Встреча с легендой.

Случайная, в общем, ссылка, попался портрет экспрессивный на Luminous-Lint, автор известный в сетевых сообществах, эффект, о котором пишут на designer-daily (про Philippe Toledano):

Thanks to social media sites like Digg or StumbleUpon, Philippe Toledano has become a very popular photographer on the web. I am also a big fan of his work for its beauty of course, but also because Toledano has great ideas and offers an original look on societal topics.

(Начинается с недавней серии Days with my father —

Very touching project. Toledano took regular photos of his 98 years old father and publishes it with comments, setting a record of his fathers last days and giving a look on the situation of the elderly.

http://www.designer-daily.com/5-great-p ... edano-1003

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Krijn van Noordwijk Photography

Вот он сам, примечательная работа, photo by Koos Breukel:

http://photo.net/shared/portrait.tcl?user_id=2123116

Галерея:
http://photo.net/photos/Krijn%20van%20Noordwijk

New Art: Krijn Van Noordwijk — saying more:
http://new-art.blogspot.com/2007/07/kri ... -more.html

Krijn van Noordwijk

In previous lives, Krijn has worked as a creative director and art director in several international advertising agencies (DDB, TBWA, LOWE, OGILVY). Krijn was a board member in the ADCN, the Dutch Art Directors Club, as well as a board member in the ADCE, the Art Directors Club Europe. He founded his own creative shop 'LABORATORIVM' in 1996. In this Lab art, music, graphics and advertising were all mixed.

http://photo.box.sk/about.php3?id=475

Фотограф Krijn van Noordwijk (44 фото — 5.93Mb)
http://2photo.ru/2007/07/03/fotograf_kr ... dwijk.html

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Krijn van Noordwijk. Krijn shoots people. Creative photography and portraits.

www.krijnvannoordwijk.com/

Фолк-Арт:

Accidental Mysteries







John and Teenuh Foster share a passionate interest in collecting works of art by self-taught artists, as well as anonymous objects that to them, share attributes of great design and mystery. They consider vernacular photography to be a long overlooked genre of folk art, capturing elements of history, sociology, psychology and often “accidental” moments on film. John is a founder and past-president of ENVISION Folk Art of Missouri, where he also served as editor of the Journal that he produced for ten years. He is a member of the Advisory Board of The Folk Art Society of America and the Nek Chand Foundation in London, UK.

http://www.accidentalmysteries.com/photo_01.html

Gillian Wearing, Me As Arbus, 2008
bromide print, 154 x 130.2 cm

Gillian Wearing

The eyes have it: Gillian Wearing on Diane Arbus
ArtForum, Feb, 2004 by Barry Schwabsky

…No wonder, then, that she recognizes an affinity with Diane Arbus, whose ruthless exposure of her subjects was always paradoxically entwined with a sense of the psychological opacity of both subject and observer. Most recently, in remaking six portraits from among her family photos in Album. 2003, but using herself to depict her parents, siblings, uncle, and herself at age seventeen, Wearing has brilliantly rephrased questions about who and what is exposed in portraiture--questions that Arbus contended with in her time. To hear a contemporary artist's take on Arbus, I met with Wearing earlier this winter…

http://findarticles.com/p/articles/mi_m ... _113389506



Self-Portrait at Three Years Old, 2004. Digital C-type print, 71 5/8 x 48 1/16 inches. Solomon R. Guggenheim Museum

Acquisitions at the Albright-Knox Art Gallery

Gillian Wearing, Album, 2003
Series of 6 photograph prints
Charles Clifton Find, 2004

Gillian Wearing’s Album, a suite of six larger-than-life-size digital prints, gives new meaning to the notion of a family resemblance. All the photographs in the series are self-portraits Wearing made by recreating old photographs from her family album. Using specially made masks, wigs, body suits, and clothing, the artist transformed herself into various members of her family: her mother at age twenty-one, a young, tuxedo-clad image of her father, her smiling maternal uncle Bryan, her sister Jane, and brother Richard. Also included is an image of Wearing herself, not as she looks today, but as a teenager. In each case, the artist’s eyes are the only visible evidence of her actual, forty-year-old features. Wearing explains: “I was interested in the idea of being genetically connected to someone but being very different. There is something of me, literally, in all those people – we are connected, but we are each very different.”

Gillian Wearing is known for her photographs and videos that explore human relationships and social behavior – private, public, and personal. She also acknowledges an affiliation with documentary photography and film. To make the Album series, which she began in 2001, Wearing collaborated with a talented team of individuals (some of whom have worked for Madame Tussaud’s wax works) who sculpted, cast, painted, and applied hair to create the masks, wigs, and body suits used in these photographs. The elaborate disguises the artist wears, when combined with the snapshot “realism” of the original images on which they are based, create an eerie fascination that serves to reveal aspects of her identity rather than conceal it.

