Встреча с легендой.

401 Projects

Выставки:

MERCE MY WAY
THE MERCE CUNNINGHAM DANCE COMPANY IN PHOTOGRAPHS
PHOTOGRAPHS BY: MIKHAIL BARYSHNIKOV
March 18, 2008-May 4, 2008



PHOTOGRAPHY NOW '06
in Collaboration with The Center for Photography at Woodstock
June 28th, 2006-July 30th, 2006


Beneath His Coat by B.A. Babosaiya


Xenia on a Couch, Russia 2003 by Michal Chelbin

"In My Stairwell" by Mark Seliger
April 11, 2006 through May 13, 2006


Cindy Sherman, New York City 2005

In My Stairwell features a selection of portraits from Seliger's recent publication, In My Stairwell (Rizzoli, 2005), a series that is comprised of eighty three photographs of some of the world's most captivating and iconic figures.

Starting with a photo of David Bowie in the stairwell of Seliger's turn of the century, West Village studio, these photos began as an ancillary project. As the cast of characters grew, the Brooklyn Academy of Music became Seliger's partner and the book became, among other things, a vehicle to raise funds and awareness about BAM. The photos from the book first made their debut at a fundraiser for BAM sponsored by Armani.

In My Stairwell presents riveting and compelling subjects featuring everyone from Matthew Barney to Woody Allen to Azar Nafisi to Julia Roberts . The collection of black-and-white platinum portraits possess an atmospheric and ethereal quality that is reminiscent of early twentieth century photography, particularly in their highly detailed and richly dense textures. Shot in Seliger's skylighted, brick stairwell, the backdrop for each photograph remains the same throughout--a stark and austere space--which gives way to enormously eclectic portraits of some of today's most influential and recognizable faces…

http://www.401projects.com/index.php?mo ... ion_id=159

Отдельно:

"In My Stairwell" by Mark Seliger


Matthew Barney, New York City 2004


Bill Irwin, New York City, 2002


Pilobolous, New York City 2002

http://www.401projects.com/index.php?mo ... ion_id=121

401 Projects

A FEW PORTRAITS
by Albert Watson
May 24, through June 17, 2006

Only Albert Watson could get away with calling a photo show comprised of 8 by 6 foot photos of the likes Mick Jagger and Jack Nicholson, “A Few Portraits.” In his first solo show in New York City Watson’s work will share some of his classic prints as well as hundreds of never before seen polaroids from his long and illustrious career.


Leslie Weiner, Yohji Yamamoto, London, 1989


Naomi Campbell, Palm Springs, 1989


Mike Tyson, Catskills, New York, 1986


Christy Turlington, New York City, 1990


Golden Boy, New York City, 1990


Breaunna, Las Vegas Hilton, 2001

http://www.401projects.com/index.php?mo ... ion_id=123

Bielsko-Biala
FotoArtFestival

Выставки 2007-го

По первому правилу патафизики:

Lukas Maximilian Hüller

"The Seven Deadly Sins" — (in cooperation with Etienne Tombeux, Paulus Manker, Erwin Leder, The Tiger Lillies, and others)

http://www.fotoartfestival.art.pl/?page=Huller&lang=en

Michal Macku

A graduate of the Prague Institute for Creative Photography.

The author has an outstanding place in young Czech photography and his works are in many museal collections.

He has invented a techics called “gellages” (“gelatine” + “collage”).
He is also the author (in co-operation with Brno Television) of gellages-films.

He is interested in passing by and destruction. Recently, he has made art glass-objects.

