Встреча с легендой.

Photomeetings Luxembourg 2008
L. Luxembourg, 11 Sep-13 Sep


Gisèle Freund, Simone de Beauvoir, Paris, 1952

Photojournalism and Portraiture Symposium — Tribute to Gisèle Freund on her 100th anniversary

Born in Berlin in 1908, Gisèle Freund was one of Europe's most prominent photographers and a pillar among French feminist intellectuals after fleeing Nazi Germany and settling in Paris in the 1930's, where she pursued her doctoral studies at the Sorbonne. Her thesis on photography in France in the 19th century was met with scepticism, because photography was not considered a serious study then.

In the course of her long career, she went on about 80 photographic assignments around the world, mainly for Time and Life. As the only female founding member of Magnum, she earned her living as a photojournalist. Today however, she is noted for being one of the greatest portrait photographers ever. "She was able, better than anyone, to reveal the essence of beings through their expressions," said Ex-President Jacques Chirac.

She captured André Malraux on a Paris rooftop, Aldous Huxley and André Gide at a congress for the defence of culture; Walter Benjamin sitting on a bench in the Bibliotheque Nationale; Vladimir Nabokov, Henri Michaux and Jean Paulhan in the editorial offices of the magazine Mesures and James Joyce playing the piano for his son. She shot the first colour portraits of Simone de Beauvoir, Paul Valéry, Colette, André Breton, Virginia Woolf, and numerous writers and artists that will remain unforgettable in our memory.

During the years I worked with her, showing her photographs in my gallery in Luxembourg and in museums and exhibition spaces in Germany and France, she was a constant source of inspiration to me. I am honoured to devote the 4th edition of photomeetings luxembourg to her memory on her 100th anniversary: A combination of workshops, lectures and exhibitions by renowned photographers, theorists and specialists in the field of photojournalism and portraiture will be on offer to all those with an interest in photography and sociology. Welcome to the photomeetings luxembourg 2008!

Marita Ruiter

На сайте фестиваля — две заслуживающих внимания файла, особенно — каталог 2007-го:

Focus Periphery
A European Cross-Country Project

Preface 6

Artists
Peter Bialobrzeski 10
Simon Welch 16
Andrea Stultiens 20
Denis Darzacq 24
Stéphane Couturier 32
Tom Hunter 36
Wiebke Leister 42
Giacomo Costa 46
Franco Fontana 52

Students
Hochschule für Künste Bremen 60
London College of Communication 72
Université Marc Bloch Strasbourg II 82
Akademie Minerva Groningen 84

Lectures
Peter Bialobrzeski 96
Christian Caujolle 98
Klaus Honnef 100
Hubertus von Amelunxen 102
Paul Rauchs 104

http://www.photomeetings.lu/2007/KATALOG.pdf

photomeetings luxembourg
Photojournalism and Portraiture
Tribute to Gisèle Freund on her 100th anniversary

http://www.photomeetings.lu/photomeetings_2008.pdf

На стр. 13 — разворот

Gisèle Freund
Photojournalism and portraiture

http://www.photomeetings.lu/

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Gisele Freund



Freund was born near Berlin to a wealthy Jewish family. Her father was a keen art collector with an interest in the work of photographer Karl Blossfeldt, who was producing his close-up studies exploring the forms of natural objects. Freund's father gave her a Leica camera as a present for her high school graduation. At university she became an active member of a student socialist group and was determined to use photography as an integral part of her socialist practice.

In 1933, with Hitler taking over she was doubly threatened as a socialist activist and also as a Jew, and managed to escape to Paris, her negatives strapped around her body to get them past the border guards…

Freund, Gisèle (1908-2000), German-born French photojournalist. Born into a cultured German-Jewish family near Berlin, she was introduced to photography by her father, an art collector. She later studied sociology with Norbert Elias and Theodor Adorno, researching the impact of photography on portraiture, an unusual topic given that the history of photography was not yet a recognized academic discipline.… In Paris she continued her studies and supported herself with reportage for Vu, Life and other magazines. The publication of her photographs and her thesis, as Photography and Society, attracted the attention of Parisian intellectuals.

Биография:

http://www.kirjasto.sci.fi/freund.htm

http://www.galleriacarlasozzani.org/db/ ... undING.doc

http://www.wsulibs.wsu.edu/Holland/MASC ... /cg678.htm

http://www.answers.com/topic/gis-le-freund

Videos of Masters of Photography — Gisèle Freund

http://www.youtube.com/watch?v=_gWgUJ5wHIY

Портреты
http://www.npg.org.uk/live/search/perso ... 1&role=art

THE WORLD AND MY CAMERA
…can discover the gallery of celebrities portrayed by Freund: influential personalities from the fields of culture, art, literature and politics whom she had the opportunity to meet and get to know and who shaped one of the most stimulating and prolific periods of the twentieth century: James Joyce, Walter Benjamin, Virginia Woolf, Evita Per�n, Jorge Luis Borges, Victoria Ocampo, Frida Kahlo, Diego Rivera, Marcel Duchamp, Man Ray, Simone de Beauvoir, Henry Matisse, Julio Cort�zar... These images that time was to turn into icons contain a story, a human relationship and a whole procedure of capturing the face of which Gis�le Freund was master and theorist: we live in a face that we do not see. This exhibition gives it back to us.

http://www.absolutearts.com/artsnews/20 ... 30137.html

Gisèle Freund's Boutique of Historic Photographs:

http://www.culturekiosque.com/art/artmrkt/rhagisel.htm

Попалась вот такая реплика посетителя на список книг, в котором (в добавлениях) имеется и такое издание: At The Edge of the Light: Thoughts on Photography and Photographers, on Talent and Genius; David Travis.

A Photo Editor — Take A Break:

Turn off the computer and read a book over the holiday. Here’s the reading list my contributors compiled (big thanks to Dude). I think we can all take a little time to become better at talking about pictures next year (Thanks Robert). Who knows we may need to defend ourselves.

Ansel Adams at 100 by John Szarkowski

The Photographer’s Eye by Szarkowski

Camera Lucida by Roland Barthes

Perception and Imaging, 3rd edition by Dr. Richard Zakia

…

On Photography; Sontag, Susan

Ways of Seeing; Berger, John

Bystander: A History of Street Photography; Meyerowitz, Joel and Westerbeck, Colin (specialty but a very good book)

What do Pictures Want?; Mitchell, W.J.T.