…While real people are featured in Wearing’s self-portraits, they, too, are fabricated and based on familiar photographic formats – the snapshot and the portrait studio photo. The use of familiar photographic genres is combined with the use of masking and disguise in the photographic work of Cindy Sherman as well. Sherman transforms herself using makeup, wigs, and costumes in photographs that mimic and mock female stereotypes and mass media imagery. Sherman’s exploration of the cultural coding of images in popular culture subsumes her likeness, whereas Wearing’s disguises link her to her familial roots. All three of these artists are represented in the Gallery’s collection and use photography, portraiture, fiction, and reality in unique and simulating ways.





http://www.albrightknox.org/acquisition ... aring.html

Галерея:
http://www.maureenpaley.com/maureenpale ... inside=548

Биография:
http://www.maureenpaley.com/medias/%20C ... lian-7.pdf

Gillian Wearing on artnet
http://www.artnet.com/artist/17591/gillian-wearing.html

Автопортрет:
http://www.artnet.com/Artists/LotDetail ... 566CAD0791

ICA: Past Exhibitions



Gillian Wearing, Self-Portrait, 2000,
chromogenic development print, 67 3/4 x 67 3/4 inches,
Collection of Anthony T.Podesta, Washington D.C

In the past decade, Wearing has emerged as one of the foremost artists of her generation. In the simplest terms, her videos and photography explore the intimacies and complexities of human relationships to portray a range of human types, from the familiar to the marginal -- her family and friends, drunks, children, men on the street, victims of abuse. Some works focus on individuals whose emotional and psychological behavior has been stretched to the limit, stunted, or not yet fixed by society. Other works show people at their most mundane, sharing minor hopes and fears as if admitting secrets to a friend. Unlike traditional documentary, however, Wearing is very present as a participant in her work, her lenses recording relationships between people that are active, adjusting and performative…

http://www.icaphila.org/exhibitions/past/wearing.php

Gillian Wearing at Regen Projects
http://www.latimes.com/entertainment/la ... 7470.story

Gillian Wearing | Images | Regen Project, презентация:
http://www.regenprojects.com/exhibition ... n-wearing/

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Sofie and Art:

Gillian Wearing, who happens to be the same age as my parents, is a British contemporary artist. She was born in 1963 in Birmingham. She exhibited in the 1997 ‘Sensation’ exhibition and is subsequently a Young British Artist. In 1997 she also went on to win the Turner Prize with her video work ‘60 minutes of Silence’ — (1996), where a group of actors dressed in police uniforms had to stand still for an hour.

I at first thought it was a painting as they are standing very still, it is only with the occasional head scratch that you realise it is a video work…

http://sofiefr.wordpress.com/category/gillian-wearing/

Sad Scenes
by Pedro Velez

…Artists such as Santiago Sierra and Rineke Dijkstra take a pronounced ethical stance in their focus on contemporary society. Sierra actually hires low-wage subjects whose manual labor is exploited in public as part of his artwork. Wearing's justification of her artistic practice, on the other hand, is considerably more uncertain. In fact, in Self Portrait (2000), she hides behind the mask of art-making, just like her subjects in Trauma. In the process her intentions are never revealed in her work, leaving a uncertain moral gap. Whether that's good or bad, it's up to the viewer to determine.

http://www.artnet.com/magazine/reviews/ ... 8-5-03.asp

Gillian Wearing — Turner Prize winner 1997
http://news.bbc.co.uk/1/hi/special_repo ... /36273.stm

Большое интервью: BOMB Magazine: Gillian Wearing by Grady Turner
Issue 63 Spring 1998, ART

Video art has suddenly become ubiquitous. Thought experimental just a few years ago, video is now regarded as just another art-making tool by a generation of artists raised on televisions, VCRs and camcorders. Their output is so varied that one can no more make generalizations about video art than one can about photography.

Indeed Gillian Wearing’s art casts doubt on the efficacy of most assumptions we make. When she was nominated for England’s prestigious Turner Prize, the judges described her work as “confessional art in which she persuades her fellow citizens to reveal their most secret thoughts and desires.” “Persuades” was too strong a word—”permits” might have been better…


Gillian Wearing, Homage to the Woman With the Bandaged Face Who I Saw Yesterday Down Walworth Road, 1995, video projection, 7 minutes

http://www.bombsite.com/issues/63/articles/2129

Pedro Lapa — A darker place than night, at night.
Gillian Wearing. Broad Street.
Lisbon: IPM/ Museu do Chiado — MNAC, 2001.