"Gellages, carbon prints, glass objects" — Gellaage consists of layering exposed nad fixed photographic gelatin on paper. The finished work gives a compact image with a fine surface structure. Printed on photographic quality paper, each gellage is a highly durable print, eminently suited for collecting and exhibiting. It is a laborious technology, which often uses many negatives for one image. It doesn’t give any possibility to make more absolutely identical prints. In his pictures he uses the nude human body, mostly his own. His work places “body pictures” in new situations, new contexts, new realities; causing their “authentic” reality to become relative.

http://www.fotoartfestival.art.pl/?page=Macku&lang=en

Michael Kenna, Sarah Moon, Alexandras Macijauskas…

http://www.fotoartfestival.art.pl/?page ... 07&lang=en

Robyn Stacey
Stills Gallery
AUS. Sydney, 23 Jul-24 Aug 2008


Robyn Stacey
Mr Macleay's Fruit and Flora
from The Great and the Good, 2008
type c print
240 x 340cm, edition of 1 + 1 AP
120 x 170cm, edition of 5 + 3 AP


Robyn Stacey
Miss Eliza Wentworth's Glassware
from The Great and the Good, 2008
type c prints
120 x 159cm, edition of 5 + 2 AP


Robyn Stacey
The Duke of Northumberland's Tablecloth
from The Great and the Good, 2008
type c prints
120 x 159cm, edition of 5 + 2 AP

Robyn Stacey’s startling image Mr Macleay’s Fruit and Flora, seems at first glance to be a digital construct, it comprises such a baffling array of fruits and flowers. Yet there is an historical foundation underpinning this luscious assemblage. Stacey’s large-scale photograph re-creates the lost botanic gardens of Elizabeth Bay House, once world famous not only for the Australian natives but for the exotics imported from China, India, South America and the Cape of Good Hope. All the plants featured in this photograph are nineteenth century varieties that would have been seen in the grounds at that time. Sadly the gardens no longer exist and the only record is the original plant list kept by Alexander Macleay, documenting all the plants he imported.

The suite of three works in Stacey’s The Great and the Good, are all created around Elizabeth Bay House, which was built by Alexander Macleay when he arrived as Colonial Secretary to NSW in 1826. The painstakingly constructed photographs reference historical painting and artefacts but use contemporary production techniques. They are technical and aesthetic marvels. Miss Eliza Wentworth’s Glassware, for example, contrasts the organic floral content of the other two works, presenting instead a crisp bouquet of crystal glass. The shards of light reflecting from the silvery surfaces create an almost tangible quality, as if the weighty yet delicate nature of the glasses threatens a regrettable breakage. This faux photo-realist painting, is therefore truly an expression of light and its multifarious illusions…

http://www.photography-now.com/popup_au ... gen=T62050

Работы автора (серии) в Stills Gallery

Robyn Stacey

http://www.stillsgallery.com.au/artists ... bj_id=main

Robyn Stacey is one of Australia's most acclaimed photographers. Her large and striking images have been exhibited widely in Australia and internationally since the mid 1980s. The early cinematic series, Kiss Kiss Bang Bang (1985), Redline 7000 (1987-89), All The Sounds of Fear (1990-1992), and Let It All Come Down (1994 at the Art Gallery of NSW) were based on film noir and use the collective archive of photography and film to connect with cultural memory.

This fascination with the possibilities of history to inform our present lead to her current obsession with the vast archival repositories of museums and in 2000 Stacey began researching and photographing historical natural history collections in Australia and overseas. Spending a number of years working with each collection Stacey's pictorially sumptuous photographic images present the eighteenth and nineteenth century specimens, artefacts, and scientific models to a contemporary audience, revealing their aesthetic, social and historical value. Investigating each specimen's material presence she groups and assembles them based on visual strategies drawn from the Dutch still life tradition to the scientific rationalism of taxonomy.

Commissioned by the MCA in 1996 to produce Love Finger a lenticular 3D image for the exhibition Photography is Dead! Long Live Photography! Stacey has continued experimenting with the technology, refining the illusion of depth and action in the lenticular work to amplify the aesthetic impact of the images. The lenticular works are held in the Australian National Gallery and the National Portrait Gallery collection.

