Спасибо за баночки—супер! Себестоимость проекта не дороже И.С.
Тот самый случай—почувствуйте разницу!
Тот самый случай—почувствуйте разницу!
Встреча с легендой.
Модераторы: Андрей Дубинин, Moderators
CONSTELLATION SELECTS
In light of CPW's mission to discover and present new talent, we invited artists from Constellation to select artists whom they feel are making a significant mark in contemporary photography.
Cathy Spence, stirringofbirds 1997. Asphaltum stained gelatin silver print
Cathy Spence, CATHY SPENCE, selected by Keith Carter, received her BA in Fine Art from Lamar University in Beaumont, Texas. She was awarded a Houston Center for Photography Fellowship in 1998 and has shown at Photographs Do Not Bend Gallery in Dallas and Stephen Clark Gallery in Austin. She has prints in the collections of the Museum of Fine Arts Houston and the Witcliff Collection of Southwestern and Mexican Photography.
Because of my interest in the history of photography, I have become intrigued with portraits from the era of the Daguerreotypes to the images of the mid-twentieth century. Julia Margaret Cameron, Lady Clementina Hawardine, E.J. Bellocq, and many other anonymous portraitists have had great influence on my work. In studying images of these photographers, I have become aware of the poor condition some of the prints are now in and how the damage only adds to the expressiveness of the images. No other art form has the innate ability to address the issue of time like photography; not only by halting a moment, but in the aging process of the actual print. The tatters and tears of an image reveal its history like the yellowed and dog-eared pages of a well read book.
CAMILLE SOLYAGUA, Botanical Works Study 14 1995. Sepia gelatin silver print
CAMILLE SOLYAGUA, selected by Ruth Bernhard, lives and works in San Francisco, CA. She attended the Academy of Art College in San Francisco and Middlebury College in Vermont and Madrid, Spain. She has shown her work in California at the Joseph Bellows Gallery in La Jolla, Michael Shapiro Gallery in San Francisco, and the Center for Photographic Arts in Carmel. Her photographs are in collections at the Los Angeles County Museum and the Museum of Fine Arts in Houston.
“Camille observes with care, curiosity, and feeling. She photographs with passion and intensity, inviting us to share in the experience of viewing the wonderful secrets she has discovered. Her images clearly profess her love for the universal order. They transcend casual observation, revealing to us her awareness of, and reverence for, the processes and transitions between life and death. We see through her eyes things we might never notice.” - Ruth Bernhard, 1997
MIWA NISHIO, Untitled 002, 2001, Giclee print
MIWA NISHIO was selected by Joyce Tenneson. Born in Japan, Miwa made her decision to move to NYC when she was just ten years old. Her dream came true when she was accepted to New York University. After graduating with honors, she made another decision to pursue a career in fashion photography. By a stroke of luck she encountered the photographer Joyce Tenneson, with whom she has been working closely for the last four years. Miwa Nishio’s work has been published in avant garde magazines including Tank and Paper. She continues to follow her dreams in fashion and music in the Big Apple.
PAUL TAGGART, NCCF Correctional Facility, Iowa 2001. Giclee print
PAUL TAGGART, selected by Christopher James, studies photography at the Art Institute of Boston and has taken workshops with Antonin Kratochvil and Mary Ellen Mark. He has photographed for PBS documentaries and the Farm Institute on Martha’s Vineyard. He lives in Cambridge, MA.
Corrections / United States/ These photographs, taken at the Iowa Department of Corrections – North Central Correctional Facility located in Rockwell City, Iowa and Iowa State Penitentiary, are an attempt to examine the correctional system in the United States, from juvenile facilities to adult and prerelease programs. I am interested in raising questions more than answering them. With a higher percent of our population incarcerated than in any other country in the world, the public needs to be made aware in order to reexamine how we handle corrections. Something is obviously not working. Everyday prison populations are rising while crime rates are not falling relatively, is incarceration a productive avenue? Along with photographing within the walls of correctional institutions, I am interested in photographing victim’s families to see the full impact of crime on our culture. The judicial, correctional, rehabilitation, prerelease, and families of both criminals and victims are paramount to telling this story.
JODIE VICENTA JACOBSON, Paonia, Colorado 2002. C-print
JODIE VICENTA JACOBSON, selected by Andrea Modica, is currently working toward her MFA at Hunter College in NYC. She received her BA in Studio Arts from Colorado College in 1999 and was a Woodstock Photography Workshop intern that same year. She has worked with numerous galleries including Robert Mann, Yancey Richardson, and John Stevenson, all in NYC, and is presently a teaching assistant to Lois Connor and Roy DeCarava, both at Hunter. Prior to this show she has shown at Princeton University.
With the same human intuition that compels me to eat, sleep, have sex, and breathe, I make photographs. From the moment I was given my grandfather's camera, I became engaged in a love affair with the frame. Making pictures is a part of my everyday life. It is the subtle beauty of my daily experience that compels me to capture what would otherwise go unnoticed. I find aesthetic virtue in the ordinary, while simultaneously seeing beauty in highly personal engagements. I see my pictures as formally reconciled compositions dedicated to the human experience and the overlooked poetics of light, shade, color and mood that exist in our very homes, streets, landscapes and families. As I see it, the fragmented nature of the human consciousness is reflected in how I react to what presents itself to me as interesting and possible subject matter…
…
http://www.cpw.org/exhibitions/2002/Con ... ation.html
In light of CPW's mission to discover and present new talent, we invited artists from Constellation to select artists whom they feel are making a significant mark in contemporary photography.
Cathy Spence, stirringofbirds 1997. Asphaltum stained gelatin silver print
Cathy Spence, CATHY SPENCE, selected by Keith Carter, received her BA in Fine Art from Lamar University in Beaumont, Texas. She was awarded a Houston Center for Photography Fellowship in 1998 and has shown at Photographs Do Not Bend Gallery in Dallas and Stephen Clark Gallery in Austin. She has prints in the collections of the Museum of Fine Arts Houston and the Witcliff Collection of Southwestern and Mexican Photography.
Because of my interest in the history of photography, I have become intrigued with portraits from the era of the Daguerreotypes to the images of the mid-twentieth century. Julia Margaret Cameron, Lady Clementina Hawardine, E.J. Bellocq, and many other anonymous portraitists have had great influence on my work. In studying images of these photographers, I have become aware of the poor condition some of the prints are now in and how the damage only adds to the expressiveness of the images. No other art form has the innate ability to address the issue of time like photography; not only by halting a moment, but in the aging process of the actual print. The tatters and tears of an image reveal its history like the yellowed and dog-eared pages of a well read book.
CAMILLE SOLYAGUA, Botanical Works Study 14 1995. Sepia gelatin silver print
CAMILLE SOLYAGUA, selected by Ruth Bernhard, lives and works in San Francisco, CA. She attended the Academy of Art College in San Francisco and Middlebury College in Vermont and Madrid, Spain. She has shown her work in California at the Joseph Bellows Gallery in La Jolla, Michael Shapiro Gallery in San Francisco, and the Center for Photographic Arts in Carmel. Her photographs are in collections at the Los Angeles County Museum and the Museum of Fine Arts in Houston.