Broad Street is the name of one of the roads in the centre of Birmingham, an English city that over the last ten years has undergone a period of economic boom with the setting up of new centres of activity. Over the course of three weekends, Gillian Wearing filmed the streets and the interiors of the discotheques on Broad Street, in a more or less covert fashion. The almost always fixed camera zoom, bringing closer or maintaining a distance that leaves space for the observer of these multiple, all-night long events.

The mixing and editing of these recordings, shown in six video films projected on the four walls of a room, surround the observer making it completely impossible to understand the excess of simultaneous situations, accompanied, as they are, by strident noise and music. The varying dimensions of the projections on the walls create a proliferation of images that in the time taken to present them set up interlinked relationships. This occurs not only from the observers’ points of interest and the consequent direction of their attention, but also because of the apparent sequence of activities or recognition of the same scenario in various projections. Thus, assuming relevance to the spatial relationship between the different projections that create links among themselves and what the observer understands through a montage of the montages of each projection. The sound of each register co-exists with the others; though the sound is continually focussed on specific situations through an increase in volume.

http://www.artfacts.net/index.php/pageT ... 882/lang/1

Aperture Issue 192 Now Available



Claudia Angelmaier: Reproduction Art
A reflection on the age of mechanical reproduction in the work of art by Brian Dillon.

The Exposure Project: Photographic Typologies: Claudia Angelmaier

Claudia Angelmaier's reproduction photographs of old book illustrations and postcards can be seen as a sort of meta-typology. Self referential in their nod to Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction, Angelmaier's images seem (at least from a typological standpoint) less dependent on a rigidity of process and more concerned with the fact that she is photographing objects that are already typological in nature. In the new issue of Aperture, Brian Dillon writes:

"Angelmaier's studies of book illustrations, slides, and postcards seem to recompose in their quiet and mysterious way a central discovery of Benjamin's essay: the historical refraction of the aura of the work of art in innumerable reproductions. And yet the German artist's work actually frames a phenomenon that Benjamin (otherwise a connoisseur of the artifacts of the recent past) apparently could not foresee: the way that the most technologically advanced reproductions of works of art are themselves subject to aging, decay, and oddly anachronous intersections with the flux of art history that they affect to fix."

http://theexposureproject.blogspot.com/ ... audia.html

Future promises: http://www.entrepreneur.com/tradejourna ... 65016.html

Галерея:



http://www.galeriekleindienst.de/kuenst ... r,139.html

Сайт: http://www.claudiaangelmaier.de/ausstellungen_en.htm

.
См. статьи Dillon'а:

Photographic memory, Brian Dillon (это в связи с выставкой Cruel + Tender, The Real in the Twentieth-Century Photograph, Tate Modern):

Thinking about Photography, worrying about photographs, and wondering what might develop in the space between the Object and the Art, it occurs to me that I have never owned a photograph album. Faced with the oddity of that fact, and the singular absence of any such volume from my childhood home, where there were certainly stacks of yellowing Kodak envelopes containing haphazardly crammed snapshots and neatly pocketed negatives, perhaps it makes sense to say that when it comes to curating our own personal photographic museums, there are two kinds of collector, two distinct attitudes to the mass of images that a life attracts…

http://www.thedublinreview.com/archive/ ... illon.html

TATEetc. Brian Dillon on Erasure
http://www.tate.org.uk/tateetc/issue8/e ... lation.htm

The Painting of Modern Life, By Brian Dillon

http://www.artreview.com/profiles/blog/ ... Post%3A488

О его книге: Lost objects, Sophie Ratcliffe

In the Dark Room: a journey in memory
Brian Dillon Penguin Ireland

…Dillon's personal history of growing up in 1980s Dublin becomes a record of expansive and eclectic readings in remembrance. Focusing on the practical ways in which we manage memory, the book considers the evocative qualities of buildings, photographs, and the "horrifying implacability of physical objects". The result is a sort of cultural history of memory, ranging from discussions of monuments to dream analyses. Extracts from Barthes, Borges and Bergson jostle against pages from his mother's diary. De Quincey and Nabokov shed light on the significance of objects lost and time recovered.

http://www.newstatesman.com/200601230046

Блог: http://briangdillon.blogspot.com/

*
Invasion 68: Prague by Josef Koudelka
An in-depth interview with Koudelka about his documentation of the Soviet-led invasion of Prague.