Richard Avedon: Evidence 1994; Avedon, Richard (read the essays)

…

Comments:

Stupid Photographer wrote:

I’d take Susan Sontag off that list because having never picked up a camera, she knew less about photography than you and I forgot, yet mouthed off as if she made a living at it all her life. Rated avoid.

Darrell Eager wrote:

In defense of Susan Sontog, she might not have picked up a camera but she’s given much credit for some of the success of Annie L.

JM Colberg wrote:

Wow, that’s some old-school list! Those in something a bit more contemporary might want to try “The Photograph as Contemporary Art” by Charlotte Cotton instead.

Giovanni Del Brenna wrote:

I’ll add this one to the list:
In Our Own Image: The Coming Revolution in Photography (Aperture Writers & Artists on Photography) by Fred Ritchin
A inspiring book and also a good insight on the digital photography era.

Vitamin Ph: New Perspectives in Photography; by T.J. Demos and Editors of Phaidon Press
…

http://aphotoeditor.com/2007/12/20/phot ... otography/

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Vitamin Ph: New Perspectives in Photography

Vitamin Ph: New Perspectives in Photography is a collection of contemporary photography from 121 living artists who have contributed to the international art photography scene in the last five years. The latest installment in Phaidon's lauded Vitamin series (which also includes titles Vitamin P: New Perspectives in Painting and Vitamin D: New Perspectives in Drawing, Vitamin Ph) features photographers chosen by a distinguished panel of 78 critics, curators and fellow artists. The artists selected represent over 30 countries and run the gamut from established artists like Tacita Dean, to emerging talent and newcomers to the art world. Vitamin Ph features an introduction by art historian TJ Demos who explains that "photography, through its growing diversity, illustrates the many ways that we are different, helps us to understand those differences and connects us to the global world." CH favorite Anthony Goicolea (whose film The Septemberists we covered recently) is included, as well as Nikki S. Lee's amazing "Projects" in which she performs and embodies various identities from an exotic dancer to a yuppie. See more images here…

http://www.coolhunting.com/archives/200 ... ph_new.php

Px3's HUMAN CONDITION COMPETITION WINNERS TO BE EXHIBITED IN NEW YORK

2009 photo contest
Enter the 2009 Competition: http://px3.fr/submit/login.php

Px3 INTRODUCES SHORT TERM COMPETITION TITLED "WATER"

Px3 invites photographers from around the world, both professional and non-professional, to enter work that showcases the importance and impact of water in our world. Winners will receive cash prizes and an exhibition in New York in 2009.

Submit your work online: http://px3.fr/submit/login.php

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Попутно, хотя уже была заметка:

2008 photography competition

3rd place : Product : Stan Musilek







Stan Musilek
San Francisco", US
Title: "Thomasville — It's You", series

1st place : Fine Art : Eric Hiss : Opportunity



Eric Hiss
San Francicsco", US
Title: "Opportunity", series

Image : 1st place : Nudes : Andrew Polushkin : Herbarium

Пошло и вымученнно, по-момему, кроме вот этой, возможно:


Andrew Polushkin
Saint-Petersburg", RU
Title: "Herbarium", series

Лучший из проявившихся талантов:

PX3 Advertising : PX3 Best New Talent Award : Ryan Schude : the Saturn


Ryan Schude
Los Angeles", US
Title: "the Saturn", single

См. все большие галереи, посвященные финалистам и отмеченным авторам:

2008 Winners : : http://px3.fr/winner/?compName=PX3+2008
2008 Honorable Mentions : http://px3.fr/winners/px3/Honorable_Mention.php
2008 People's Choice Winners : http://px3.fr/winner/show_me_public_winner.php
Photos of the Vernissage at Galerie Acte 2 in Paris : http://www.flickr.com/photos/28081348@N ... 5879658758

Громадная статья и масса отзывов по разным аспектам темы (не только цифровым манипуляциям) в блоге New York Times:

Photography as a Weapon — Errol Morris — Zoom — New York Times Blog

…Hany Farid, a Dartmouth professor and an expert on digital photography, has published a number of journal articles and a recent Scientific American article on digital photographic fraud. He seemed to be a good person to start with…

HANY FARID: …my girlfriend is a middle school teacher and she talks all the time about kids who are visual learners and kids who are language learners, and who are auditory. So there’s different ways of processing information. But there’s no doubt that it is remarkably powerful. For example, when you put out a fake, like the Kerry/Fonda one.[2] And even like this missile one. You start putting it out there and saying, “Oh look, this picture? It’s a fake. This picture? It’s a fake.” But you know what people remember? They don’t remember, “It’s a fake.” They remember the picture. And there are psychology studies, when you tell people that information is incorrect, they forget that it is incorrect. They only remember the misinformation…

http://graphics8.nytimes.com/images/200 ... -Boxes.jpg

…Charles Johnson’s term “fauxtography,” of course, suggests that there is something “true” about photography, at least photography that isn’t posed or Photoshopped. And in recent years, the mainstream press has embraced this orthodox view. The principle is straightforward. Zero tolerance. Allow no digital manipulation. No posing. If a photographer uses any one of a variety of Photoshop tools, fire him.

It’s not that I disagree with these rules. I don’t, but the development of Photoshop (1) can heighten our awareness of how a photograph can be manipulated, and (2) may inure us to all the other ways in which an image’s relationship to truth can be compromised. It allows the false assumption: if we can just determine that this photograph wasn’t Photoshopped, then it must be “true.”[14] But Photoshop serves as a reminder to us of something that we should have known all along: photographs can deceive.

The presumption behind a photograph is: “Someone saw this.” It is supposedly presenting something that someone saw and wished for someone else to see. What is it that angers us? Charles Johnson has it right. We are angered because we have been the victims of fraud. We have been tricked. In essence, we have been lied to. The problem is not that the photograph has been manipulated, but that we have been manipulated by the photograph. Photoshop is not the culprit. It is the intention to deceive.[15]

Of course, the manipulation of photographs is nothing new. It is as old as photography itself. And there are manipulated photographs that make no attempt to deceive. John Heartfield, one of the creators of photomontage in the 1920’s and 30’s (along with other representatives of Dada — Ernst, Hoch and Hausmann), employed the motto: “Use Photography as a Weapon.”

http://morris.blogs.nytimes.com/2008/08 ... -a-weapon/

Попутно:

A Picture You
Already Know

SZE TSUNG LEONG

http://www.wordswithoutpictures.org/main.html?id=258

Форум:

1 August 2008 / Threat and Savior: Repetition in Photography /
NOEL RODO-VANKEULEN

http://www.wordswithoutpictures.org/dis ... 58,261,270

Такая вот еще учебная заметка:

Precursors of photography:

Early Visual Media — Physionotrace — Camera obsura — Silhouette



…Before the dawn of photography and the use of the, since long in existence, Camera Obsura to produce images by nature other drawing instruments were invented and used.