“Camille observes with care, curiosity, and feeling. She photographs with passion and intensity, inviting us to share in the experience of viewing the wonderful secrets she has discovered. Her images clearly profess her love for the universal order. They transcend casual observation, revealing to us her awareness of, and reverence for, the processes and transitions between life and death. We see through her eyes things we might never notice.” - Ruth Bernhard, 1997
MIWA NISHIO, Untitled 002, 2001, Giclee print
MIWA NISHIO was selected by Joyce Tenneson. Born in Japan, Miwa made her decision to move to NYC when she was just ten years old. Her dream came true when she was accepted to New York University. After graduating with honors, she made another decision to pursue a career in fashion photography. By a stroke of luck she encountered the photographer Joyce Tenneson, with whom she has been working closely for the last four years. Miwa Nishio’s work has been published in avant garde magazines including Tank and Paper. She continues to follow her dreams in fashion and music in the Big Apple.
PAUL TAGGART, NCCF Correctional Facility, Iowa 2001. Giclee print
PAUL TAGGART, selected by Christopher James, studies photography at the Art Institute of Boston and has taken workshops with Antonin Kratochvil and Mary Ellen Mark. He has photographed for PBS documentaries and the Farm Institute on Martha’s Vineyard. He lives in Cambridge, MA.
Corrections / United States/ These photographs, taken at the Iowa Department of Corrections – North Central Correctional Facility located in Rockwell City, Iowa and Iowa State Penitentiary, are an attempt to examine the correctional system in the United States, from juvenile facilities to adult and prerelease programs. I am interested in raising questions more than answering them. With a higher percent of our population incarcerated than in any other country in the world, the public needs to be made aware in order to reexamine how we handle corrections. Something is obviously not working. Everyday prison populations are rising while crime rates are not falling relatively, is incarceration a productive avenue? Along with photographing within the walls of correctional institutions, I am interested in photographing victim’s families to see the full impact of crime on our culture. The judicial, correctional, rehabilitation, prerelease, and families of both criminals and victims are paramount to telling this story.
JODIE VICENTA JACOBSON, Paonia, Colorado 2002. C-print
JODIE VICENTA JACOBSON, selected by Andrea Modica, is currently working toward her MFA at Hunter College in NYC. She received her BA in Studio Arts from Colorado College in 1999 and was a Woodstock Photography Workshop intern that same year. She has worked with numerous galleries including Robert Mann, Yancey Richardson, and John Stevenson, all in NYC, and is presently a teaching assistant to Lois Connor and Roy DeCarava, both at Hunter. Prior to this show she has shown at Princeton University.
With the same human intuition that compels me to eat, sleep, have sex, and breathe, I make photographs. From the moment I was given my grandfather's camera, I became engaged in a love affair with the frame. Making pictures is a part of my everyday life. It is the subtle beauty of my daily experience that compels me to capture what would otherwise go unnoticed. I find aesthetic virtue in the ordinary, while simultaneously seeing beauty in highly personal engagements. I see my pictures as formally reconciled compositions dedicated to the human experience and the overlooked poetics of light, shade, color and mood that exist in our very homes, streets, landscapes and families. As I see it, the fragmented nature of the human consciousness is reflected in how I react to what presents itself to me as interesting and possible subject matter…
…
http://www.cpw.org/exhibitions/2002/Con ... ation.html
The Center for Photography at Woodstock
a solo exhibition by Preston Wadley (Shoreline, WA)
Pentimento - the presence or emergence of earlier images, forms, or strokes that have been changed and painted over.
My work uses the book as a purely visual iconographic artifact, in which it is the image, structure, and materials are that are the content. Although their pages may not turn or act like the traditional books we are accustomed to, they are about the very essence of what books mean to us. They have escaped their expected function.
The simple physical presence of a book speaks to knowledge preserved and communicated. Despite the absence of written text, my work is an attempt to provide a close, warm, and unique conversation with an individual. My books are evidence of change, a type of historical revision - a Pentimento, reflecting on the connection to what has already been, and an ever-evolving present.
- Preston Wadley, 2006
Preston Wadley, Thief of Dreams, 2004, mixed media.
Preston Wadley, Times Being What They Are, 2005, mixed media.
http://www.cpw.org/exhibitions/2006/fam ... adley.html
http://www.prestonwadley.com/
a solo exhibition by Preston Wadley (Shoreline, WA)
Pentimento - the presence or emergence of earlier images, forms, or strokes that have been changed and painted over.
My work uses the book as a purely visual iconographic artifact, in which it is the image, structure, and materials are that are the content. Although their pages may not turn or act like the traditional books we are accustomed to, they are about the very essence of what books mean to us. They have escaped their expected function.
The simple physical presence of a book speaks to knowledge preserved and communicated. Despite the absence of written text, my work is an attempt to provide a close, warm, and unique conversation with an individual. My books are evidence of change, a type of historical revision - a Pentimento, reflecting on the connection to what has already been, and an ever-evolving present.
- Preston Wadley, 2006
Preston Wadley, Thief of Dreams, 2004, mixed media.
Preston Wadley, Times Being What They Are, 2005, mixed media.
http://www.cpw.org/exhibitions/2006/fam ... adley.html
http://www.prestonwadley.com/
The Center for Photography at Woodstock
Most of these images were felt, not thought.
The reason for their creation is because they can be created.
Creative Principle at work, playing.
I point in a certain direction for the viewer to complete the equation;
she/he may recognize some aspect of the self in the piece,
if so, two parts of the whole have communicated.
They are glimpses into The Vastness where everything comes from.
— Germán Herrera, 2006
Germán Herrera, Don't Follow the Wake, 2001, edition of 15, pigment print on Somerset paper.
Germán Herrera, My Queen, 2004, edition of 15, pigment print on Somerset paper..
Germán Herrera, The Muse, 2004, edition of 15, pigment print on Somerset paper.
http://www.cpw.org/exhibitions/2006/pas ... rrera.html
http://www.zonezero.com/exposiciones/fo ... index.html
www.germanherrera.com
Most of these images were felt, not thought.
The reason for their creation is because they can be created.
Creative Principle at work, playing.
I point in a certain direction for the viewer to complete the equation;
she/he may recognize some aspect of the self in the piece,
if so, two parts of the whole have communicated.
They are glimpses into The Vastness where everything comes from.
— Germán Herrera, 2006
Germán Herrera, Don't Follow the Wake, 2001, edition of 15, pigment print on Somerset paper.
Germán Herrera, My Queen, 2004, edition of 15, pigment print on Somerset paper..