Выставка: NVASION 68 PRAGUE

http://aperture.org/store/gallery.aspx

Walead Beshty: Piece By Piece
Jan Tumlir examines Beshty’s protean engagement with photography.

См. http://www.hammer.ucla.edu/exhibitions/110/

"Pictures are the Problem: Curated by Walead Beshty"
2005-03-11 until 2005-04-22
Pelham Art Center
Pelham, NY, USA United States of America

"While the ideological, ethical, and social dilemmas associated with the role of �pictures� in contemporary culture have been repeatedly deconstructed, they continue to be, perhaps out of necessity, one of the most effective means by which information is disseminated. ��Pictures are the Problem� presents artistic practices that opt to reconfigure, manipulate, and destabilize the seeming cohesion of pictorial form, while exploiting its efficacy," states Walead Beshty.

http://www.absolutearts.com/artsnews/20 ... 32829.html

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Leaving Kansas: A Look At Second Life
Fred Ritchin gives a tour of the Internet’s alternative to reality, Second Life, through the photographs of Michael Schmelling.

SHANE LAVALETTE / JOURNAL: Contemporary Dialogues: Michael Schmelling

http://www.shanelavalette.com/journal/2 ... chmelling/

http://www.michaelschmelling.com/

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Framing the Presidency: The Evolution of the Campaign Image
Robert Hariman discusses how candidates have been depicted photographically over the past century.

Re-Viewing Rear Window
David Campany considers the role of photography in Hitchcock’s classic film.

Duane Michals: Chromophilia
Robert Kushner comments on a portfolio of Michals’s most recent work in color.

Hanatsubaki: Perfection is Lifeless
The long life of an adventurous Japanese magazine, by Jason Evans.

Joel Sternfeld: Oxbow Archive
Gretel Ehrlich looks at Sternfeld’s latest project in a meditation on seasonality in the age of climate change.

http://exposures.aperture.org/?p=265

SHANE LAVALETTE / JOURNAL :

Tim Davis: Kings of Cyan

Tim Davis has a show coming up in Zurich, Switzerland at mitterrand+sanz that features some interesting new photographs of his from a project entitled Kings of Cyan, a body of work that is not even on his website yet. Since Tim is a rare breed of photographer – that is, one who is equally great at putting ideas into words – I’ll leave it to him to describe the work…

http://www.shanelavalette.com/journal/2 ... s-of-cyan/


© Tim Davis, Little Strong Jaw, 2008 [from “Kings of Cyan”]


© Tim Davis, Magenta Forehead, 2008 [from “Kings of Cyan”][from “Kings of Cyan”]

Эта часть серии:
http://www.mitterrand-sanz.com/Artists/ ... sept08.php

Другая часть:


Tim Davis, Communist Cock, 2008
Archival ink jet print
33 x 25.5 cm/ 13 x 10in.
Edition of 6

http://www.mitterrand-sanz.com/Artists/ ... sept08.php

Галерея:
http://www.mitterrand-sanz.com/Artists/davis/index.php

http://www.shanelavalette.com/journal/2 ... s-of-cyan/

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Сайт: http://www.davistim.com/

http://www.davistim.com/images/images.html

http://www.davistim.com/links/links.html

12th Photo Festival in Biel /Bienne — Make believe.
Staged photography

Journées photographiques de Bienne — Bieler Fototage
CH. Biel Bienne, 05 Sep-28 Sep 2008


(c) Nguyen


(c) Iselin


(c) Larvego

Но в целом напрашивается что-то вроде «Фестиваль натужной фотографии»…

Галерея:
http://2008.jouph.ch/fr/galerie.html

http://www.jouph.ch/

Перелистываю галереи выставок 2008-го на wall space:





http://www.wallspaceseattle.com/vercammen0.php

susan burnstine



Between the conception. And the creation.
Between the emotion. And the response.
Falls the Shadow.
T.S.Eliot.

The circle ends. And begins again. And the past is past is filed with elements in opposition, juxtaposed as one.

Memory. And uncertainty.
Hopes. And disappointment.
Desire. And loss.

We're in an endless state of living and dying. This series explores the fleeting shadows of twilight time, the faint seconds between now and then that float just above reality.

The images are created entirely in-camera, rather than with post processing manipulations.
To acheive this, I built twenty hand-made cameras and lenses that are frequently unpredictable and technically challenging due to their extensive limitations.
These cameras are instinctual, mysterious and ambiguous in nature.

Just as in life, these images reveal that things are never as simple as black and white.