…In November 2007 Cambridge University Press launch Museum, Stacey's interpretation of the scientifically important and historically significant Macleay collection held at Sydney University. This follows the success of Herbarium, (Cambridge University Press 2004) which offered a unique insight into the collection of the Royal Botanic Gardens Sydney.

Her work is studied as part of the New South Wales and Victorian High School Curriculum in the units: visual design, visual art, digital media, and photography…

*

The 1994 Anne & Gordon Samstag
International Visual Arts Scholarships

ROBYN STACEY


Untitled 1994
digital, cibafilm montage
120 x 281 cm

http://www.unisa.edu.au/samstag/scholar ... tacey2.asp

*
Крупная картинка — вот здесь:

http://www.usyd.edu.au/museums/pdfs_doc ... _Order.pdf

Информация о книге «Гербарий»:

http://www.nla.gov.au/openpublish/index ... le/593/662

http://assets.cambridge.org/97805218/42 ... matter.pdf

Еще см. вот здесь:

Photo-artist Robyn Stacey has exhibited widely in Australia and overseas since the mid-1980s, and is represented in all major public galleries. One of the first photographers in Australia to use a computer to generate and enhance images, she has developed a distinguished body of large, highly coloured manipulated works in series, including Point Cartwright , Blue Narcissus , The Infinity Gardens , Kiss Kiss Bang Bang , Redline 7000 , All the Sounds of Fear and Sideswipe . Her 2001 series Hot House , including works made through a newly-patented lenticular process, resulted from her artist-in-residency in the Herbarium of the Royal Botanic Gardens, Sydney. National Portrait Gallery Board Chair Marilyn Darling saw Hot House, and recalled its lenticular images as the Board discussed possibilities for a commissioned posthumous portrait of the entomologist.

…The microscopically corrugated surface of a lenticular print causes the image thereupon to 'move' as the viewer changes position around the work.

http://www.portrait.gov.au/exhibit/maki ... rhouse.htm

О лентикулярной печати:

Lenticular printing
http://en.wikipedia.org/wiki/Lenticular_printing

Tracer Graphix Lenticular Printing : Lenticular Gallery Effects
http://www.tracergraphix.com/gallery1.htm

Lenticular Printing and Printers: http://www.lenstar.org/how/prepress.htm

Стерео-варио (lenticular print): http://www.art-3d.net/

Lenses Knowledge Base. Lenticular Printing, Lens Types, Alignment etc…
http://www.humaneyes.com/tech-support/resources/

Christine Cornish
Stills Gallery
AUS. Sydney, 23 Jul-24 Aug 2008


Christine Cornish
Stretto 9
from Stretto, 2008
framed pigment print on rag paper
34 x 50cm, image size
44.5 x 58.5cm, framed size
editions of 5

“ In order for us to be authentically human we have to value the central role the poetic plays in our lives and, significantly for Cornish's deftly crafted, ambiguous and powerful photographs, be willing to stop, observe, hear, listen to and remember all that surrounds us from earth to sky.”
John Conomos 2004

Stretto, from the Latin to draw close, is Christine Cornish’s latest body of work. In keeping with earlier works, Cornish has created simple yet profound compositions that are also philosophical in intent.

In Stretto Cornish uses a precise series of moss-green shapes and lines set against dark russet grounds. There is an exquisite balance in the shape, tone and structure of her works that evokes an almost haiku meditation on space and depth, on interconnectedness and lines of thought. Stretto is an apt title. The simple yet sophisticated arrangements contain elements which draw close to each other, emphasising the negative spaces as much as the positive. At the same time the modest scale and subtlety of the works require the viewer to draw close, asking of them space and time.