Germán Herrera, The Muse, 2004, edition of 15, pigment print on Somerset paper.
http://www.cpw.org/exhibitions/2006/pas ... rrera.html
http://www.zonezero.com/exposiciones/fo ... index.html
www.germanherrera.com
T H E N AY L O R C O L L E C T I O N
THE COMPLETE HISTORY OF PHOTOGRAPHY
Загрузить: http://www.guernseys.com/auctions/naylor/Naylor.pdf
http://forum.znyata.com/viewtopic.php?p=42345#42345
THE COMPLETE HISTORY OF PHOTOGRAPHY
Загрузить: http://www.guernseys.com/auctions/naylor/Naylor.pdf
http://forum.znyata.com/viewtopic.php?p=42345#42345
Ведренко Валерий писал(а):
Спасибо за баночки—супер! Себестоимость проекта не дороже И.С.
Тот самый случай—почувствуйте разницу!
Тот самый случай—почувствуйте разницу!
+1
Conscientious:
What it takes to self-publish a book
In an earlier post, I looked into the kinds of problems one can get with "on-demand" book publishing - where you send off your book (actual the electronic version of it) to be printed somewhere else (only to then get it back with strong magenta casts on thin paper, for example). What appears to be somewhat forgotten is that before on-demand publishing existed, photographers published their own books simply (or maybe I should write "simply") by printing photographs and then by binding the pages into a book (or getting this last bit done by someone with the necessary skill set).
Needless to say, this type of self publishing seems to require a fair amount of work - but then, the photographer is in full control of the final product (and I'll take a book produced this way over any on-demand book at any given time - if you've ever seen examples of both types you know why); and who says that producing a book should take no time? But how much work exactly? How much does it cost? What does one have to do to create a book like this?
Several photographers/artists were kind enough to send me information about the process etc., which they allowed me to share here…
http://www.jmcolberg.com/weblog/2008/09 ... .html#more
What it takes to self-publish a book
In an earlier post, I looked into the kinds of problems one can get with "on-demand" book publishing - where you send off your book (actual the electronic version of it) to be printed somewhere else (only to then get it back with strong magenta casts on thin paper, for example). What appears to be somewhat forgotten is that before on-demand publishing existed, photographers published their own books simply (or maybe I should write "simply") by printing photographs and then by binding the pages into a book (or getting this last bit done by someone with the necessary skill set).
Needless to say, this type of self publishing seems to require a fair amount of work - but then, the photographer is in full control of the final product (and I'll take a book produced this way over any on-demand book at any given time - if you've ever seen examples of both types you know why); and who says that producing a book should take no time? But how much work exactly? How much does it cost? What does one have to do to create a book like this?
Several photographers/artists were kind enough to send me information about the process etc., which they allowed me to share here…
http://www.jmcolberg.com/weblog/2008/09 ... .html#more
Luminous-Lint обращает внимание на новую выставку работ восходящей звезды, автора из Китая:
Chen Jiagang: The Great Third Front
Chinese contemporary photography is a vibrant mix of the old and new with commercial astuteness blended into a questioning of socio-cultural values. Chen Jiagang's photographs examine the industrial legacy of the "Third Front" of the 1960s when heavy industry was moved from border regions towards the more secure interior.
A self-described expressionist photographer, Jiagang’s photographs conjure a type of industrial fairy tale. With the digital addition of an element of the fantastic, a young girl elegantly dressed in the Maoist collar and dress (Qipao), Jiagang’s photographs allude to a former glory, a nostalgia for a period now lost to the more powerful forces propelling China into the future.
This online exhibition coincides with an exbition at the Edwynn Houk Gallery, New York, September, 11-October 18, 2008
http://www.luminous-lint.com/app/vexhib ... _01/1/0/0/
http://www.luminous-lint.com/app/vexhib ... _01/2/0/0/
16 работ в галерее >
Ранее (RedBox Review):
The Great Third Front: Chen Jiagang Solo Exhibition at Paris Beijing Photo Studio
Paris Beijing Photo Studio gives emerging photographer, Chen Jiagang, his second solo exhibition at the gallery’s Beijing space. This exhibition features new photographs from the artist’s renown Third Front series, which captures images of factories and industrial spaces created in Western China during the government’s Third Front initiative. This initiative saw the relocation of workers and industry to China’s westernmost regions in an effort to protect China’s infrastructure from possible military attack. Chen Jiagang’s works discuss the socio-economic implications of such a massive relocation as well as the subsequent social and economic anemia that resulted from the shuttering of these factories.
Chen Jiagang, The Great Third Front
Images of Disaster
Li Xianting
The ancient Chinese usage of the word “jie”, was “to use force to take what others desire”. This usage has continued into modern Chinese, where “jie” is a component in words like theft and hijacking. When Buddhism spread to the east, the term “Kalpa” was transliterated as “jie bo”. Kalpa, meaning eon, is a term from Brahmanism that was adopted by Buddhism....
http://www.parisbeijingphotogallery.com ... front.asp#
The Great Third Front-11, Chen Jiagang, Bridge, 2008
The Great Third Front-17, Chen Jiagang, Rotating Mine Pool2008
The Great Third Front-28, Chen Jiagang, Neighbors2008
All the works from "The Great Third Front" are Printed in three sizes:
Extra large size: 240 x 400cm, Edition of 3
Large size: 160 x 260cm, Edition of 6
Small size: 110 x 180cm, Edition of 12
http://www.parisbeijingphotogallery.com ... _front.asp
Chen Jiagang: The Great Third Front
Chinese contemporary photography is a vibrant mix of the old and new with commercial astuteness blended into a questioning of socio-cultural values. Chen Jiagang's photographs examine the industrial legacy of the "Third Front" of the 1960s when heavy industry was moved from border regions towards the more secure interior.
A self-described expressionist photographer, Jiagang’s photographs conjure a type of industrial fairy tale. With the digital addition of an element of the fantastic, a young girl elegantly dressed in the Maoist collar and dress (Qipao), Jiagang’s photographs allude to a former glory, a nostalgia for a period now lost to the more powerful forces propelling China into the future.
This online exhibition coincides with an exbition at the Edwynn Houk Gallery, New York, September, 11-October 18, 2008
http://www.luminous-lint.com/app/vexhib ... _01/1/0/0/
http://www.luminous-lint.com/app/vexhib ... _01/2/0/0/
16 работ в галерее >
Ранее (RedBox Review):
The Great Third Front: Chen Jiagang Solo Exhibition at Paris Beijing Photo Studio
Paris Beijing Photo Studio gives emerging photographer, Chen Jiagang, his second solo exhibition at the gallery’s Beijing space. This exhibition features new photographs from the artist’s renown Third Front series, which captures images of factories and industrial spaces created in Western China during the government’s Third Front initiative. This initiative saw the relocation of workers and industry to China’s westernmost regions in an effort to protect China’s infrastructure from possible military attack. Chen Jiagang’s works discuss the socio-economic implications of such a massive relocation as well as the subsequent social and economic anemia that resulted from the shuttering of these factories.