What matters is what lies between.

http://www.wallspaceseattle.com/burnstine1.php

http://forum.znyata.com/viewtopic.php?p=33919#33919

http://www.susanburnstine.com/

wall space: August
Larry Wiese

"The best way to deal with reality is to create your own" Larry Wiese





My photography doesn’t define what I do, rather it defines how I think. My work has been characterized as dark, gothic, moody and somewhere along the line as “neo-pictorialist” Someone once remarked (I’m sure with tongue-in-cheek) that to know my work was to know the difference between Vivaldi and Wagner.

What my work “is” or where it “fits in” doesn’t really concern me. My photographs are metaphorical, they are from my imagination. They reflect the way I see and feel about those things which arouse my curiosity and imagination. Each of you may see and feel something different, this is as it should be. I feel there’s little value in “art-speak”, self indulgent analysis or pseudo-intellectual rhetoric. Venturing beyond the mere emotion of seeing and feeling, and attempting to understand what was intended or meant to be or is or isn’t, is irrelevant, it is the viewer who, after all, makes the final determination of meaning.

http://www.wallspaceseattle.com/wiese0.php

Техника:

The effect is accomplished in the darkroom. A diffuser is used under the enlarging lens. Using a split printing process, the actual amount of diffusion is relative to the f-stop and the amount of diffused exposure (split) for the "hard" light. In most cases, all of the "soft" light is diffused, although there are some exceptions. The ratios of diffused and undiffused exposure depends on the contrast range of the negative. Negatives for this process perform better when the overall contrast is higher.

Недавние работы:
http://www.lwiese.com/portfolio.cfm?nK=4346&nS=0&nL=1

Работа с цветом:
http://www.lwiese.com/category.cfm?nL=1&nS=7

Color — 8/18/08
"Menschen"
Color Archive — New
"Recall" — 8/18/08


"Melisa" — Long Beach, CA


"Sunday Morning"
Pigment Print, Edition of 25, Produced 2007

Все галереи в цвете и новые цветные работы:
http://www.lwiese.com/category.cfm?nL=1&nS=7

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Larry Wiese
An Evolving Retrospective

"It is said that the true artist is one who sees what others do not and then make it visible. Larry Wiese understands what it means to be an artist. He lives it, and it is evident in his photographs. So much of photography these days is repetitious and unoriginal, even codified--what is acceptable subject material, how it is supposed to look. And then you come across the photography of Larry Wiese - powerfully seen yet quiet. His images whisper rather than shout. And in each photograph one has the haunting feeling that you are on the edge of hearing a great cosmic secret, of seeing a mystery unfold. He sees what others do not, but it is even more than that. What sets Larry's work apart and makes him a true artist is not what he sees but how he sees. He gives us new eyes. And this is the highest form of artistry."

Brooks Jensen, Editor, LensWork Publishing

http://www.luminous-lint.com/app/vexhib ... _01/2/0/0/

LensWork #37, Spe-Oct 2001
http://enhanced.lenswork.com/previewpag ... review.pdf

(The LensWork Collection, Preview PDFs:

http://www.lenswork.com/enhanced/lwcollection.htm )

wall space: September
Cynthia Greig

My photographs explore the exchange of influence between perception and experience, and the camera's role in negotiating what we consider to be "real." Using the inherent properties of the camera's lens and photographic film rather than digital manipulation I make images that investigate how information can infiltrate our consciousness, occupy our memory and affect our understanding of the world we live in.





As a kind of playful homage to Henry Fox Talbot’s The Pencil of Nature my series Representations, combines color photography and drawing to create what I like to call photographic documents of three-dimensional drawings.

Gathering ordinary “relics” from the recent past, I draw directly onto these objects that I have first “whitewashed” with ordinary house paint to create visually ambiguous renderings that appear both as easily recognizable and disturbingly unfamiliar.

No digital manipulation is involved, but the camera’s angle of view is imperative. The resulting image presents a visual hybrid that appears to vacillate between drawing and photography, black-and-white and color, signifier and signified, exploring the concept of photographic truth and its correspondence to perceived reality.

http://www.wallspaceseattle.com/greig0.php

http://www.aperture.org/store/ap2007-r2.aspx

http://www.absolutearts.com/portfolios/g/greig/

cynthia greig


camera


deck of cards


door

LIFE -SIZE

I am fascinated by the fact that almost anything (from sunglasses and cameras to hypodermic needles and condoms) can be found in miniature. I'm equally intrigued by the desire to collect such tiny replicas of objects from our own material world. As a smaller scale surrogate of the original, the miniature seems to imply the existence of some kind of alternative universe where we <as larger bodies> are like gods, omnipotent and in control. For this series I photograph my friends and family interacting with miniature objects as if they are functioning, workable tools or possessions. In the darkroom I enlarge the 35mm color negative so that the previously small objects appear to approximate "normal" or "'life-size" scale in the final photograph.

