'Mad With Envy'
Veronica Bailey • 'I Love You'
Veronica Bailey • 'Don't make me wait too long'

From the Postscript series, 2005 • Lambda print

Меня подкупает такое лобовое решение…

*
British born artist Veronica Bailey has created a recognizable body of still life photography that fuses her interests in history, archive, materiality and abstraction. In her most recent body of work Postscript, Bailey formulates a visually arresting and seductive collection of photographs that document a small but revealing archive of letters written by model/muse/photographer Lee Miller during her years as a war correspondent in World War II.

The letters in Postscript focus primarily on the correspondence between Miller (1907-1977) and British Surrealist artist Roland Penrose (1900-1984) prior to their marriage in 1947, but also include communications with her wartime employer and Vogue editor, Audrey Withers. During the years the letters were written, Miller documented the Blitz, the liberation of Paris as well as Nazi concentration camps and their victims upon their liberation. These were frenetic times for Miller much like her passionately charged relationship with Penrose.

Bailey was granted full access of the Lee Miller Archive at Farley Farm in East Sussex. Each letter is photographed long and thin, yet seduces with its soft lines of folded paper and hinted text. The materiality of antiquated torn paper is both sculptural and erotic. Although the viewer is never privy to the content, Bailey's titles Don't Make Me Wait Too Long, I Love You and Mad With Envy connect directly with the emotional charge of the letters without revealing their intimate details.1 Much of the power of these images lies in their subtle erotic mystery.

London based artist Veronica Bailey received her BA from Middlesex University and her MA from Central Saint Martins College. Just after receiving her MA, Bailey won the 2003 Jerwood Prize in photography for the 2 Willow Rd. Series ­ photographs of books from the library of the modernist architect Erno Goldfinger and his wife Ursula Blackwell. Her work has been published in Art Forum, Eye Magazine, Portfolio and Grafik. She is represented by Frost and Reed in London/New York, Tartar Gallery in Toronto and Bank in Los Angeles. This is Bailey's west coast debut.

1 Nigel Warburton, Portfolio: Contemporary Photography in Britain, Issue 43, May 2006

Gaain Gallery
Postcript
Veronica Bailey
April 24, 2008 to May 24 , 2008



Veronica Bailey, Goodnight Sweetheart
Veronica Bailey, All my love
Veronica Bailey, Bombs Bursting
Veronica Bailey, Go Germanyward

http://www.gaainart.com/artists/veronic ... -photo.jpg
Veronica Bailey, Awakening Kiss

Durst Lambda print on Fuji Crystal Archive Paper, 108.6x48cm, 2005

http://www.gaainart.com/artists/veronica2.html

http://www.gaainart.com/artists/veronic ... onica.html