Chen Jiagang, The Great Third Front
Images of Disaster
Li Xianting
The ancient Chinese usage of the word “jie”, was “to use force to take what others desire”. This usage has continued into modern Chinese, where “jie” is a component in words like theft and hijacking. When Buddhism spread to the east, the term “Kalpa” was transliterated as “jie bo”. Kalpa, meaning eon, is a term from Brahmanism that was adopted by Buddhism....
http://www.parisbeijingphotogallery.com ... front.asp#
The Great Third Front-11, Chen Jiagang, Bridge, 2008
The Great Third Front-17, Chen Jiagang, Rotating Mine Pool2008
The Great Third Front-28, Chen Jiagang, Neighbors2008
All the works from "The Great Third Front" are Printed in three sizes:
Extra large size: 240 x 400cm, Edition of 3
Large size: 160 x 260cm, Edition of 6
Small size: 110 x 180cm, Edition of 12
http://www.parisbeijingphotogallery.com ... _front.asp
Chen Jiagang, Third Front
Shadows in Time
Romain Degoul
During the 1960’s, faced with an unstable foreign policy as well as a high demand for resources, the People’s Republic of China was forced to delocalise most of its heavy industry and armament factories. Originally situated on China’s coasts and in the North East close to the Russian border, these factories were obliged to relocate in the countries heartlands, hidden away and better protected...
http://www.parisbeijingphotogallery.com ... n_time.htm
Third Front-01, Chen Jiagang, Stone Striking Water
Third Front-03, Chen Jiagang, Water City
Third Front-22, Chen Jiagang, A Cabin with Old Newspaper on the Wall
Third Front-27, Chen Jiagang, Tunnel
Third Front-24, Chen Jiagang, Old Wall
Third Front-64, Chen Jiagang, People Sitting in the Room
All the works from "Third Front" are Printed in three sizes:
Size A: 160x200cm, Edition of 6
Size B: 100x140cm, Edition of 8
Size C: 40x50cm, Edition of 18
http://www.parisbeijingphotogallery.com ... _front.asp
Shadows in Time
Romain Degoul
During the 1960’s, faced with an unstable foreign policy as well as a high demand for resources, the People’s Republic of China was forced to delocalise most of its heavy industry and armament factories. Originally situated on China’s coasts and in the North East close to the Russian border, these factories were obliged to relocate in the countries heartlands, hidden away and better protected...
http://www.parisbeijingphotogallery.com ... n_time.htm
Third Front-01, Chen Jiagang, Stone Striking Water
Third Front-03, Chen Jiagang, Water City
Third Front-22, Chen Jiagang, A Cabin with Old Newspaper on the Wall
Third Front-27, Chen Jiagang, Tunnel
Third Front-24, Chen Jiagang, Old Wall
Third Front-64, Chen Jiagang, People Sitting in the Room
All the works from "Third Front" are Printed in three sizes:
Size A: 160x200cm, Edition of 6
Size B: 100x140cm, Edition of 8
Size C: 40x50cm, Edition of 18
http://www.parisbeijingphotogallery.com ... _front.asp
Chen Jiagang, Галереи:
Third Front
The Great Third Front
Temptation
Diseased City
Temptation, Chen Jiagang
August 16th to October 30th 2008
Paris-Beijing Photo Gallery II
Senior photographer, former achitect and curator, Chen Jiagang practices a traditional and fundamental photography. Using hundred years old large format cameras up to 12x20 inches, he creates monumental large-scale color pictures of countryside landscapes loaded with powerful aesthetics and concept.
In his series “Temptation”, Chen Jiagang is taking his inspiration from the souvenir photos that everyone practices everyday along with travel and leisure. Those “ I was there “ photos have always been very normal, non-artistic and kitschy, a souvenir to memorize the place and the time. Chen Jiagang‘ s aim is to idealize those popularized and quotidian photos through a refinement and exquisite touch.
His models are beautiful women in colorful landscapes and peaceful atmosphere. The use of the traditional dress “Qipao” is meaningful. The photographer shows us the very feminine and sensual part of the Chinese women. Women in Qipao dress have always been a source of excitement for Chinese men. When the Qipao dress first came out, some described it as “indecent attire” meant to evoke lustful thoughts…
Most of souvenir photos are usually taken by people involved in a “Romance”. The photographer magnifies these pictures by using the estheticism to its fullest extreme. Working with an extra large format in order to compose extremely detailed scenes, he moves the people out in the open, and turn the obscure to the super-clear. Maintaining aspects of souvenir photos, he manages to liberate them from their original context. The result is impressive; The “crude” souvenir photos are turned into “exquisite” romantic photos.
Chen Jiagang invites us to rethink of souvenir photos with a display of the perfection and a refinement of quotidian. But isn’t perfection a sign of criticism?
Temptation-03, Chen Jiagang, Two Flowers, 2008
Chen Jiagang, Diseased City
The most serious urban disease in the 21st century is mental illness. Nearly 20 years of development in China, and the massive expansion of cities, have taken place amidst two dominant struggles. The first is the conflict between the profit-driven private capitalists and the interests of the State. The government encourages people to seek after riches, fortifying the people’s desperate pursuit of material wealth. But the country has turned the wealth created by private capitalists into state interests through complex policies, and by sacrificing the wealth creators who are charged with « original sin ». The second is the conflict between the local governments and the central government over such interests…
First of all, there must be an « observing place ». While the Western world uses « symbols » to represent factors in China, we place « conceptual stories », or rather fables, into grandiose urban places, and then photograph them. The images taken from these scenes have a kind of fixed certainty, as well as the uncertainty that arises at the scene without pre-determination. This reflects the certainty of the development of Chinese society, as well as the uncertainty brought about as a result of development. Secondly, my pictures need « space ». As a graduate of architecture school, I have a better understanding of space than ordinary people. I used more than ten or twenty 8x10 inch sheets of film to shoot each scene, with a horizontal viewing angle wider than 210, and a vertical viewing angle greater than 101. When all the pictures are ready, I pieced them together in the digital darkroom to create the effect of « superspace »…
Diseased City-Biennial Exhibition, Chen Jiagang
C-Print
Size A: 600x150cm Edition: 6
Size B: 400x100cm Edition: 12
Size C: 200x50cm Edition: 18
Diseased City-Chong Qing, The Migrant Worker and the City Administrator, Chen Jiagang
http://www.parisbeijingphotogallery.com ... gworks.asp
Выставки в галерее:
http://www.parisbeijingphotogallery.com ... bition.asp
*
Все работы на одной странице:
Chen Jiagang : photograph
! Панорамы крупные, 2062px
http://www.chinasquareny.com/artists/ar ... meset.html
Chen Jiagang on artnet:
http://www.artnet.com/artist/425029638/ ... agang.html
Подборка на ArtZineChina.com
http://new.artzinechina.com/display_vol_aid511_en.html
Third Front
The Great Third Front
Temptation
Diseased City
Temptation, Chen Jiagang
August 16th to October 30th 2008
Paris-Beijing Photo Gallery II
Senior photographer, former achitect and curator, Chen Jiagang practices a traditional and fundamental photography. Using hundred years old large format cameras up to 12x20 inches, he creates monumental large-scale color pictures of countryside landscapes loaded with powerful aesthetics and concept.