http://photoarts.com/gallery/greig/art/statement.htm

Галереи на сайте автора:
http://www.cynthiagreig.com/art/index.htm

RayKo Photo

Архив выставок (презентации), 2008:

“Landscape, other”
Views outside convention


Elizabeth Mellot

http://raykophoto.com/?page_id=79

Текущая выставка:

Into the Ether
Contemporary collodion work

Презентация: http://raykophoto.com/?page_id=37

Следующая выставка:

The Invisible Age — Photographic Self-Portraits by Women Aged 50-65


Mary Ramain, Perserverence: Crawlling Out.

Крупная иллюстрация:
http://raykophoto.com/wp-content/upload ... pd1217.jpg

What is the invisible age? To a large extent it’s a phenomenon of our society, which sees and values younger women for their beauty and energy and also sees and values older women for their wisdom and character. But, in the eyes of this same society, the 50ish to 65ish woman is of little value and practically invisible.

But, what we’re dealing with is not a purely external phenomenon. The invisible age is also internal. It’s an age of transition, when women often must go through the unsettling process of redefining who they are to themselves and to the world.

Exhibition curated by Beth Kientzle and Jan Potts.

The Invisible Age : Галерея и экспозиции:


Norma Bernstock, Conflicted. 2001


Mary Ramain, Transcendance: Trapped No More.


Niki Berg, Desire


Jane Fulton Alt, Leaf Study #1.

Крупнее: http://theinvisibleage.com/UserImages/5 ... alarge.jpg

http://theinvisibleage.com/category.cfm?nL=0&nS=0

Галерея работ — многостраничная.

Любопытная заметка попалась на A Photo Editor.

Here’s What I Think Of Your Pictures

I was looking at a photographers pictures recently trying to figure out what kind of advice I should give and having a difficult time of it, because I felt like they had perfectly decent pictures and they were a perfectly decent photographer, but I felt nothing for the images…

Много отзывов и реплик, в том числе и такие:

# Gerald wrote:

All right Koudelka is a great photographer, but even if the pics are real, he’s from the same I-m-a-legend planet as Nachtwey or Burrows. I agree with you David, I shoot for me… not to impress x or y.
But the point is, if the system (or the industry, whatever you call it) asks for low quality/price picture, even if you shoot for yourself, you gonna end up crazy by doing best seller meaningless pictures instead of high quality pictures you can sell to nobody.

Doing great pictures requires you can afford to do it! It requires lot of money, time and commitment… exactly what the magazine don’t give to the photographers anymore.
I think it’s ok to look at the best pic all the time, but it isn’t when you suppose that every body is doing so-so pictures because they want it… most of the time, they just can’t do more.

oh by the way, great blog, I’m a big fan.

Posted 27 Aug 2008 at 12:31 pm ¶

# Davin Ellicson wrote:

Well, yes, maybe Koudelka is a bad example since he purposefully avoids doing editorial work and advertising in in order to maintain a certain raw relation to the world and his vision, his ‘rage’ to see(!) Cartier-Bresson advised him to not take on jobs because he had seen too many talented photographers trade their vision in for money. Since this is an editorial photography forum, the interesting question is of course how to do new and exciting work that the editors haven’t all seen before and to get them to take it and publish it? But this is harder to do within the confines of an assignment. Often, it is one’s personal work that is going to be the strongest and most original.

Posted 27 Aug 2008 at 12:51 pm ¶

…

Thomas G wrote:

I don’t know about you guys, but this internet thing has slapped me in the face. I remember before all this technology came along, it was a special treat to go to the bookstore on a Friday night, and see what photo-art books had come out that week. The point being — I didn’t really see that many images in a week’s time. But now, my God, by the time I eat lunch, I know who’s shooting what, I’ve seen BehindTheScenes YouTubes on the job, I know what hotel they stayed in, and I’ve seen twenty outtakes from the main chosen shot. And then multiply that times about twenty, and you get the full impact on what the internet brings to your brain. It’s good, isn’t it, this technology?