The Silhouette Chair, the Camera Lucida, and the Physionotrace apparatus are perhaps the most intriguing examples of this history. On this page, I hope to show the various images produced with these Precursors of photography.

However, within the precursors of photography, I draw my attention especially to my favourite, the Physionotrace, invented by Gilles-Louis Chrétien in 1784.

…The Physionotrace portrait … shows every detail of the sitter, including his or her clothing. The physionotrace apparatus, a mechanical wooden instrument with a viewfinder, worked as a pantograph devise. This invention of Chrétien enabled the artist to quicly draw a portait of the sitter for a reasonable price.

The apparatus reduced all the drawing skills of the artist to a smaller size and engraved it in copper. By this method, this pantograph drawing aid produced small copperplates (master negativ) that could be printed again and again.

The original, and rare, plates can be seen as a forerunner of the photographic negative since the basic purpose was the same. A cheaper method to produce a quantity of images in a short time. Of course, here ends any further comparison with photography. But this is a major resemblance!.



Portraits au Physionotrace
Elena de Bouligni (à 29 ans)
marieé avec
Le Comte de Yoldi (à 35 ans)
collection Veerle Van Goethem

http://users.telenet.be/thomasweynants/precursors.html

trailer velký (mpg)
trailer malý (mpg)
trailer (avi)
trailer (mov)
TV spot (mpg)

http://www.saudekfilm.com/pages/cz/press.aspx

AJ Presskit (pdf): http://www.saudekfilm.com/images/presskit_en.pdf

AJ Plakát (pdf): http://www.saudekfilm.com/images/plakat_en.pdf

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http://www.saudekfilm.com/pages/cz/behi ... scene.aspx

Крупные снимки для публикаций:

http://www.saudekfilm.com/images/foto13big.jpg

http://www.saudekfilm.com/images/foto6big.jpg

Вот на этот снимок обратите внимание, сушка врастяжку:

http://www.saudekfilm.com/images/foto1big.jpg

http://www.saudekfilm.com/pages/cz/fotografie.aspx

http://www.saudekfilm.com/

the last golden frog
Helena Blomqvist
Angelika Knäpper Gallery
S. Stockholm, 30 Aug-28 Sep 2008


Morning procession

Как бы вот так изловчиться писать, а?

…It is difficult not to be engaged by her images. Earlier she turned the gender stereotypes upside down when she portrayed women in typical macho roles such as astronauts and western heroes. She is more than familiar with the archetypes in our culture, the cornerstones that holding everything up, and to what extent they reflect the inequalities in the power balance within the society. In time her search light has come to focus on the smaller or bigger dramas taking place in her peculiar milieus. Sometimes it feels as if a course of events on the verge of apocalypse is unveiled to us: The darkness is coming, the skies are filled with armadas of bombers, the snow storm is howling, the grey houses weighs down by the load of the apocalyptic visions.

…Helena Blomqvist's monkeys are not domineering masters striving to conquer the world. They are interacting in the human tragedy, watching together with other living creatures how the sun is setting and the world getting colder. Finally all that exists is the golden frog, shuffling across the cracked and dried out ground.

But perhaps there is another story to tell. In one of the pictures the little monkeys sits alone on a bed of water lilies, a thunderstorm rages in the background. The Water lily is within the eastern philosophy a symbol for both enlightenment and resurrection. There is always another angle, another possible reading. That is Helena Blomqvist's strength she trusts us to make that interpretation.

Anders Olofsson

http://photography-now.com/popup_ausst_ ... gen=T60975

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The Swedish artist Helena Blomqvist integrates both humans as well as animals in her photo collages and thereby creates a surreal and sometimes distressing world. These snapshots of life are reminiscent of Tim Burton’s film “The Nightmare Before Christmas”. Infantile horror figures move around abstract arrangements of rooms and through time. The artist uses such different media as photography, painting, needlework and collage to create these images with a coherent appearance and effect.

About her series “The Dark Planet” the artist says:
“The dark planet is about the magical, fantastical and surreal; larger than life moments in photographs that takes you to an alternative world. The themes are dreams, yearning, vulnerability, loneliness, death, the supernatural, and the threatening darkness of the night.”


Le petit soldat, 2007
Lambda/ Diasec, Ed.5 +2AP

http://www.herrmannwagner.com/dox/1610.eSRus.H.1.En.php

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"The dark planet " shows us a fateful world where there is no joy.

Short melancholic stories about crucial magic and tragic moments are told in a surrealistic iconography imbued with (permeated by) an apocalyptic atmosphere.


The Lonely Patient, 2008, Fine Art Digital Print, ed 6, from the new series "The Last Golden Frog",
76 x 110 cm.


Autumn, siliconmounted lambda print, 47 x 60 cm, ed 5, 2003

Другие работы:

http://www.knapperbaumgarten.com/HelenaBlomqvist.htm

Invited guest: Helena Blomqvist

"The dark planet"

I often hear people refer to unsharp, out-of-focused, photos as dreamlike. Personaly my dreams, the very few that I remember, aren't out of focus. They are crystal clear but utterly strange. Helena Blomqvists photos in "the dark planet" are dreamlike to me.

On some occasions, in magazines and exibitions, I have come across the works of Helena Blomqvist. The first time was with the serie "Första kvinnan på månen" (eng. The first woman on the moon) where she had made photos that looked like old black&white prints of typical male situations. At a second glance you realized that the people in the photos where all female, there where female soldiers invading a beach, a female polar expedition and so on.

There was something about those photos that really stuck to my brain. Her work has always made a great impression on me and this time, with "the dark planet" on the F Blog, is no exception.