In his series “Temptation”, Chen Jiagang is taking his inspiration from the souvenir photos that everyone practices everyday along with travel and leisure. Those “ I was there “ photos have always been very normal, non-artistic and kitschy, a souvenir to memorize the place and the time. Chen Jiagang‘ s aim is to idealize those popularized and quotidian photos through a refinement and exquisite touch.
His models are beautiful women in colorful landscapes and peaceful atmosphere. The use of the traditional dress “Qipao” is meaningful. The photographer shows us the very feminine and sensual part of the Chinese women. Women in Qipao dress have always been a source of excitement for Chinese men. When the Qipao dress first came out, some described it as “indecent attire” meant to evoke lustful thoughts…
Most of souvenir photos are usually taken by people involved in a “Romance”. The photographer magnifies these pictures by using the estheticism to its fullest extreme. Working with an extra large format in order to compose extremely detailed scenes, he moves the people out in the open, and turn the obscure to the super-clear. Maintaining aspects of souvenir photos, he manages to liberate them from their original context. The result is impressive; The “crude” souvenir photos are turned into “exquisite” romantic photos.
Chen Jiagang invites us to rethink of souvenir photos with a display of the perfection and a refinement of quotidian. But isn’t perfection a sign of criticism?
Temptation-03, Chen Jiagang, Two Flowers, 2008
Chen Jiagang, Diseased City
The most serious urban disease in the 21st century is mental illness. Nearly 20 years of development in China, and the massive expansion of cities, have taken place amidst two dominant struggles. The first is the conflict between the profit-driven private capitalists and the interests of the State. The government encourages people to seek after riches, fortifying the people’s desperate pursuit of material wealth. But the country has turned the wealth created by private capitalists into state interests through complex policies, and by sacrificing the wealth creators who are charged with « original sin ». The second is the conflict between the local governments and the central government over such interests…
First of all, there must be an « observing place ». While the Western world uses « symbols » to represent factors in China, we place « conceptual stories », or rather fables, into grandiose urban places, and then photograph them. The images taken from these scenes have a kind of fixed certainty, as well as the uncertainty that arises at the scene without pre-determination. This reflects the certainty of the development of Chinese society, as well as the uncertainty brought about as a result of development. Secondly, my pictures need « space ». As a graduate of architecture school, I have a better understanding of space than ordinary people. I used more than ten or twenty 8x10 inch sheets of film to shoot each scene, with a horizontal viewing angle wider than 210, and a vertical viewing angle greater than 101. When all the pictures are ready, I pieced them together in the digital darkroom to create the effect of « superspace »…
Diseased City-Biennial Exhibition, Chen Jiagang
C-Print
Size A: 600x150cm Edition: 6
Size B: 400x100cm Edition: 12
Size C: 200x50cm Edition: 18
Diseased City-Chong Qing, The Migrant Worker and the City Administrator, Chen Jiagang
http://www.parisbeijingphotogallery.com ... gworks.asp
Выставки в галерее:
http://www.parisbeijingphotogallery.com ... bition.asp
*
Все работы на одной странице:
Chen Jiagang : photograph
! Панорамы крупные, 2062px
http://www.chinasquareny.com/artists/ar ... meset.html
Chen Jiagang on artnet:
http://www.artnet.com/artist/425029638/ ... agang.html
Подборка на ArtZineChina.com
http://new.artzinechina.com/display_vol_aid511_en.html
clay harmon
nox noctis
gnomon
telos
fragminis
См. http://forum.znyata.com/viewtopic.php?p=42402#42402
nox noctis
gnomon
telos
fragminis
См. http://forum.znyata.com/viewtopic.php?p=42402#42402
Lucien Hervé
Michael Hoppen Gallery
GB. London, 06 Sep-11 Oct 2008
"The Soul of an Architect" — Le Corbusier
High Court Chandigarh,1953 © Lucien Hervé, Michael Hoppen Gallery
High court, Chandigarh 1955 © Lucien Hervé, Michael Hoppen Gallery
Ronchamp, 1954 © Lucien Hervé, Michael Hoppen Gallery
We are delighted to announce our second exhibition of photographs by Lucien Hervé. This exhibition will include rare vintage prints from Le Corbusier's L'habitation exhibition in 1953, colour portraits of Zaha Hadid, architectural photographs of the Eiffel Tower and colour works of the artist's apartment.
"It is known that Le Corbusier was interested in the metamorphic process unique to photography" the inverting of black and white from negative to print. It offered the analogy of the conciliation of opposites, a theme underlying much of his work. Hervé's images are singed with the blackness of shadows set against expanses of white. This often stark portrayal of volumes and the distances between them sets up a deep space where the shadow either forces particular elements into an almost brutal foreground, or the shadow (absence of light) slowly devours the image (a presence). As a consequence of this mutual exchange of light and dark, recognisable or familiar places are thrown in to a state of abstract defamiliarization and dislocation. The result often echoes Expressionist or Constructivist paintings in their marriage between dynamics and statics…
Zaha Hadid
Born in 1910 in Hungary, Lucien Hervé (b. Laszlo Elkan) moved to Paris aged 19 and earned French citizenship in 1938. During World War II he was captured by the Germans, escaped and became a member of the French Resistance under the name of Lucien Hervé, which he kept thereafter. Most famous for his collaboration with Le Corbusier until the architect's death in 1965, he also worked with Alvar Aalto, Kenzo Tange, Jean Prouvé and Bernard Zerfuss amongst others. Hervé's work enjoyed a resurgence in popularity in the late 1980s culminating in colour works of his apartment at the gallery of fashion designer Agnes b.
Весь текст:
http://photography-now.com/popup_ausst_ ... gen=T62342
Michael Hoppen Gallery
GB. London, 06 Sep-11 Oct 2008
"The Soul of an Architect" — Le Corbusier
High Court Chandigarh,1953 © Lucien Hervé, Michael Hoppen Gallery
High court, Chandigarh 1955 © Lucien Hervé, Michael Hoppen Gallery
Ronchamp, 1954 © Lucien Hervé, Michael Hoppen Gallery
We are delighted to announce our second exhibition of photographs by Lucien Hervé. This exhibition will include rare vintage prints from Le Corbusier's L'habitation exhibition in 1953, colour portraits of Zaha Hadid, architectural photographs of the Eiffel Tower and colour works of the artist's apartment.