The other thing, under the heading of “what’s real”, is the absolute invasion of Photoshop stripping, and massive post production. It’s gotten to the point that I don’t believe anything any more — I just assume, from the outset, that the heads have been swapped, the Liquify tool has carved out the perfect set of tits, all the moles and wrinkles have instantly evaporated, and this one “real picture” that’s in front of me is actually made up of five or so outtakes from the main chosen image. It just does something to your head, (I mean my head). It’s like a weird disillusionment, where you don’t trust or believe anything…

Posted 27 Aug 2008 at 5:22 pm ¶

http://aphotoeditor.com/2008/08/27/here ... -pictures/

Записочка такая вот пришла:

PHOTOGRAPHY-NOW.NET NEWSLETTER , Denver, Monday, 01 September 2008

We are proud to announce the release of the redesigned Photography-Now Network…

Известные части проекта — «Мастера» и «Современные фотографы» (где можно буквально перелистывать страницы, если захватывать мышкой уголок). Очень любопытным показался новый раздел, указатель:

International Photographer Index



Сразу можно видеть и статистику, «индекс внимания»…

Блог, в том числе с такими разделами:

US Contemporary Arists
Alternative Photographic Processes
Chinese Contemporary Photographers
European Contemporary Artists

http://photography-now.net/blog/

Выделенная часть в «Навигации» — How to get your own portfolio online here.

Quarterly Newsletter
http://photography-now.net/members/news/newsletter.html

Новинки портфолио в разделе Masters/The Great Masters: Doisneau Robert, Penn Irving, Karsh Yousuf и др.

Most Viewed Artists

* Sturges Jock
* Adams Robert
* Gasser Peter
* Kuyas Ferit
* Burtynsky Edward
* Witkin Joel Peter
* Davidson Bruce
* Shore Stephen
* Norfolk Simon
* De Keyzer Carl

Most Viewed Masters

* Arbus Diane
* Adams Ansel
* Avedon Richard
* Mapplethorpe Robert
* Weston Edward
* Sudek Josef
* Callahan Harry
* Bravo Manuel Alvarez
* Kertész André
* Stieglitz Alfred

http://photography-now.net/index.php

BERTHA MAG

Все весьма лапидарно:

Bertha Mag was born out of wanting to show my grandmother Bertha a bit of what is nowadays being done in the world of photography.

The magazine gathers different rising artists from all over the world to present their work and make it known to those interested in photography.

Made in Argentina.

Далее — несколько десятков иллюстраций в галерее по типу «только вперед или назад», без какого-либо индекса. Листать, правда, можно сразу с конца.

Пятый выпуск:

http://www.berthamag.com/files/gimgs/14_10.jpg

http://www.berthamag.com/index.php?/past-issues/5/

Четвертый, где имеются известные имена:


Eugenio Recuenco


Nienke Klunder


Noah Kalina

Деструктор Martin Klimas:



Третий:


Michal Chelbin

William Hundley

BERTHA MAG

Второй:

Denis Darzacq







Ibai Acevedo Larrañaga





Первый:

http://www.berthamag.com/index.php?/fotografo-1/

Blind Spot и указатель авторов:

Artists: http://blindspot.com/artists/

Малоинформативно, к сожалению, но это такая позиция, см. ниже, и в этом здесь имеется свой плюс, так как можно достаточно быстро просмотреть всю выборку.


Chris Beirne


Laurent Millet
Petite Machine Littorale 10.5.97
$2,500.00
composite silver print from paper negative
16 x 12 inches, edition of 20

http://blindspot.com/artists/

*

Blind Spot creates unique opportunities for living artists to present significant new photographic work. We provide unmediated platforms where their vision can be expressed without compromise, free of commercial content or editorialization. We slow the pace of absorption and deepen the relationship between a work of art and its audience in order to counter the frenetic proliferation of disposable images that dominates our culture.

Blind Spot is a triannual art journal that publishes unseen work by living photographers. In Blind Spot, images are given primacy and published collaboratively rather than curatorially, unaccompanied by introductory, biographical or explanatory text. Blind Spot is not about photography, our content is photography. Blind Spot bridges the gap between emerging and established artists, and creates a new context where each can benefit from the company of the other. By publishing accomplished artists on an intimate scale, we strive to enrich and provide direction to our culture. Since its launch in 1993, Blind Spot has featured over 300 living photographers including Uta Barth, Gregory Crewdson, Tim Davis, Rineke Dijkstra, Adam Fuss, and Vik Muniz, many of whom have gained critical and audience acclaim through their exposure in the magazine.

Features are often designed in collaboration with the artists and always showcase new or previously unpublished work…

Архив: http://blindspot.com/store/page2.html

*
Artist Representation

Blind Spot offers image consulting for publishers, advertising agencies and design firms. Represented artists are available for commissions or licensing of existing images:


James Whitlow Delano, Bicycles in Rain

http://blindspot.com/about/artrep.php

По идее, открылся уже фестиваль…

In Focus – First International Art Photography Festival in Vilnius

The photography in Vilnius was born just a half–year later then in France and has been counting its days for almost 150 years but there have never been any art photography festival.
Cities’ of the world photography festivals, their theoretical and practical dialogues became a strong tradition. It is a long time they are entrenched as focus of the world of art photography where old and new trends in photography come.