It's a great joy to be able to invite Helena as a guest

Invited by Markus Andersson



http://gruppof.blogspot.com/2006/11/inv ... qvist.html

Что-то мне «Фотографика» очень живо вспомнилась с ее техникой и вселенским пафосом…

Просто бессменный минский транспорт:

Randall Scott Gallery, Exhibitions

EIGHT
Four 2-person shows

Peter Van Agtmael, Alison Brady, Alexandra Catiere, Jessica Dimmock,
Kyoko Hamada, Tema Stauffer, Ryoko Suzuki, Shen Wei

August 9th-August 22nd
Alexandra Catiere
Shen Wei

I find it a privilege as a gallery owner to be able to see an amazing amount of new work from a great many emerging artists. Not just from unsolicited e-mail promos that haunt my inbox in a daily basis, but in my many internet wanderings, prowling artist websites and chasing links that start in one country and somehow cris-cross global cyberspace and end up in a completely different place. I go there often. I hear a name, or see an image and like a detective, I search them out. Many times I skim and then go to their links and take off, sometimes I get so wrapped up in the site and the work, I stay and use the contact link.

8 is a selection of eight photographers whom I have found in such a manner. I don’t pretend to have a grand “Next Big Thing” curatorial, or a “New Direction” claim, what I have put together is an exhibition of photographers who managed to make the hair on the back of my neck stand up. Their work made me stop and consider and motivated my finger to click on the contact button because I had to. This exhibition is, well, a personal aesthetic and I hope you will all enjoy.

Why 2-person, 2-week shows.
I decided on four 2-person 2-week shows to showcase the individual artists work. In a group show, due to limited space, perhaps 2 or 3 images may make it to the wall. This format allows more of the individual artists works to be shown, providing a greater forum of expression and more of a feel for their work.

Alexandra Catiere’s portraits are disarming. Born in Belarus, Alexandra points her camera through the winter slush stained windows of a trolley bus in Minsk. The images, contrasty, black and white apparitions capture a people of little emotion. They are sullen and haunted, lonely and in some manner reminiscent of having just boarded a bus to an eternity of sorrow. These images are a dialogue between Ingmar Bergman and Wim Wenders both of whom wish to drive. They are beautiful and intimate and allude to a past, or is it a future?

http://www.randallscottgallery.com/8.html

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b>gallery
indirizzo / piazza Santa Cecilia 16, Roma /

MOSTRA COLLETTIVA
I BOUGHT ME A CAT
A CURA DI CRISTINA FERRAIUOLO E NINNI ROMEO
15 / 05 / 2008 / 08 / 06 / 2008

…Liliana Contrera, Argentina; Alexandra Catiere, Bielorussia; Diana Caminiti, Brasile…

Иллюстрации: http://www.b-gallery.it/exhibition_page.php?i=29

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Vision Fantastic



…four new featured artists in an exhibition entitled “Vision Fantastic,” which will run through the month of June. The exhibit features visionary new projects by Andy Eaton, Alexandra Catiere, Justin Farkas, and Reed + Radar.

Alexandra Catiere, Andy Eaton, Justin Farkas, Reed + Rader
Vision Fantastic
Curated by: Lyndsy Welgos Robyn Donnelly

North Hall Gallery
New York, NY

http://www.artslant.com/ny/events/show/ ... -fantastic

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Utställning: 24 Emerging Photographers
Datum: 060914-061018
Plats: CFF — Centrum för fotografi

http://www.centrumforfotografi.com/avd/ ... .asp?id=50

Marika Vaccino Andersson
Graphic Design & Illustration

Through Different Lenses

Through Different Lenses – a photography project about visual percetion disorders

Graduation project at Beckman’s College of Design. Stefan Skoghs Scholarship 2007/Nominated in Kolla 2008 Photographers: Hellen van Meene, Brendan Austin, Ida Borg, Andreas Ackerup, Anna Gaskell, Emilia Bergmark Jiménez, Thobias Fäldt, Masao Yamamoto, Marcus Palmqvist, Martina Hoogland Ivanow, Alexandra Catiere, Christian Erroi.

…Photography is often considered a reflection of reality. For this reason, I asked a number of photographers to create images illustrating different perceptions of reality. Each photographer was asked to create 1–5 new images from a specific visual perception disorder. Perception disorders affect the way we see and perceive the world. Complete color blindness, for instance. A person with this disorder will see only different shades of lightness, or different shades of grey. Another less common disorder is Prosopagnosia, also known as face blindness. A person with prosopagnosia will in some cases not recognize the faces of their children, relatives or even their own face.

These are just a few examples of disorders and, in this specific context, examples of how perception disorders can change our understanding of reality. Besides illustrating these disorders, the photographers represent a specific way of seeing, this being communicated through the visual language of their images. I consciously invited photographers with a broad range of visual languages and backgrounds into the project.

The project therefore includes documentary photographers, fine art photographers, architectural photographers and fashion photographers. By creating images of various kinds of reality, the underline message, or rather statement, is that our vision is individual. That is to say; reality is always subjective.

The main focus of this project is visual perception. However, the further I examined the various realities of perception, the more obvious it became, that I also wanted to ask the question: what is real? In this sense, the project may be considered to have philosophical ambitions as well. The general understanding seems to be, that there is in fact a “normal” or “correct” way of perceiving the world. In this project those presumptions are put to the test, using photography as a way to interpret (or if you will, document) the different realities in our world.



http://www.marikavaccinoandersson.se/in ... ent-lenses

Еще:

Textilhögskolan 2008

Textilhögskolan 2008 / Swedish School of Textiles 2008
Collaboration with design agency Hjärta Smärta and photographer Ida Borg

Art direction and graphic profile for the Swedish School of Textiles Exhibition 2008. The theme of the exhibition was shadow and light. To communicate this in the catalouge the schools four different programmes were photographed with four different exposures. When flipping through the catalouge the images range from very dark and underexposed to very light and overexposed. For the invitations, poster and catalouge cover a grey horse (skimmel horse) was photographed. Grey horses are born black but fade through life and eventually become completely white.



Catalouge 22x33,5cm
A 60 gram paper was used to strenghthen the exhibits theme "light and shadow". Because the paper is so thin the printed images shine through on the back of the paper creating a shadowlike image.

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Tromb nr 0

Tromb Magazine nr 0 / Tromb is dead

New graphic identity and design for the magazine Tromb. Collaboration with design agency 1:2:3 and photo editor/photographer Thobias Fäldt.
The basic idea was to combine the magazines edgy social journalism with an artistic, rather than documentary, imagery. In order to give the images as much space and importance as the articles, the images were extracted from the traditional magazine grid, leaving empty spaces on the text pages. The images were then given pages of their own.