"It is known that Le Corbusier was interested in the metamorphic process unique to photography" the inverting of black and white from negative to print. It offered the analogy of the conciliation of opposites, a theme underlying much of his work. Hervé's images are singed with the blackness of shadows set against expanses of white. This often stark portrayal of volumes and the distances between them sets up a deep space where the shadow either forces particular elements into an almost brutal foreground, or the shadow (absence of light) slowly devours the image (a presence). As a consequence of this mutual exchange of light and dark, recognisable or familiar places are thrown in to a state of abstract defamiliarization and dislocation. The result often echoes Expressionist or Constructivist paintings in their marriage between dynamics and statics…
Zaha Hadid
Born in 1910 in Hungary, Lucien Hervé (b. Laszlo Elkan) moved to Paris aged 19 and earned French citizenship in 1938. During World War II he was captured by the Germans, escaped and became a member of the French Resistance under the name of Lucien Hervé, which he kept thereafter. Most famous for his collaboration with Le Corbusier until the architect's death in 1965, he also worked with Alvar Aalto, Kenzo Tange, Jean Prouvé and Bernard Zerfuss amongst others. Hervé's work enjoyed a resurgence in popularity in the late 1980s culminating in colour works of his apartment at the gallery of fashion designer Agnes b.
Весь текст:
http://photography-now.com/popup_ausst_ ... gen=T62342
DarkSIDE
Fotomuseum Winterthur
CH. Winterthur, 06 Sep-16 Nov 2008
Jeff Burton
Untitled #176 (Rods and Clamps), 2003
Cibachrom, 67,3 x 101,6 cm
Collection Julia Stoschek, Düsseldorf.
Darkside — Photographic Desire and Sexuality Photographed
Photography is present everywhere. It plays a formative role in all societies and in private, public, intimate, commercial, and "free" areas of our lives. It is also present in the closed off areas, there where it is "dark", where we withdraw from society, or where acts are excluded from society. For eroticism, sexuality, desire, and identity, photography is a central visual tool: as document, stimulation, instrument of power, and as artistic form of expression.
The exhibition and book project Darkside will discuss photography as an instrument of representation and as an important visual catalyst of sexuality. Photography shows and stylizes lust and passion, fantasy and desire, power and violence, voyeurism and self-presentation in sexuality. Fantasy and desire form a thrilling pact with photography: sexual fantasies demand representation; they seek to be revealed—and photography, with its voyeuristic streak, makes use of the power of (pictorial) eroticism for its own ends, in order to gain power and be seductive…
Весь текст:
http://photography-now.com/popup_ausst_ ... gen=T62392
Fotomuseum Winterthur
Nobuyoshi Araki
Untitled, 1993 (Ohne Titel)
aus: Erotos
Silbergelatine-Abzug, 57,5 x 38 cm
Sammlung Thomas Koerfer
http://www.fotomuseum.ch/index.php?id=22
http://www.fotomuseum.ch/
Fotomuseum Winterthur
CH. Winterthur, 06 Sep-16 Nov 2008
Jeff Burton
Untitled #176 (Rods and Clamps), 2003
Cibachrom, 67,3 x 101,6 cm
Collection Julia Stoschek, Düsseldorf.
Darkside — Photographic Desire and Sexuality Photographed
Photography is present everywhere. It plays a formative role in all societies and in private, public, intimate, commercial, and "free" areas of our lives. It is also present in the closed off areas, there where it is "dark", where we withdraw from society, or where acts are excluded from society. For eroticism, sexuality, desire, and identity, photography is a central visual tool: as document, stimulation, instrument of power, and as artistic form of expression.
The exhibition and book project Darkside will discuss photography as an instrument of representation and as an important visual catalyst of sexuality. Photography shows and stylizes lust and passion, fantasy and desire, power and violence, voyeurism and self-presentation in sexuality. Fantasy and desire form a thrilling pact with photography: sexual fantasies demand representation; they seek to be revealed—and photography, with its voyeuristic streak, makes use of the power of (pictorial) eroticism for its own ends, in order to gain power and be seductive…
Весь текст:
http://photography-now.com/popup_ausst_ ... gen=T62392
Fotomuseum Winterthur
Nobuyoshi Araki
Untitled, 1993 (Ohne Titel)
aus: Erotos
Silbergelatine-Abzug, 57,5 x 38 cm
Sammlung Thomas Koerfer
http://www.fotomuseum.ch/index.php?id=22
http://www.fotomuseum.ch/
photography-now:
Bella
Abigail O´Brien
Galerie Bugdahn und Kaimer
D. Düsseldorf, 06 Sep-18 Oct 2008
Abigail O'Brien "Bella Series #8- Orange Bella", 2006/07
Lambdachrome, 130 x 90 cm / 52 x 36 inches
Auflage 1 Unikat / Edition of 1 unique + 1 AP
Abigail O'Brien indulges our sweetest fantasies with this elegant body of work. Running like a glamorous 'photo shoot', each portrait uses a different color and pose to suggest the different personalities of the exquisite Bella. The petti coated fading Belle poised on her stilettoed pedestals, this 'Glamour Puss' is at once complex and playful. With each new pose Bella appears sensuous and voluptuous, delicate and imperfect.
The Bella Series (2006/07) consists of fourteen pieces, each 130 x 90 cm / 52 x 36 inches. Seven works are in the exhibition at Galerie Bugdahn und Kaimer. Each photo is a Lambdachrome Print in an edition of 1 unique (+ 1 artist proof), mounted on dibond and framed under museum glass with coloured wood (148 x 108 cm / 59 x 43 inches).
With Bella, Galerie Bugdahn und Kaimer is presenting its fifth solo exhibition of works by Abigail O'Brien.
Abigail O'Brien (*1957) lives and works in Dublin. Her major piece of work to date, the extensive cycle The Seven Sacraments (1995-2004) consists of six individual works, each again of several parts, mixing media such as sculpture, photography and video. It was first exhibited in its entirety in 2004 in Germany, at the Haus der Kunst, Munich. It achieves a critical and complex questioning of the function and meaning of the Christian sacraments; and of the rituals of everyday life that run their course in mute seclusion…
Все работы + экспозиция:
http://www.bugdahnundkaimer.com/Page/AOB_2008_AW.html
*
"The Seven Sacraments. Abigail O�Brien and Ritualized Daily Life"
2004-01-21 until 2004-04-12
Haus der Kunst
Munich, , DE Germany
The cycle includes six large installations: The Last Supper (1995), a work dealing with the sacrament of Marriage, Baptism (1996), Kitchen Pieces - Confession + Communion (1998), in which the sacraments of Confession and Communion are treated together, Extreme Unction - From the Ophelia Room (2000) as well as the artist's two newest works, Garden Heaven - Holy Orders (2001-2003) and Martha's Cloth - Confirmation (2001-2004).