Cornish’s visual tones are much like musical tones, subtle and unfolding. Echoing the interpretation from sheet music to actual performance, Cornish’s works function like maps to an experience or a way of thinking. The muted palette of green and brown suggests Nature, but the landscape Cornish describes is also in the realm of the mind exploring a layered and mysterious underworld that is embedded in consciousness. Her images ask us to go beyond the surface of the image in order to find meaning.

http://www.photography-now.com/popup_au ... gen=T62051

Christine Cornish


Datum 13, 2001
from Datum
Pigment print on rag paper
49.5 x 40.8cm, edition of 5 + AP


Inclose II, 1994
from Inclose
Pigment print on rag paper
57.5 x 76.2cm, edition of 5 + AP


Das Verweilen X, 1990
from Das Verweilen
Pigment print on rag paper
55.8 x 59.4cm, edition of 5 + AP


Black Square 1, 1988
from Black squares
Pigment print on rag paper
33 x 33cm, edition of 5 + AP


Natura Morta V, 1987
from Natura Morta
Pigment print on rag paper
37.5 x 41.5cm, edition of 5 + AP

Все серии:

http://www.stillsgallery.com.au/artists ... bj_id=main

Christine Cornish produces work that is haunting in its simplicity and impact. Her work examines the links between perception, knowledge and memory and often blends photography with painting and drawing. Photographing scenes of her own construction, she creates worlds and moods with the most basic of building blocks. With two of her early solo exhibitions, Natura Morta (1987) and das Verweilen (1990) Cornish established her unique photographic identity and personal vision. Her 1996 exhibition, Inclose, explored spatial tensions between photographic surface, the gaze and vanishing point.

Cornish's exhibition, Datum, was shown at Stills Gallery in 2001. This work depicts objects that are suggestive of ephemeral cultural phenomena. As a way of distancing materiality from the material, she modulates the images with layering and drawing, at times progressively veiling her subjects to suggest a palimpsest or residue of thought.

Cornish's latest exhibition Threshold (2004) appropriates large-scale veterinary x-ray photographs. In this body of work, Cornish explores the privacy, similarities and otherness of animals. Threshold examines the invisible connections between differences: between concealedness and appearing, between inner and outer. These silent, shadowy works evoke mystery, latency, and the cycle of ceasing and beginning.

Christine Cornish has exhibited widely since 1978 in solo exhibitions and many significant group exhibitions. She was included in Photodeath (1991) and Stranger Than Fiction (1991) at the Australian National Gallery; A Constructed Reality: Aspects of Contemporary Photography (1991-1992) National Gallery of Victoria, Photography is Dead, Long Live Photography (1996) at the Museum of Contemporary Art; The Enigmatic Object: Photography and the Uncanny (1997) The Art Gallery of New South Wales; Minimal (2000) The Australian Centre for Photography; Pinhole to Pixel (2001) Sir Herman Black Gallery; and Make Believe (2003, 2004) Sir Herman Black Gallery and Stills Gallery…

Вена: Europäische Monat der Fotografie

Der nächste Europäische Monat der Fotografie in Wien ...
...findet wieder im November 2008 statt. | 30.10 - 30.11.2008 |


Krecké, Sans titre #26 (Série Photographies fictives) 2000

Архив:

Ausstellungen 2006 | Exhibitions 2006



http://www.monatderfotografie.at/

Берлин

Europäischer Monat der Fotografie Berlin 2008

Das Intime im Alltag
Fotografien aus der Sammlung agnès b.
C/O Berlin. International Forum For Visual Dialogues


Nan Goldin: Ryan in the Tub, Provincetown
© 1975 Nan Goldin

Künstler/innen
Man Ray, André Villers, Diane Arbus, Andy Warhol, Nan Goldin, Robert Mapplethorpe, Ryan McGinley