Rather than working with solely documentary photographers, Tromb nr 0 contains images made by fine art photographers, illustrators and artists. The theme for nr 0 was media criticism and death. References to this theme include page numbers inspired by the psalm book, as well as articles designed as obituaries.

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Woven diary

A secret diary.
A number of photographs have been woven together in order to create a secret cipher diary. Two photos have been taken each day during a period of one week. The photographs have been cut diagonally and horizontally, and woven into a long entity that illustrates the specific week.

http://www.marikavaccinoandersson.se/

Women Photojournalists of Washington

The Girl In the Window



Melissa Lyttle of the St. Petersburg Times partnered with staff writer Lane DeGregory for a powerful story about a little girl named Dani.

“No one has any way of telling what lies behind Dani’s big brown eyes and vacant stare. For the first seven years of her life, Danielle never saw the sun, felt the wind or tasted solid food. She was kept in a closet in a Plant City (Fla.) apartment, cloistered in darkness, left in a dirty diaper, fed only with a bottle. “She was a feral child,” said Carolyn Eastman of the Tampa heart Gallery. “We’d never seen a case like that.” “

http://wpow.wordpress.com/2008/08/16/th ... he-window/

The girl in the window
By Lane DeGregory, Times Staff Writer

Three years ago detectives and a social worker arrived at a dilapidated house in Plant City and made a heartbreaking discovery: A tiny girl living in a dark closet…

http://www.tampabay.com/features/humani ... 750838.ece

* A special multimedia report: A video slideshow about Danielle’s progress, including speech therapy sessions.

http://www.tampabay.com/specials/2008/reports/danielle/

27 снимков и ссылка на остальные:

The Girl in the Window
The Danielle Lierow Story



http://www.zreportage.com/COCOON/COCOON_results1.shtml

http://www.zreportage.com/COCOON/COCOON_SlideShow.shtml

Предваряя сообщение о проекте Rune Lagu…

Frank Yamrus

Frank Yamrus received his BA from Wilkes University, his MBA from Drexel University and is a self–taught photographer. Frank has participated in numerous group exhibitions, most recently at Recontres – Arles Photography Festival and at the Museum of Fine Arts, Houston. He has had many solo exhibitions with an upcoming exhibition at the Gregory Lind Gallery in December 2005. Recently, the Kinsey Institute completed their acquisition of all 20 images from Frank's "Rapture" series. Along with this collection at the Kinsey, other public collections include: Los Angeles County Museum of Art, Museum of Fine Arts, Houston, Victoria and Albert Museum, Southeast Museum of Photography. Frank also served on the Board of Directors at SF Camerawork for 5 years and is currently a member of Portland's Blue Sky Gallery's Board of Directors. He lives and works in San Francisco, California.

Тексты и иллюстрации:

EXHIBITION: Frank Yamrus — Bared and Bended
http://www.gregorylindgallery.com/exhib ... index.html

EXHIBITION: Frank Yamrus "The Dehon Ice Fields" Recent Photographs
http://www.gregorylindgallery.com/htmls ... _show.html
http://www.gregorylindgallery.com/image ... yarmus.jpg

EXHIBITION: Frank Yamrus "The Portrait Series: Rapture"
http://www.gregorylindgallery.com/htmls ... tml#yamrus

http://www.gregorylindgallery.com/artists/yamrus/#

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Sarah Morthland Gallery / Frank Yamrus Exhibition

Frank Yamrus embraces the connotative landscape in The Dehon Ice Fields. He continues his photographic relationship with water's ability to transform itself: metaphorically, topographically, psychologically, and historically. When a planned series of photographs of the Columbia Ice Fields in Alberta, Canada was thwarted by an unusually warm winter, Yamrus instead brought enormous blocks of ice into his studio and began photographing it as it melted and cracked. As in nature, temperature, water and light served as the elements that defined the lines, textures, and shapes of the melting ice. The artist eventually began to alter the ice himself with implements such as a chain saw.

The resulting black and white photographs are large-scale abstractions of the various cracks, bubbles and puddles formed by the ice as it changed.

http://www.sarahmorthlandgallery.com/ar ... b2003.html

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Frank Yamrus, Bared & Bended

http://www.watermarkfineart.com/portfol ... =collector

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adjustment layer: Frank Yamrus

I met Frank Yamrus through my good friend Karen Glaser who was my introduction buddy at foto fest. Frank is most well know for his Rapture series, but he brought two new series to the fest. The first was a series of photos of water bottles with there labels removed, the bottles were beautifully lit and really glowed like jewels. The beauty of the lighting and printing really showed off the ridiculousness of the bottle water industry in the united states, the design that goes into constructing bottles of water that comes out of our walls for almost nothing is truly amazing, get a filter and keep your water in the fridge and you'll never no the difference. The second series he brought with where self portraits as he approaches a milestone birthday, they are a fairly revealing portrait of a man looking at himself and some of the masks he chooses to wear. Pretty powerful work, especially as now am to the age where I have very clear memories of my own father being this age…

Попутно:

Образовательная программа Фонда «Объективная реальность»
для молодых фотографов 2008–2009

ФОРМАТ СЕМИНАРОВ
Программа семинаров 2008 г. состоит из нескольких этапов:
- online-конкурс на участие в семинарах (до 20 мая 2008 г.),
- первая online-сессия с участием российских мастеров (май-июль 2008 г.),
- промежуточная «живая» сессия и просмотр портфолио в рамках выставки World Press Photo в Москве (26-28 июня 2008 г.),
- вторая online-сессия с участием зарубежных мастеров (осень 2008 г.),
- публикация работ финалистов в изданиях партнеров программы (осень-зима 2008 г.).

http://www.foto-video.ru/news_detail.ph ... 2&ID=30007

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ПРОГРАММА ОНЛАЙН-СЕМИНАРОВ / 2008-2009

Программа онлайн-семинаров Фонда "Объективная реальность" предназначена для талантливых молодых профессиональных фотографов и студентов, которые выбрали фотографию своей профессией и способом самовыражения.

Темы, затрагиваемые на семинарах, так или иначе призваны внести ясность в понимание участниками устройства фотографического рынка и своей востребованности на нем.