The Seven Sacraments are an important motif in art history and for centuries artists have struggled with their representation. Rogier van der Weyden's, Sacrament's Altar (1453-56), and Nicolas Poussin's two well-known series, Seven Sacraments (1635 and 1644-48 ), are fine examples, the latter of which served as an inspiration for Abigail O'Brien…
http://www.absolutearts.com/artsnews/20 ... 31738.html
Большой материал:
Abigail O'Brien, The Seven Sacraments,
20 January to 27 February, RHA, Dublin
Abigail O'Brien; The Last Supper, 1995, cibachrome print on aluminium, 96 x 76 cm
http://www.recirca.com/reviews/2005/abi ... /aob.shtml
Munich: Abigail O'Brien at Haus der Kunst
http://www.recirca.com/backissues/c108/p94_95.shtml
Exhibitions RHA Gallagher Gallery I : bigail O'Brien
http://www.royalhibernianacademy.com/ht ... en_05.html
*
Abigail O'Brien on artnet
http://www.artnet.com/artist/12715/abigail-obrien.html
Abigail O'Brien — contemporary artist
http://www.abigailobrien.com/
Bella
Abigail O´Brien
Galerie Bugdahn und Kaimer
D. Düsseldorf, 06 Sep-18 Oct 2008
Abigail O'Brien "Bella Series #8- Orange Bella", 2006/07
Lambdachrome, 130 x 90 cm / 52 x 36 inches
Auflage 1 Unikat / Edition of 1 unique + 1 AP
Abigail O'Brien indulges our sweetest fantasies with this elegant body of work. Running like a glamorous 'photo shoot', each portrait uses a different color and pose to suggest the different personalities of the exquisite Bella. The petti coated fading Belle poised on her stilettoed pedestals, this 'Glamour Puss' is at once complex and playful. With each new pose Bella appears sensuous and voluptuous, delicate and imperfect.
The Bella Series (2006/07) consists of fourteen pieces, each 130 x 90 cm / 52 x 36 inches. Seven works are in the exhibition at Galerie Bugdahn und Kaimer. Each photo is a Lambdachrome Print in an edition of 1 unique (+ 1 artist proof), mounted on dibond and framed under museum glass with coloured wood (148 x 108 cm / 59 x 43 inches).
With Bella, Galerie Bugdahn und Kaimer is presenting its fifth solo exhibition of works by Abigail O'Brien.
Abigail O'Brien (*1957) lives and works in Dublin. Her major piece of work to date, the extensive cycle The Seven Sacraments (1995-2004) consists of six individual works, each again of several parts, mixing media such as sculpture, photography and video. It was first exhibited in its entirety in 2004 in Germany, at the Haus der Kunst, Munich. It achieves a critical and complex questioning of the function and meaning of the Christian sacraments; and of the rituals of everyday life that run their course in mute seclusion…
Все работы + экспозиция:
http://www.bugdahnundkaimer.com/Page/AOB_2008_AW.html
*
"The Seven Sacraments. Abigail O�Brien and Ritualized Daily Life"
2004-01-21 until 2004-04-12
Haus der Kunst
Munich, , DE Germany
The cycle includes six large installations: The Last Supper (1995), a work dealing with the sacrament of Marriage, Baptism (1996), Kitchen Pieces - Confession + Communion (1998), in which the sacraments of Confession and Communion are treated together, Extreme Unction - From the Ophelia Room (2000) as well as the artist's two newest works, Garden Heaven - Holy Orders (2001-2003) and Martha's Cloth - Confirmation (2001-2004).
The Seven Sacraments are an important motif in art history and for centuries artists have struggled with their representation. Rogier van der Weyden's, Sacrament's Altar (1453-56), and Nicolas Poussin's two well-known series, Seven Sacraments (1635 and 1644-48 ), are fine examples, the latter of which served as an inspiration for Abigail O'Brien…
http://www.absolutearts.com/artsnews/20 ... 31738.html
Большой материал:
Abigail O'Brien, The Seven Sacraments,
20 January to 27 February, RHA, Dublin
Abigail O'Brien; The Last Supper, 1995, cibachrome print on aluminium, 96 x 76 cm
http://www.recirca.com/reviews/2005/abi ... /aob.shtml
Munich: Abigail O'Brien at Haus der Kunst
http://www.recirca.com/backissues/c108/p94_95.shtml
Exhibitions RHA Gallagher Gallery I : bigail O'Brien
http://www.royalhibernianacademy.com/ht ... en_05.html
*
Abigail O'Brien on artnet
http://www.artnet.com/artist/12715/abigail-obrien.html
Abigail O'Brien — contemporary artist
http://www.abigailobrien.com/
Whitenesses
Ari Kakkinen
MBFotografie / MBProspects
D. Berlin, 06 Sep-18 Oct 2008
Of Questions of Truth and Equivalence #1, 2003
125 cm x 150 cm
chromogenic print, mounted on aluminium and framed
Edition 5 + 2 ap.
Red Glow of a White Embrace, 2004-2008
digital chromogenic print, Diasec
160 cm x 201 cm
Edition of 5 + 2 ap.
Текст полностью:
Marc Berville Prospects and MB Fotografie are pleased to announce Whiteneses, the first personal exhibition of the finish photographer Ari Kakkinen at the 7D Brunnenstrasse gallery.
In a closed space, vacant of all perceptible human presence, filled with wraiths and a sacral magnetism, the theatre of memory and time is played out.
Ari Kakkinen in a sculptor gesture, places the white of cloth layers, freezing an achromous all-over and carving thus, a mental landscape which formal delineaments make identities null. Behind that "whiteout", just as behind a white page shaded with graphs, a story takes shape, a will of narration is mentally perceptible but visually short-circuited.
Invisible! The object of our attention is invisible and presented as such; what we see is The Invisible as invisible. It is by experiencing this kind of chiasmus that Ari Kakkinen walks on the thin line between Conceptual and Visual.
In this respect, let's consider the use of white colour. Where the Latin languages don't make the difference between the colour of a swan's feathers and a knowledge-gap, and use consequently the same word blanc, bianco or blanco; the English language distinguishes the white white, from the white blank. Although it shows here its coloured nature of white white, the drape becomes as well the white blank, the blank of the blur of remembrance, the blank of selective erasure, the blank of the selection proceeded by the unconscious. It is also the blank of emptiness, absence and oblivion, the blank of the Nothing, the no-thing. By a game of mental analogy between white and blank, Ari Kakkinen's photographs are trying to prove the un-neutrality of the neutral, by the same ways we endeavour to convince ourselves not to think, to make the void and damp the swiftness of the mind, thus we begin to feature the Nothing and therefore to think.
Even tough Ari Kakkinen's clichés seem peaceful and meditative, they strive to deconstruct meanings of purity. By irreverently toppling over the occidental references of the bright white light of Knowledge and Wisdom, into a halo of the Invisible and the Nothing, he astutely questions the conditions of seeing.
— Antoine Isenbrandt
Ari Kakkinen was born in 1966, in Iisalmi (Finland). He lives and works in Helsinki.
Graduated from the prestigious Helsinki School of Art & Design in 2006, he is the laureate of LIPA 2008 (Lumière International Photography Award).
http://photography-now.com/popup_ausst_ ... gen=T61465
ARI KAKKINEN : Whitenesses
In 2006, Ari Kakkinen started his Doctoral thesis in The School of Visual Culture in The University of Art and Design in Helsinki, Finland, Arja Elovirta, Chief Editor of art magazine Taide has provided a strong reference on the artist. Ari Kakkinen is an exceptional artist who has graduated from The Helsinki School of Art and Design.
