Встреча с легендой.

Gaain Gallery
12 Willow Road
Veronica Bailey
April 24, 2008 to May 24, 2008




Veronica Bailey, Victor Vaserely
Veronica Bailey, A Girl like I
Veronica Bailey, Born Free
Veronica Bailey, The War’s Best Photographs

Durst Lambda print on Fuji Crystal Archive Paper, 84.1x59.4cm, 2003

http://www.gaainart.com/artists/veronica1.html

Education
Central Saint Martins College, London [MA] 2001-2003
Middlesex University [BA Hons] 1984-1987
Ecole Nationale Supérieure des Arts Décoratifs, Paris 1986

Серии, в том числе другие, более полно, описания см. на сайте автора:

http://www.veronicabailey.co.uk/veronica-bailey.html

nigel warburton, virtual philosopher:

October 10, 2006
Veronica Bailey

I first came across Veronica Bailey's photography when I was writing about the architect Erno Goldfinger. Bailey photographed some of Goldfinger's books from his house in 2 Willow Road, Hampstead, end on, using a digital process, to create formally striking images, which, combined with the books' titles produced a kind of indirect biographical comment on Goldfinger and his wife Ursula. I wrote a short piece about a later series of images, Postscript, for Portfolio Magazine. This series uses the letters of Lee Miller and her lover/husband Roland Penrose as the basis for large-scale colour digital prints.

There is an interesting feature article by Sue Steward on Veronica's photography from Eye magazine.

http://nigelwarburton.typepad.com/virtu ... bailey.rtf

Torn space

In a relatively short period of time, British still life photographer Veronica Bailey has created a recognisable identity with a style that reflects her background in design, an enthusiasm for collage, illustration, typography, layout and book-binding, and a love affair with the tactility of paper. Books and letters form the principal content of her work: large, high-definition, Durst Lambda prints that now command high prices on the art photography market.

Born in London in 1965, Bailey studied graphic design at Middlesex Polytechnic and took an MA in Communication Design at Central Saint Martins, where she graduated in 2003. Her MA project explored a hobby, or obsession with, collecting concert, tube and bus tickets. Their information and memories were preserved in a huge book featuring the tickets repeatedly photocopied, and a flicker-book film that focused on the tickets’ edges, a pointer to her future style which also revealed the heavy influence of Kurt Schwitters. Bailey says the work marked closure for a career between BA and MA as a successful collage illustrator for magazines, advertising, design and publishing: she was on the Association of Illustrators (A0I) website until quite recently.

Bailey’s reputation is founded on two collections of work. Her exhibition ‘2, Willow Road’ (2003) won the Jerwood Prize; two years later her show ‘Postscript’ was a commercial success at London’s Blue Gallery, Miami Basel Art Fair and New York’s Bonni Benrubi Gallery…

http://www.eyemagazine.com/feature.php?id=130&fid=567

http://nigelwarburton.typepad.com/virtu ... ailey.html

Вот, попутно всплыл Portfolio Catalogue. Если пройтись по заглавным публикациям номеров:

43-ий — John Goto, относительно новая серия New World Circus:


John Goto, The Bride of Mazeppa, 2004-06

42-ой — Loretta Lux:


Loretta Lux, The Walk, 2004

39-ый — Bettina von Zwehl:


Bettina von Zwehl, Rain #7, 2003

This issue presents innovative photographic art created or shown in the UK in 2004. Bettina von Zwehl is known for her work which depicts psychological states. Her new series of photographs of women in the rain are sensual images which register the transformative powers of rain and its psychological impact.

http://www.portfoliocatalogue.com/back.htm

Вот такой цикл из пяти публикаций на

We Can’t Paint

The Shepherds of a Cluster-Fuck Aesthetic Part 1
http://wecantpaint.wordpress.com/2008/0 ... ic-part-1/

The Shepherds of a Cluster-Fuck Aesthetic Part 2
http://wecantpaint.wordpress.com/2008/0 ... ic-part-2/