Но все же главной сквозной темой проекта нам представляется НЕОБХОДИМОСТЬ РАЗВИВАТЬ И СОХРАНЯТЬ СОБСТВЕННЫЙ УГОЛ ЗРЕНИЯ КАК УНИКАЛЬНЫЙ РЫНОЧНЫЙ ПРОДУКТ.

Практический смысл семинаров – затронуть максимальное число целесообразных выходов для фотографов (применения именно для той работы, в которой они видят свою специализацию).

В качестве ведущих семинаров в течение года приглашаются представители основных сфер деятельности в фотографии – фоторедакторы СМИ и агентств, фотографы разных направлений, кураторы.

http://edu.objectivereality.org/users.htm

ЛИДА БОНДАРЕНКО
http://edu.objectivereality.org/users.htm?id=32

АНДРЕЙ ЛЕНКЕВИЧ
http://edu.objectivereality.org/users.htm?id=76

Мастера:
http://edu.objectivereality.org/masters.htm

Ссылки на ВУзы и школы:
http://edu.objectivereality.org/source.htm

Онлайн-семинары:
http://edu.objectivereality.org/

Rune Lagu
Frank Yamrus

John Cleary Gallery : Selected Images From Frank Yamrus: Rune Lagu
July 12-August 16, 2008




untitled (Aquapod)
untitled (Badoit)
untitled (420)
untitled (Life Water)

http://www.johnclearygallery.com/currentexhibit.html

Краткая версия авторского текста и более полная галерея имеется на

lens culture: Frank Yamrus:

In this series of typological photographs, plastic bottles that house our drinking water come under the camera’s lens…


untitled (Borsec)

http://www.lensculture.com/yamrus.html?thisPic=6

Более полный текст и важные сноски см. на сайте автора:

Rune Lagu: In his paper, Lagu and Belu: The Semiotics of Bottled Water Packaging, Daniel Fusch writes, “The rune predates written language in the Anglo Saxon and Germanic cultures. Runes were a metaphor-based method of communication, originally pictographs comprising concrete and abstract meanings, representing a conception of the world both deeply spiritual and eminently practical. Runes provided the earliest form of writing in northern Europe…. This particular rune [lagu] represents the shape of a man drawing water from a well. The man draws water from a stone well, and inspiration from the well of his sleeping or waking visions. That is, the rune, which signifies ‘water,’ ‘inspiration’ and ‘dreams’ is also a figural representation of the physical act by which a human being accesses the natural source of water, as well as the metaphysical act by which a human being accesses the supernatural source of inspiration.” Published in Reconstruction: Studies in Contemporary Culture (www.reconstruction.eserver.org) (Summer 2006).

http://www.frankyamrus.com/flash.html

CLAMPART, Gallery specializing in Modern and Contemporary Paintings and Photograph:

http://www.clampart.com/artists/yamrus/yamrusrl.htm

Еще здесь: http://www.widgetbox.com/widget/frankyamrusslideshow

Попутно:

Expressive Bodies: Contemporary Art Photography from The Kinsey Institute, is an exhibition of original prints from the Institute’s permanent collection. Expressive Bodies surveys the use of the photographic medium by contemporary artists to express ideas about sexuality and gender, and to explore the visual impact of the human figure. This exhibition features photographs by established artists such as Laura Aguilar, Herbert Ascherman, Erwin Olaf, Pierre & Gilles, Joel-Peter Witkin, Herb Ritts, Michael Rosen, Arthur Tress, Michael Macku, Ivan Pinkava, Mariette Pathy Allen, JD Dragan, and Frank Yamrus, as well as talented photographers at the start of their artistic careers.

The art collection at The Kinsey Institute is renowned for its extensive holdings in vernacular erotic photography. The Institute actively collects contemporary photography by artists from around the world and continually exhibits artwork that provides new perspectives on sex and gender.


Frank Yamrus

Expressive Bodies: http://www.indiana.edu/~kinsey/services/gallery/eb/

Онлайн-галерея:


Untitled (male torso in sheer wrap)
2001/2002
Laura Hartford
(b. 1966), United States
Gelatin silver print (2002.13.1)

http://www.indiana.edu/~kinsey/services ... y/eb/t.php

Несколько учебных закладок…

FOTO-VIDEO.RU / ПРАКТИКА / ФИЛОСОФИЯ

Что такое хорошо и что такое плохо (Владимир НИкитин)

«…Фотографы-документалисты вдохнули новую жизнь в эти, казалось, всегда существовавшие жанры. Одним из таких новаторов был замечательный чешский мастер Йозеф Судек.

И если фотографам-репортерам нужно было в погоне за сенсационным кадром колесить по всему свету, то ему для создания работ достаточно было милой его сердцу Праги, Малостранской площади и даже столь незаметной улочки Уезд, где во дворе одного из домов находилась его мастерская.

Его техника и творческий подход к съемке уникальны. В ту пору, когда уже почти весь мир перешел на малоформатные камеры, он снимал на 18х24 см, 24х30 см, а то и на бzльший формат, и печатал только контактным способом. В Пражском музее декоративно-прикладного искусства, где хранится большая коллекция его работ, я видел многое из его наследия. Он был потрясающим фотографом — в своих отпечатках умудрялся передать тончайшие нюансы состояний.Уже после его смерти фотографы пытались печатать с его негативов снимки для многочисленных выставок. На лучших сортах бумаги делали блестящие оттиски. На первый взгляд, они выглядели просто безупречно. Но стоило рядом с ними положить отпечаток, созданный самим Судеком на не очень качественной довоенной советской фотобумаге, и сразу была понятна разница. Фотография Судека была живой, а рядом лежали какие-то «репродукции» из хорошо напечатанного альбома.

Удивительным фотографом и печатником был и классик американской пейзажной фотографии Ансел Адамс, про которого злые языки говорили, что он «снимает камни как человеческие головы, но головы как… камни».

Его работы лет тридцать тому назад экспонировались в Москве, на Малой Грузинской. Помню этот зимний, но светлый от недавно выпавшего снега день. В зале была масса народу — в ту пору персональная выставка американского фотографа являлась большой редкостью.

Огромные, чуть ли не метровые отпечатки производили неизгладимое впечатление. Единственно, как мне тогда показалось, что несколько разделяло зрителя и работы — это их какая-то совсем уж нечеловеческая красота. Особенно тогда меня поразил один снимок, точнее, его воплощение в этом огромном отпечатке. Уходящее к линии горизонта озеро и под ногами фотографа и, конечно же, зрителя лежащие на дне под небольшим слоем воды камни и какие-то затонувшие ветки. Это было поразительное ощущение. Совпадение масштабов изображенных объектов и качество изображения было таковым, что создавалась полная иллюзия их материальности!