Выставки (14 страниц):

http://www.mdf-berlin.de/ausstellungen.html

Братислава

http://www.sedf.sk/default.aspx?c=20

Архив, 2007



*



http://www.sedf.sk/default.aspx?c=20&s=60

Люксембург

Mois européen de la photographie / European Month of photography

http://www.cafecreme-art.lu/EMOP/EMOP_Frame.html

Архив (2006–2000):

http://www.mep-fr.org/moisdelaphoto2006 ... efault.htm

Москва
http://www.mdf.ru/

Париж
http://www.mep-fr.org/moisdelaphoto2008 ... efault.htm

Рим
http://www.fotografiafestival.it/

*

http://www.europeanmonthofphotography.eu/

*

Rome
FotoGrafia

FotoGrafia — festival internazionale di Roma

http://www.fotografiafestival.it/

Плакат и информация:
http://www.zoneattive.it/MediaCenter/FE ... -roma.html

2004
http://www.ecode.it/zoneattive/press/pr ... fia_EN.pdf

CONTACT Toronto Photography Festival

Between Memory and History: From the Epic to the Everyday

Throughout the years, CONTACT has questioned photography’s ability to represent the truth, explored rapidly increasing global interconnections and celebrated constructed imagery within a photographic culture. Despite its ever evolving conditions, a fundamental characteristic of the medium – its ability to preserve our individual memories and collective histories – at least for the moment, remains unchanged.

Photography has been associated with memory since its invention and memory has long been described as a continuous exchange of images. As we experience the global shift from film to digital technology, will photographic images merely become “memories made easy”? As the increasing participation in CONTACT demonstrates, photography is prevalent throughout our lives, now more then ever before, and wields a complex relationship to human experience.

Our primary exhibition at the Museum of Contemporary Canadian Art (MOCCA), Between Memory and History: From the Epic to the Everyday, probes relationships that exist between the intimate and the public, between moments of personal significance to events of global resonance that affect each one of us. Ten artists from nine countries exhibit a wide range of images – from the epic to the everyday – and look beyond the headlines to explore private and social histories.

Raymonde April (Canada) Robert Burley (Canada) Luc Delahaye (France) Nan Goldin (USA) Adi Nes (Israel) Martin Parr (UK) Chi Peng (China) Thomas Ruff (Germany) Alessandra Sanguinetti (Argentina/USA) Bert Teunissen (The Netherlands).


The Necklace, 1999
© Alessandra Sanguinetti

Thematic Exhibition essay

http://www.contactphoto.com/upload/CONT ... bition.pdf

Выставки:

http://www.contactphoto.com/exhibitions.php

http://www.contactphoto.com/theme.php

[EV +/-] Exposure Compensation:

The Lumix Fotofestival Lectures

The Lumix Fotofestival in Hannover [Germany] has just posted the videos with the lectures by a number of famed photographers.

* Thomas Höpker / german
* Antonin Kratochvil / english
* Steve McCurry / english
* Antonin Kratochvil / english
* Vanessa Winship / english
* Thomas Dworzak / english
* Heidi und Hans-Jürgen Koch / german
* Kai Wiedenhöfer / german

Смотреть нужно вот здесь:

http://www.fotofestival-hannover.de/ind ... 1&L=1#c953

Lumix Festival for Young Photojournalism, выставки:

http://www.fotofestival-hannover.de/index.php?id=79&L=1

Miguel Garcia-Guzman вспоминает про журналы, об одном из которых точно была речь:

In case you are not aware of these two wonderful online magazines on contemporary photography ... here they are:

* 1000 Words Photography Magazine, an online magazine dedicated to highlight the best of contemporary photography, edited by Tim Clark (see interview here), and the corresponding blog.

http://www.1000wordsmag.com/

http://1000wordsphotographymagazine.blogspot.com/

* Fraction Magazine, "dedicated to photography in all of its various forms" and its corresponding blog.