The Shepherds of a Cluster-Fuck Aesthetic Part 3
http://wecantpaint.wordpress.com/2008/0 ... ic-part-3/

The Shepherds of a Cluster-Fuck Aesthetic Part 4
http://wecantpaint.wordpress.com/2008/0 ... ic-part-4/

The Shepherds of a Cluster-Fuck Aesthetic Part 5
http://wecantpaint.wordpress.com/2008/0 ... ic-part-5/


The Shepherds of a Cluster-Fuck Aesthetic Part 1
February 11, 2008 in photographers, theory & criticism

I’ve been discovering a lot of conceptual and allegorically based photography as of late. This can be seen in young artists like David La Spina, Melanie Schiff, Matthew Spiegelman, Michelle Abeles, Boru O’Brien O’Connell, and Patricia Neligan, all of who represent a departure from what many consider traditional modes of photographic practice.

This exodus from a clear production of finite documentary or staged imagery is something that I find not only fresh, but it very well may be the direction in which the medium itself is headed…





Медиа:

Type C prints
Holograms projected through crystal ball.

http://www.davidlaspina.com/

Secret Games — Collaboration with Children
Wendy Ewald
Parrotta Contemporary Art
D. Stuttgart, 28 Mar-04 Jul 2008


Denise Dixon, Reaching for the Red Star Sky
• Gelatin Silver Print, 28 x 40,6 cm (11" x 16")
• Diptychon

With »Secret Games« the Gallery Parrotta presents the first exhibition of the 1951 born American photographer, conceptual and video artist Wendy Ewald in Germany. For more than thirty years Wendy Ewald gives cameras to children, to work together with them, documenting and bringing out their dreams, fears and experiences of their daily life in pictures and words.

As the project of her life, Wendy Ewald travelled around the world, to take pictures with children from different cultural and social backgrounds. Our stereotypical perceptions of childhood and innocent eyes are totally taken away through their pictures in one click. In a merciless, intensive and from time to time unsettling poetical way, the children show in their photographs their environment and put themselves into the pictures to bring their own meaning into it. It is the interchanging of position of power that makes the work of Wendy Ewald so deeply intensive and powerful. She creates situations to bring to the surface what attracts the children and what seemed to them important enough to tell…


Allen Shepherd, I dreamed I killed my best friend, Ricky Dixon
• Gelatin Silver Print, 28 x 28 cm (11" x 11")

http://photography-now.com/popup_ausst_ ... gen=T60376

Христос воскрес

Прикоснуться к авангарду:

Unbekümmert, aber nicht gleichgültig
Man Ray
Martin-Gropius-Bau
Berlin, 13 Jun-18 Aug 2008


Noire et Blanche, 1936 © The Man Ray Trust

Selbstporträt, 1924
http://www.photography-now.com/popup_au ... gen=T58524
Porträt ohne Titel, nicht datiert
http://www.photography-now.com/popup_au ... gen=T58524
Kleiderständer, 1920
http://www.photography-now.com/popup_au ... gen=T58524

Alexander Rodchenko
Martin-Gropius-Bau
Berlin, 12 Jun-18 Aug 2008


Girl with a Leica. 1934
Artist print, Private collection
© A. Rodtschenko Archive / VG Bild-Kunst, Bonn 2008

Fire Escape (with a man).
http://www.photography-now.com/popup_au ... gen=T59145
Portrait of the Artist's Mother. 1924
http://www.photography-now.com/popup_au ... gen=T59145
People Gathering to Take Part in a Demonstration. 1928 (1933)
http://www.photography-now.com/popup_au ... gen=T59145

Still Life
David Halliday
Stephen Cohen Gallery
Los Angeles, 24 Apr-07 Jun 2008

Автор с любопытными монохромными работами:


Eye of the Painting
Sepia Toned Silver Print, 9 x 7.5


Sardines
Sepia Toned Silver Print, 9 x 9

http://www.sailorsvalentinegallery.com/Halliday.htm

См еще

http://forum.znyata.com/viewtopic.php?p=31812#31812

В Stephen Cohen Gallery — с новыми вещами: цвет, цифровая печать…

http://gallerydriver.com/Art/5%20Fish%2 ... 4950%2Ejpg
David Halliday, 5 Fish, 2007
11" X 14", $950.00
archival pigment prints
edition of 25

http://gallerydriver.com/Art/carrots%2D ... 1200%2Ejpg
David Halliday, Carrots, 2007
14" X 18", $1,200.00
archival pigment prints
edition of 25

David Halliday's photographs are about beauty, pure and simple. His primary subjects are carefully composed still lifes, portraits and landscapes which he shoots in black and white film with only natural light. He is a purist behind the lens, rarely manipulating his negatives in any way and a master in the darkroom. His work has an ethereal quality that's translated not only through the subject, but also by the warm sepia tones he uses in his printing.

Born 1958, Glen Cove, New York
Lives in New Orleans

См. четыре раздела здесь:
http://www.carriehaddadgallery.com/inde ... AllArtists

Сайт автора:

http://www.davidchalliday.com/


Male Nude (Vertical), 1998
sepia toned silver print, 25 x 25

Ссылочку на «Пленке» см. вначале, непонятно, куда закладочку лучше положить, там — подробности о технике в серии Sunburns:

http://forum.znyata.com/viewtopic.php?p=31896#31896

Chris McCaw

Дополнительно:

Photos to Inspire: Chris McCaw
By Lynne Eodice | Apr 1, 2006

A California native, San Francisco-based Chris McCaw is a successful fine-art photographer who shoots with a 7x17-inch large-format camera, which he built himself. He also does his own platinum/palladium printing, and has offered a “Digital Platinotype” service on his website since 1996, in which he creates platinum/palladium prints from his customers’ original negatives.

…He explains that the 7x17-inch camera is part of a family of extra-large format cameras known as “banquet cameras.” Before enlarging negatives became possible, he says, this aspect ratio was ideal for capturing large groups in prints where everyone would be recognizable. “In 1994, I purchased my first 7x17 banquet camera,” McCaw states, “which dated from the late 1800s. It was an expensive antique that I worried about far too much.” For this reason, and to aid in his “post-art-school financial situation,” he sold this camera and decided to build his own.

“Two months and $150 later I had my own homemade 7x17-inch view camera,” McCaw relates. “Everything from the frame to the ground glass—even the bellows—I made myself. Some inventiveness came about due to lack of funds, including using hacksaw blades for the back’s spring mechanism. By doing all this, I was able to use the camera in very precarious situations—in the middle of a stream, on the side of a cliff, it does not matter. With the freedom that I could fix anything that went wrong with the camera myself, I could take risks. It really loosened my shooting style. Since 1995, the camera has been in constant use. Though I have had to do some repairs and modifications, it has survived.” McCaw uses Ilford FP4 black-and-white film, but says that large-format film is getting very hard to find these days."

http://www.doubleexposure.com/PTI_McCaw.shtml







http://www.doubleexposure.com/inspire/mccaw/index.html

Manteca Farm

Галерея:
http://www.chrismccaw.com/manteca/index.html


Detail #13, grandpa's shop, Manteca, CA, 2001.

Статья (с подробностями) в View Camera magazine:
http://www.chrismccaw.com/manteca/viewcamera.html

…It took me about a month and a half to make the camera, with the biggest problem being the bellows. My first attempt didnÕt actually work, but through failure I learned what to do. Ultimately, the bellows I made aren't pretty, but they work.

As for lenses, coverage was the biggest factor. Basically, anything that covers 11 x 14 will cover 7 x 17, so I started my search from there. Richard Lohmann turned me on to Goerz Dagor lenses, with their small size, big coverage, and the ever-crucial cheap prices. From Dagor I started with a 10 3/4" lens, but found I needed something a little wider. Eventually I got a hold of a Schneider 210mm Angulon. This lens barely covers the 7x17 format, but for close-up work and with the limited bellows draw of my camera, it is really nice to use. I also have a 12" Dagor, which gives me a less wide angle of view. All three lenses are very small in size, unlike modern lens designs. When you carry all the equipment on your back, this becomes a blessing.