Надо было обернуться и увидеть галдящую толпу вокруг, чтобы выйти из этого ощущения присутствия на далеком американском озере. Спустя много лет, работая в Штатах, я видел сделанный Адамсом увеличитель, при помощи которого он печатал свои огромные отпечатки, и понял, как ему удавалось добиваться этой почти физически ощущаемой достоверности изображения…

…Теоретик и историк кино Зигфрид Кракауэр, размышляя о природе нового технического вида творчества — светописи, достаточно давно сформулировал ее основные эстетические особенности, которые он назвал «природными склонностями» фотографии. Их четыре.

Первая. «Фотография, — писал он, — явно тяготеет к неинсценированной действительности. Снимки фотографичны тогда, когда в них чувствуется намерение автора воспроизвести физическую реальность в том нетронутом виде, в каком она существует помимо него. Ее преходящие формы, уловимые только фотокамерой, инсценировать невозможно…».

Вторая. «Тяготение фотографии к не-инсценированной действительности определяет ее склонность подчеркивать элементы ненарочитого, случайного, неожиданного. Случайные события, — подчеркивает Кракауэр, — лучшая пища для фотоснимков…».

Третья. «Фотографии свойственно передавать ощущение незавершенности, бесконечности, возникающий от подчеркивания элементов случайного, которые на фотографии, будь то портрет или уличный снимок, запечатлеваются скорее частично, нежели полностью. Фотография хороша только тогда, когда она не оставляет впечатления законченности. Рамка фотокадра — лишь условные его границы; его содержание связано с содержанием остающегося за рамкой; его композиция говорит о чем-то невместимом — о физическом бытии».

И, наконец, четвертая. «Фотография склонна передавать ощущение неопределенного содержания, смысловой неясности, — говорит Кракауэр. — Запечатлевая натуру, фотографии наряду с этим отражают и попытки автора постичь и разгадать ее. Но смысл фотографии обязательно остается не до конца ясным, ибо она показывает неупорядоченную действительность, природу в ее непостижимости». »

http://www.foto-video.ru/news_detail.ph ... 85&ID=2931

История взаимоотношений (Валерий Вальран)

«Между живописью и фотографией с момента появления последней не прекращался внутренний диалог. Взаимодействуя, они обогащались. И сейчас этот процесс выходит на новый уровень развития…

…Любительская фотография практически анонимна только постольку, поскольку разница в способах видения различных авторов почти неразличима. Авторская фотография манифестирует специфические и уникальные способы видения, которые легко идентифицируются специалистами. Фотографии Карла Буллы и Моисея Наппельбаума, Александра Родченко и Эль Лисицкого также трудно спутать, как живопись Ильи Репина и Валентина Серова, Василия Кандинского и Казимира Малевича.

http://www.foto-video.ru/news_detail.ph ... 5&ID=10954

Луис Кастаньеда: Мой взгляд на современную фотографию

«Мои чувства в отношении современной фотографии иначе как смешанными не назовешь

С одной стороны, я почти до экстаза восхищен постоянными технологическими усовершенствованиями в области цифровой фотографии. С другой стороны, художественный аспект современной фотографии вызывает у меня грусть и озабоченность…

…Что же касается способности зрителей оценить хорошие фотографии, то пристрастия широкой публики вызывают еще большее беспокойство».

http://www.foto-video.ru/news_detail.ph ... 85&ID=2749

О происхождении фотографа (Кирилл Новосартов)

«Рисовать может не каждый, а фотография доступна всем. Иначе говоря, любой человек, купив вместе с телефоном встроенный аксессуар в виде камеры, запросто может именовать себя фотографом…

…Я учился на работах Джойс Теннесон/Joyce Tenneson, других авторов. Но не было у меня замечательных учителей. Это, возможно, недостаток — не признаю сейчас учителей, особенно учебники. Знаю лишь одно: через учебник происходит только головная боль или сонливость. Возможно, книга нужна, чтобы получить разрешение, если иного обоснования не предвидится. Нужно делать много различных проб, экспериментировать и вследствие этого — понимать, обучаясь на собственном опыте.

Фотография — не астрономия. И происходит она не от книжного знания, но от чувства, ощущения, настроения и даже жизненного опыта. Хотя азбуку знать желательно. Залог успеха заключается не в ней, она лишь опора».

http://www.foto-video.ru/news_detail.ph ... 85&ID=2978

Arbeiten 1988-2008
Ursula Kraft
Galerie der Stadt Sindelfingen
D. Sindelfingen, 15 Sep-02 Nov 2008


© Ursula Kraft
Nymphalis antiopa I
2007/2008
120 x 80 cm
Duratrans auf opalen Acrylplatte, 10mm, vor Leuchtkasten installiert



© Ursula Kraft
Emerentia VI
2008
100 x 46,5 cm / x 3
Triptychon
Inkjet auf mattes Fotopapier, offene Holzrahmen, 4cm
Edition 120 cm X 18,5 cm

URSULA KRAFT
Arbeiten 1988-2008

Die Ausstellung zeigt erstmals einen Gesamtüberblick der in Stuttgart geborenen und seit 1988 in Paris lebenden Künstlerin Ursula Kraft (*1960) mit Fotoarbeiten, Videoinstallationen und Filmprojektionen. Ebenfalls zu sehen sind Dokumentationen von Multimedia Performances und Installationen im öffentlichen Raum, die sie in Zusammenarbeit mit der von ihr mitgegründeten Künstlergruppe Argonaut realisierte.
…
Ein Teil der Ausstellung wird im Anschluss Anfang 2009 im "Maison des Arts de Malakoff" bei Paris zu sehen sein.

http://photography-now.com/popup_ausst_ ... gen=T61450

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Тут — очень любопытный проект с фрагментами тела, второй раздел на сайте:

http://ursula.kraft.free.fr/

Freizeit.Architektur.NRW
Sabine Wild
Haus der Architekten
D. Düsseldorf, 19 Aug-02 Oct 2008


Sabine Wild. Zeche Zollverein

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Нью-Йорк см. здесь:







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

Bokuju Kitan / Marvellous Tales of Black Ink
Nobuyoshi Araki
Hamiltons
GB. London, 18 Sep-19 Oct 2008





Текст имеется вот здесь:

http://www.hamiltonsgallery.com/

New Photography, Museum of Modern Art, New York

Попался любопытный обзор давнего уже по времени возникновения проекта MOMA. Вот так начинается:

STATE OF THE ARTS: NEW PHOTOGRAPHY
by CARL GUNHOUSE

Why has the installation of the Museum of Modern Art's New Photography series created so little interest in the photography world?