The city of Vilnius at last will become a part of world’s festivals’ community.

From the 2nd of September till the 1st of October at last we will have art photography festival in Vilnius, where photographic projects from France, Poland, Belgium, Japan, Latvia, Great Britain, Finland, Iceland, Germany and Lithuania will be presented.

Sponsors: Culture Ministry of the Republic of Lithuania, Culture Support Foundation of the Republic of Lithuania, Vilnius City Municipality.

…

http://www.photography.lt/en.php/fest

Photography Quarterly — The Center for Photography at Woodstock

PQ#95



Архив (обложки и содержание):

http://www.cpw.org/PQ/PQ_Archive/pages/Archive.html

Выставки; в частности:

THE CAMERA ALWAYS LIES
Regional Triennial of the Photographic Arts
JUNE 14-AUGUST 17, 2008

curator Beth Wilson

artists Joan Barker, John Dugdale, Jaanika Peerna, Rob Penner, Julianne Swartz, Sam Sebren & Rite Aid, Kathleen Sweeney, Susan Wides, & Ion Zupcu


Ion Zupcu, Untitled, February 9, 2006

Most people take images of others people to preserve memories; I photograph objects to preserve my memories.

www.ionzupcu.ro

http://www.cpw.org/exhibitions/2008/tri ... nnial.html

2003… земля, воздух, вода…



Derek Johnston / Landscape Specimens


Landscape Specimens,
installation of gelatin silver prints and glass bottles, 2003

Derek Johnston’s project, Landscape Specimens, an installation of bottled pristine landscapes, plays with ideas of how we attempt to preserve nature through containment and commodification, addressing our fragmented relationship to it. Johnston asks us to consider the constructed nature of many of our national parks with their sweeping vistas and the bottled nature of what we expect as the American Landscape. His work addresses his own impulses as a photographer of landscape and searchs for something beyond what is promoted as the perfect place for a hike, mountain bike ride, or camping trip.

http://www.cpw.org/exhibitions/2003/ede ... hnston.htm

CONSTELLATION — Marking the Center's first 25 years
The Center for Photography at Woodstock


Landscape Specimen 004, Havasu Falls, 1996, gelatin silver print.
Joel Soroka Gallery, CO.

DEREK JOHNSTON, Aspen, CO
Derek changed the entire course of his life to work with the Center (as a Workshop intern in 1991 and then as full time staff from 1992-1994). He assisted Kathleen Kenyon with all creative and educational programs and curated Fragile Landscapes. A persistent and dynamic artist, he learned the hard way that “perfection” is finally unattainable given the nature of a not-for-profit artists space! He has shown his creative work at the Aspen Art Museum, Anderson Ranch Arts Center in Snowmass, and the Museum of Contemporary Photography in Chicago.


MAYUMI TERADA
Untitled, 2002, gelatin silver print

In the bright room; calm, light air, gentle breeze, fresh breeze.
The smell of white paint. The smell of bleach.
I loved him more than my life. I don't remember the reason why.
This gaze seeks nothing. It knows that it is to be lost forever.


JOJO ANS, Floating, 2000, platinum/palladium print.

JOJO ANS, Brooklyn, NY
JoJo came to CPW to train as an arts administration intern and WPW intern in 1994. This multi-talented, vibrant artist brought her finesse to the Workshops when she became the on-site manager from 1998-2000. Over the years, JoJo has fully employed the Center’s services and resources – from the darkroom to sharing her latest work with staff – to nourish and enrich her creative work. JoJo was a two time MacDowell Colony resident and has been published in magazines Saveur and PhotoMetro.


JOSEPHINE SACABO, Desire + the Eye #3, 2002, toned gelatin silver print

JOSEPHINE SACABO, New Orleans, LA
Do you believe in love at first sight? We first saw Josephine’s enigmatic images in PhotoMetro magazine, but no one seemed to know how to reach her…a year later we accidentally met her in NYC – she was visiting from New Orleans and came the next day to show us her portfolio. We immediately recognized her talent and hosted a solo show and PQ feature. The work we featured has since been discovered by a publisher who is releasing a luxury edition book of these images this fall. Rarely do we so quickly find the work is as wonderful as the person - Sacabo’s enthusiasm and warmth continues to enliven us.

Вся подборка:
http://www.cpw.org/exhibitions/2002/Con ... ation.html