Since 1995, I have used this homemade camera on a regular basis…

Travelogue
The Road Trip Portfolio


Listening to music at 3AM, the Powerhouse, Portland, OR, 1997.

http://www.chrismccaw.com/travelogue.html

portfolio:

http://www.chrismccaw.com/persport2.html

Camera Obscura Image of Three Buildings in Room with Cactus, LaSalle Bank, Chicago, IL, 2005

Видимо, самое время вспомнить в связи с фотографическим праздиком в воскресенье про Abelardo Morell. Erika Gentry делилась впечатлениями в начале года:

Friday night I had the pleasure of hearing Abelardo Morell speak about his work and works in process as part of the Photo Alliance lecture series. Morell, a Cuban immigrant moved to the US in 1974 at the age of 14 and is currently a Professor of Photography at the Massachusetts College of Art. Unlike many artists of our time, Morell spoke without putting on airs about his artistic practice, process and experiences as a Latin American artist.

My favorite works of Morell’s, are the ones he is best known for – his series of captured camera obscura installations…

lens culture photographer interview

Outside-in, upside-down — and now in color! photographs by Abelardo Morell


Camera Obscura Image of Manhattan View Looking South in Large Room, 1996


Camera Obscura Image of the Pantheon in the Hotel Des Grands Hommes, 1999


Sunspots on Covered Table, 2000


[size=9]Camera Obscura Image of Antwerp Cathedral Entrance in Room, Belgium, 2006/size]

plus an audio interview with the
photographer by Jim Casper: http://www.lensculture.com/morell.html#

Сайт автора, галереи:

http://www.abelardomorell.net/photographs.html

Текущие и планируемые выставки:

http://www.abelardomorell.net/exhibitions.html

Shadow of the House
A film about Abelardo Morell by Allie Humenuk

http://www.abelardomorell.net/media.html

Да, уже не совсем в связи со всеобщим праздником стенопа, в Вильнюсе на Гедимина — выставка пинхольных работ, куда добраться не удалось, а в Минске стеноп внутрикамерно, да…

From 17 of April to 11 of May 2008 at Prospekto gallery runs the photography exhibition “Pinhole strategies 2”. The participating artists are Andrius Surgailis, Jurgita Remeikytė, Vaidotas Aukštaitis, Remigijus Treigys, Liudmila Zinchenko (Moscow), Arūnas Kulikauskas (N.Y.), Petras Saulėnas, Jurgis Paškevičius and Gintautas Trimakas.

The archaic technology in the combination with new concepts highlight the topics of nowadays photography: to have a different look and to speak in unique and original language. The authors use the most primitive camera: the box with a hole (for instance, coffee, tea or sniffing tobacco boxes) and light sensitive material inside it. Thus denying all modern photography conveniences: precise optics, flashes or having few shots per second.

http://www.pinhole.lt/en/

Вообще анализ списка выставок в Литве заставляет задуматься об ужасном, если говорить о недавней дискуссии и репликах по поводу состояния белорусской фотографии, см. Photo/carto/historio/graphies и листинг справа:

http://www.photography.lt/en.php/Exhibitions?id=243

… а соображения все же несколько по другому поводу… навязчивая идея, разница публичных судеб двух американок, жизни которых закончились рано, обе снимали, используя себя в качестве объекта съемки; Белл, снимавшая себя стенопом, как раз недавно называлась:


"Moosehead" 1998, 1st Artist Proof, signed verso
gelatin silver print, pinhole camera, 16 x 20”"

См. первую закладку:



http://forum.znyata.com/viewtopic.php?p=14698#14698

Да и Francesca Woodman была в поле зрения, похоже, просто не было повода дать ссылку на ученические, в общем, хотя и любопытные пробы и эксперименты ставшей большой фотографической знаменитостью девушки.