Т.е. сама публикация — о последней по времени выставке (2007), но с весьма значимымми отступлениями в историю:

New Photography 1 in 1985, that disappointed Andy Grundberg, featured the then far-from-renowned Judith Joy Ross, arguably the greatest portraitist in the last 40 years, as well as the then not-cutting-edge-enough but continuously-interesting Zeke Berman and Michael Spano. The 1987 show, deemed "fairly conservative"[5] by the Times, featured early work by Tom Roma and Paul Graham, both of whom have gone on to a great deal of success, including Roma's solo Come Sunday show at MoMA and Graham's solo American Night show at PS1. Neither are particularly experimental nor are they working in a dramatic new style, but both showed pictures in that year's New Photography that remain standouts in their illustrious careers.

And this isn't even to mention the 1986 New Photography 2, which featured the work of a very young Philip-Lorca diCorcia, arguably one of the most influential photographers of the last couple of decades. Or the quality but less celebrated photographers who appeared in the early New Photography series like Paul D'Amato, JoAnn Verburg, Abe Morell, Mark Steinmetz and Mike Mandel. As well as those who appeared in the more celebrated New Photography series during the late 1990's like Thomas Demand, An-My Le, Rineke Dijkstra, Vik Muniz, Richard Billingham, Wolfgang Tillmans, Uta Barth, and Rachel Harrison.

…The current show includes the emerging and talented Tanyth Berkeley and her portraits of unique individuals.

…As for Scott McFarland and Berni Searle, I think I agree with Charles Hagen: "...at least it provides a good reflection of the moment."


Tanyth Berkeley, Grace in Window, C-print, 2006


Scott McFarland, Echinocactus grusonii, 2006


Berni Searle, On Either Side, archival pigment ink on cotton rag paper, 2005

http://www.bigredandshiny.com/cgi-bin/r ... E_19135054

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New Photography 2005, The Museum of Modern Art
Dreams of What Might Have Been and the Importance of the Ordinary

Текст (большой), иллюстрации:

http://www.thecityreview.com/nuphoto.html

New Photography, Museum of Modern Art, New York
September 30, 2007 to January 1, 2008
By Michele Leight

The Museum of Modern Art unveiled its annual fall showcase "New Photography 2007" on September 25, featuring outstanding work in recent photography by three artists, Bernie Searle, Tanyth Berkeley and Scott McFarland, that demonstrate the diversity, innovation and international scope of this hugely popular medium today.


Berni Searle in front of her "On Either Side"


Tanyth Berkeley in front of two of her large photographs

http://www.thecityreview.com/nufoto07.html

Tanyth Berkeley

New Photography 2007: Tanyth Berkeley, Scott McFarland, Berni Searle

http://www.artdaily.com/index.asp?int_s ... int_modo=1

BELLWETHER Gallery:
THE MUSE, THE FUGITIVE, AND THE FREQUENCY
Tanyth Berkeley


Grace on Her Couch, Yellow Shirt


The Frequency by Tanyth Berkeley

http://www.bellwethergallery.com/artist ... id=2&gal=1

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Tanyth Berkeley — Artwork — The Saatchi Gallery
Selected Works by Tanyth Berkeley

http://www.saatchi-gallery.co.uk/artist ... rkeley.htm

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Интервью (Interview by Nicole Pasulka) и галерея:

Orchidaceae

An interview with photographer Tanyth Berkeley about her inspirations, muses, and settings, and a gallery from her “Orchidaceae” series of pictures.

Photographer Tanyth Berkeley creates cinematic and arresting portraits of women that she encounters riding New York City subway trains. Though her subjects all possess unique beauty, they seem familiar; as though you too could have encountered these women on the trains or in the streets. In Berkeley’s portraits, the unidentified faces of our day-to-day lives appear in 19th-century-inspired realist landscapes. The women in Berkeley’s portraits gaze away from the camera, their modesty a challenge to the cultural dominance of teen pop stars and emaciated runway models.

Tanyth Berkeley was born in 1969 in Hollywood, Cal., and currently lives and works in Brooklyn, N.Y. She received her MFA from Columbia University in 2004 and holds a BA from CCNY in photography and creative writing. Recent exhibitions include “Greater New York” at P.S.1/MOMA and “White Out: Lighting Into Beauty” at the Denver Museum of Contemporary Art. She is represented by the Bellwether Gallery in New York City.

http://www.themorningnews.org/archives/ ... chidaceae/

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Tanyth Berkeley

I had the opportunity to see the work of Tanyth Berkeley at MOMA this past weekend, as part of their New Photography Exhibition Series. It has been a long time since I have been so moved by the act of just seeing someone's prints in person. The examples below prove to be no substitute to actually seeing her work, which in many ways is quite refreshing. In person the work is dark and removed. The colors lean towards cyan, which adds to the intensity of the image, and helps Tanyth to create some of the most unique portraits I have ever seen. The vertical format as well (30 x 70 inches), almost life size, adds yet another unique dimension to the work.

Крупные иллюстрации:

http://justinjamesreed.blogspot.com/200 ... keley.html

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ПРОЗА / Визии (Ульянов):

«Потустороннего портретиста Танис Беркели (Tanyth Berkeley) в пору приглашать на пост кастинг-менеджера для фильмов Девида Линча. Госпожа Беркели - профессиональная ищейка необычных лиц. Все ее герои отобраны с пугающим, характерным вкусом: угрюмые альбиносы, чернокожие трансвеститы, престарелые фэшн-ведьмы, криволицые красавицы. Тоскливому большинству эти существа покажутся отталкивающими, чужеродными гражданами ледяного королевства. И, все же, их интересно разглядывать – каждое лицо неповторимо, личностно, потрясающе в своей инаковости».

http://www.proza.com.ua/visions/raznots ... anin.shtml

Подборка еще вот здесь:

http://troleybuh.livejournal.com/237756.html