И — на всякий случай —

Photographs — Search — Discovered Artists

Попутно, zonezero.com:

"The arrow of time"
by Diego Goldberg

"After 23 uninterrupted years of the Goldberg family posing in front of the camera for the annual ritual of the portrait photograph, this year the changes start, the family tree is modified, foretelling a tender surprise that will shortly be seen in Goldberg's 'Arrow of time'."

http://zonezero.com/magazine/essays/diegotime/time.html

"Film cameras officially dead in Japan"
by Charlie Sorrel



http://zonezero.com/magazine/articles/sorrel_1/

Да, ссылки нигде ранее не нахожу хдесь:

http://www.fractionmag.com/

Пишут:

Fraction is a new online photography publication. Started this month, it will be published bi-monthly featuring both new and established artists. The site's unobtrusive white design serves as a basic template that lets the photographs do the talking.

The inaugural issue features five photographers that cross the spectrum of style. Lawrence Getubig's series titled "Action Figure Cutouts" (sample above left) features dark silhouette renditions of iconic scenes from TV and film. Karen Kuehn is another of the photographers included. The photos from her series "New Mexico Artists" (above right) includes conventional portraits of artists by way of introduction when she moved to the state from New York.

Fraction is published by artists Joshua Spees and David Bram in New Mexico and photographer/writer Mary Goodwin in New York. A labor of love, Fraction has no advertisements and covers expenses with voluntary donations.

david BRAM:

Fraction Magazine Issue 2 - and some good news
First, Issue 2 of Fraction Magazine has been released. We have a great selection of work for you to view. Check it out now. Be sure to book mark it and check out the blog too. Once again, Josh has done a great job.

And second, I've been asked to be a reviewer a PhotoNOLA in December. This means I get to look at a lot of portfolios and offer my advice and such. I am in very good company and it makes me a bit nervous. Here is the list.

While there, I am going to select 5 photographers that Fraction will showcase in a special edition of the magazine, to be released at the end of January.

I am really looking forward to this. It is a great opportunity for me and certainly for Fraction.

http://davidbram.blogspot.com/2008/07/f ... -good.html

На блоге журнала:



Fourth Annual Alternative Process Competition
For those of you who still like to get your hands dirty in the old school chemicals, SOHO Photo is holding their fourth annual competition.

Submission deadline is August 1st.

http://www.sohophoto.com/

BRITISH JOURNAL OF PHOTOGRAPHY

10/07/08

Elaine Duigenan: объекты:

elaine duigenan photography

Elaine Duigenan (pron. 'Dygnun') works with objects; sometimes they are familiar items which have been discarded, other times they are the things which have been kept and valued. She places them in an environment in such a way as to effect transformation or bestow status. She is fascinated by what she has begun to term 'intimate archaeology'.

"For me Photography has become an 'act of preservation' and objects I focus on become the locators or igniters of memory. The traces and remnants we find in any landscape can spark recognition. They can even invoke a presence."

Net



Галерея:
http://www.elaineduigenan.com/gallery_126605.html

Эссе:
http://www.elaineduigenan.com/section166522_50447.html

Публикации и выставки:
http://www.elaineduigenan.com/articles.html

http://www.elaineduigenan.com/

Elaine Duigenan

Bottle

Plastic bottles, once shiny, now discarded on the beach. Wind-blown, they are scumbled and scuffed by the rocks, caught by the tide and assaulted again.

This series was selected by Wendy Watriss for exhibition at the international FotoFest, Houston, Texas.






Галерея:
http://www.elaineduigenan.com/gallery_61230.html

Mysteries of Generation

Preserver (french) - to keep safe, to keep in existence

The images were taken over the course of three years at the Royal College of Surgeons, London. They are of 200 year old animal specimens which were preserved by pioneer anatomist John Hunter (1728 - 1793).

“For me, photography has become an ‘act of preservation’ and objects I focus on become the locators or igniters of memory. The traces and remnants we find in any landscape can spark recognition. They can even invoke a presence.”





Eucephala Caerulea II

Галерея:
http://www.elaineduigenan.com/gallery_61231.html

NYLON

Knee High


Knee High


Made in England

Галерея:
http://www.elaineduigenan.com/gallery_61222.html