См. ссылки хотя бы вот здесь: http://www.hungryflower.com/leorem/woodman.html , а вообще Google выдает десятки тысяч ссылок…



Так вот, с Bell все просто безнадежно, Сеть оказывается просто бессильной выдавить из себя хоть какую-то информацию, а вот на Woodman не сослался только очень ленивый. Возможно, количество все определило — у Вудман их хватило на книгу.



См. еще специально заметку

Fatal attraction
…work and death of Francesca Woodman
John Henshall
23 August 1999

…Evidently we are not supposed to piece together the true story behind the eight-year trail of tragedy that was the career and adult life of Francesca Woodman, a photographer from Denver, Colorado, who started taking pictures at the age of 13, pictures which are almost exclusively of herself and which frequently show her apparently evaporating on celluloid before our very eyes.

…This woman has been hailed as a prodigy, a prophet and a putative genius. I can affirm that she left a thoroughly distinctive oeuvre. She materialises and dematerialises like an apparition in photographs whose mise en scene is deliberately so minimalist as to focus the viewer's attention on one thing and on only one thing, absolutely all the time: her. She regularly poses naked for no apparent reason. She hides, she partially covers herself, she reveals a foot, an arm, a view of the back of her shoulder. Her penchant for performing deshabillee was not always well received. She was once ejected from the Museum of Natural History in New York by a security guard who was astonished to find her stripping off in front of the animal exhibits in order to photograph herself with them.

She uses a whole repertoire of photographic legerdemain to create pictures in which she seems to dissolve into the print itself, like a medium swirling in ectoplasm in some news magazine for psychics. She rarely takes a "normal" photograph of any kind.

Woodman was, I think, a confused, disoriented woman whose obvious talent was tainted by a death wish from the time she picked up a camera. I imagine she deliberately contrived to dissolve in her autoportraits because from her early teens she had wanted oblivion. Barely a week after she published her strange and twisted book, she hurled herself from her apartment window on to a freezing and final sidewalk below. Her wish had been fulfilled. She was 23.

Весь текст и комментарии:

http://www.newstatesman.com/199908230027.htm

*
Многие давние вещи или вообще все раннее творчество, продолжения которого не последовало по разным причинам, продолжают последовательно привлекать внимание. И тут не то, чтобы время повышало ценность этих работ, хотя и временной фактор вносит свою лепту. Вот выставка работ того же Mark'а Morrisroe и товарищей по Бостонской школе, см. там же, где недавняя ссылка на Bell:

http://forum.znyata.com/viewtopic.php?p ... bell#30772

Листал я как раз перед поездом в Минск большую серию «Кукол», надо будет закладочку сделать, выставки планируются и в этом году, хотя серии созданы довольно давно. Отдельная история…

Куклы разыскиваются; пока же — несколько закладок попутно.

Chris Anthony



(Было несколько по другому поводу вот здесь:
http://forum.znyata.com/viewtopic.php?p=24250#24250 )

Крис фигурировал в числе «Новых талантов» на PDN в 2005-м:

http://www.photosource-enhanced.com/?type=New_Talent




См. о книге Victims & Avengers:

http://www.chris-anthony.com/V%26A-RESIZED/030.jpg

Еще вот так:



Портреты:

http://www.chris-anthony.com/PAGES/port ... eshow.html

Luis González Palma
Guatemalan photographer


No sabia que ella estaba pensando en (He did not know that she was thinking about), 2004
20 x 40 inches (edition of 15), 35 x 70 inches (edition of 10)
kodalith and goldleaf embedded in resin


Las sombras de su ninez (The shadows of his youth), 2004
20 x 40 inches (edition of 15), 35 x 70 inches (edition of 10)
kodalith and goldleaf embedded in resin

Para no hablar de ella (So not to talk about her), 2004
20 x 20 inches (edition of 15), 35 x 35 inches (edition of 10)
kodalith and goldleaf embedded in resin

http://www.robertmanngallery.com/artist ... ls_01.html


Luis González Palma, La mirada crítica (The Critical Gaze), 1998


Luis González Palma, Esperanza, 2002 (ca)
Gelatin silver print…


Luis González Palma, Portrait #2, 2003 (ca)
Goldtone

http://www.luminous-lint.com/app/photog ... z_Palma/C/

Выставки:

Luis González Palma. Jerarquías de Intimidad (La Anunciación)
October 18-November 24, 2007
Robert Mann Gallery, New York, USA

Esteeming the Pearls: A Legacy of Family and Tribe by Luis Gonzales Palma and Linda Foard Roberts
February 16 - April 26, 2007
Light Factory: Contemporary Museum of Photography and Film, Charlotte, USA

Luis González Palma, Anunciación 5, 2007
Archival pigment print, 39 in (circular)


Luis González Palma, Anunciación 8, 2007
Archival pigment print, 39 in (circular)


Luis González Palma
Estudio de la Anunciación de Botticelli (detail), 2007
Kodalith with goldleaf backing, encased in resin
30 in (circular)

Эта подборка оттуда же:

http://www.luminous-lint.com/app/photog ... z_Palma/C/

Попутно, в связи с проблемой выгоды использования разной техники в период цифрового нашествия. Я выделил заключительный абзац, который пафосно заключает простые и важные наблюдения.

Which Camera Does This Pro Use? It Depends on the Shot
By SETH SCHIESEL
Published: June 8, 2005


Carol T. Powers for The New York Times
The photojournalist David Burnett switches easily from yesterday to today.

Mr. Burnett was explaining why in this age of ever more plentiful megapixels, at this moment when the concept of "film" seems as old-fashioned as a rotary telephone, he has spent most of the last two years lugging around a 55-year-old 4-by-5-inch Graflex Speed Graphic camera, complete with tripod.

On the screen was a wide overhead picture of a John Kerry rally last fall in Madison, Wis., which Mr. Burnett shot with a Canon 20D digital camera, the same camera used by thousands of other professionals around the world. Not surprisingly, the picture looks like thousands of others that were shipped around the globe during the campaign.

The colors are bright. Every part of the image is crisp, so crisp that just picking the minuscule figure of Mr. Kerry out of the huge crowd takes a "Where's Waldo?" moment.

And then Mr. Burnett flipped to a photograph taken seconds later with the ancient Speed Graphic. Suddenly, the image took on a luminescent depth. The center of the image, with Mr. Kerry, was clear. Yet soon the crowd along the edges began to float into softer focus on translucent planes of color.

The effect is to direct the viewer's eye to Mr. Kerry while also conveying the scale and intensity of the crowd. In accomplishing both at the same time, the old-fashioned photograph communicates a rich sense of meaning that the digital file does not.

The digital picture pretends to display raw reality. The analog picture is a visualization of human memory…

Текст первой страницы (доступный):

http://www.nytimes.com/2005/06/08/techn ... ref=slogin

Etherton Gallery
James Reed
Notes from the Interior
mixed media

Notes From the Interior: James Reed, Mayme Kratz and Jack Spencer, an exhibition of mixed-media works and photographs. Выставка с конца марта и по май включительно. Пишут:

James Reed continues his investigation into the image, using paint and photography; creating distressed surfaces to pry open the soul of a portrait…




An Object of Affection


Contessa L'Egypte Romaine


The Contessa's Niece

http://www.ethertongallery.com/html/exhibit/reed.htm

См. еще:

A Review of the Use of Photo Mixed Media in the U.S.A.
Shelly Farkas and Henry P. Raleigh
Leonardo, Vol. 13, No. 2 (Spring, 1980), pp. 129-131(article consists of 3 pages), доступна одна:

http://www.jstor.org/pss/1577984

А вот фотографическая составляющая экспозиции, небольшая выборка…

Notes from the Interior
Jack Spencer


An American House


Chavo


Pistola, Mineral de Pozos (2003)


Boy with Ball

Галерея большая, разноплановая: …имеется любопытный цвет, загляните:

http://www.ethertongallery.com/html/exhibit/spencer.htm

На сайте автора:

gestures



flores



this land



native soil

the lost boy