The Helsinki school where Ari has been part of is an art institute which offers a platform for talented artists to have an opportunity to impress the international art connoisseurs, and enter the global art market.
The concept of "The Helsinki School" is not defined by a specific discipline, nationality or geographic region. It represents an approach, a way of thinking that has evolved out of a process of teaching at the University of Art and Design, where each generation is given the chance to invent themselves. The school focuses on creativity and provided opportunities and courage for many talented young artists. This is where the Helsinki School has pride.
The Helsinki school, since its establishment 30 years ago, shows a unique approach in how to teach and apply the use of the camera as a conceptual tool. The programs that will support these ideas are constantly being developed with the provision of high technology and essential elements for creativity, hence being noted as one of the highly recognized institutes.
In 2008, the second LIPA’s award-winning artist Ari Kakkinen will have a solo exhibition in Gallery Lumiere Seoul, and in this exhibition Ari Kakkinen presents works that portray places, spaces and even human beings covered in white cloth.
The second LIPA 2008 is awarded to Ari Kakkinen, an innovative artist currently receiving much attention internationally. He was educated and trained in The Helsinki School of Art and Design in Finland, the most prestigious art educational institution which combines the highest technological prowess, visual creativity and scientific technology. On his photographic works, he transforms the color of the objects by covering the actual objects with white cloth. Although many others doubt Ari Kakkinen’s refusal to realistically portray the objects and appreciate the formal properties of them, Andrea Holzherr, an art critic, suggests the true nature and the sense of beauty of objects portrayed in Ari Kakkinen’s works, which are strongly emphasized by his particular working process. Although the superficial characteristics of objects are lost, we should be able to understand the significance of the nature behind the objects and discover specific viewpoints of Ari Kakkinen on the idea of beauty in art.
“I feel like melting myself into the vision (of photography) and sure this kind of working is a kind of meditation. If my photographs are documents then they are documents of this meditation. But I wish this ‘melting’ of the difference of the one who sees and the one that is seen are not only a matter of ‘the artist’.”
— Ari Kakkinen
In Finnish culture whiteness is associated with everyday materials like snow or milk, but also symbolical sphere of purity, innocence, light and eternal life. On top of silencing or nothingness Kakkinen has begun to speak about “becoming” which has, of course, certain traces of religion.
Ari Kakkinen’s ambitious effort is to walk the thin line between conceptual and visual, sensed and acknowledged. To describe this “inadequate yet necessary” artistic act Kakkinen borrows the term sous rature (under erasure) from his favorite philosopher Jacques Derrida. The act of putting under erasure is an act of posing questions about the value and the importance of the things and ideas we are much too common with. The question is about different genres of knowledge, or asking fundamental questions like, what is knowledge.
“This is where I locate Ari Kakkinen’s art: the smallest details of life are worth of recognizing and celebrating as they are all we have. Seeing his art hints to these joyful details with nuances of sorrow and pain. Black is opposite of whiteness - still we are living in the grey tones between. Kakkinen celebrates both negative and positive in their joined process of becoming to an image.”
— Arja Elovirta, Editor of art magazine Taide
http://www.worknplay.co.kr/entertainmen ... hp?num=171
MB PROSPECTS — Ari Kakkinen
Stairs (Aalto 070122)
Chromogenic print, Diasec, 140 x 178,5 cm, 2007
Edition of 5 + 2 A.P.
http://www.mbprospects.com/kakkinen/kak ... hotos.html
Helsinki School : Ari Kakkinen
WHITENESSES
I am interested in photographs´ ability not to be defined, the way they escape the order of naming.
The charm of photography lies in its fantastic capability of showing the multitude and virtuality in the smallest detail. Yet, there is an unquestionable link between the reality and the photograph as a shadow.
A photograph is (as Maurice Blanchot describes images) a dead body, which resembles something but is still totally uncommunicative and obscure. I find the special importance of photography in this act of the most common turning to uncanny…
http://www.helsinkischool.fi/helsinkisc ... hp?id=9042
Valokuvagalleria Hippolyte: Ari Kakkinen
http://www.hippolyte.fi/liitto/esittely/kakkinen.php
Ari Kakkinen
MBFotografie / MBProspects
D. Berlin, 06 Sep-18 Oct 2008
Of Questions of Truth and Equivalence #1, 2003
125 cm x 150 cm
chromogenic print, mounted on aluminium and framed
Edition 5 + 2 ap.
Red Glow of a White Embrace, 2004-2008
digital chromogenic print, Diasec
160 cm x 201 cm
Edition of 5 + 2 ap.
Текст полностью:
Marc Berville Prospects and MB Fotografie are pleased to announce Whiteneses, the first personal exhibition of the finish photographer Ari Kakkinen at the 7D Brunnenstrasse gallery.
In a closed space, vacant of all perceptible human presence, filled with wraiths and a sacral magnetism, the theatre of memory and time is played out.
Ari Kakkinen in a sculptor gesture, places the white of cloth layers, freezing an achromous all-over and carving thus, a mental landscape which formal delineaments make identities null. Behind that "whiteout", just as behind a white page shaded with graphs, a story takes shape, a will of narration is mentally perceptible but visually short-circuited.
Invisible! The object of our attention is invisible and presented as such; what we see is The Invisible as invisible. It is by experiencing this kind of chiasmus that Ari Kakkinen walks on the thin line between Conceptual and Visual.
In this respect, let's consider the use of white colour. Where the Latin languages don't make the difference between the colour of a swan's feathers and a knowledge-gap, and use consequently the same word blanc, bianco or blanco; the English language distinguishes the white white, from the white blank. Although it shows here its coloured nature of white white, the drape becomes as well the white blank, the blank of the blur of remembrance, the blank of selective erasure, the blank of the selection proceeded by the unconscious. It is also the blank of emptiness, absence and oblivion, the blank of the Nothing, the no-thing. By a game of mental analogy between white and blank, Ari Kakkinen's photographs are trying to prove the un-neutrality of the neutral, by the same ways we endeavour to convince ourselves not to think, to make the void and damp the swiftness of the mind, thus we begin to feature the Nothing and therefore to think.
Even tough Ari Kakkinen's clichés seem peaceful and meditative, they strive to deconstruct meanings of purity. By irreverently toppling over the occidental references of the bright white light of Knowledge and Wisdom, into a halo of the Invisible and the Nothing, he astutely questions the conditions of seeing.
— Antoine Isenbrandt
Ari Kakkinen was born in 1966, in Iisalmi (Finland). He lives and works in Helsinki.
Graduated from the prestigious Helsinki School of Art & Design in 2006, he is the laureate of LIPA 2008 (Lumière International Photography Award).
http://photography-now.com/popup_ausst_ ... gen=T61465
ARI KAKKINEN : Whitenesses
In 2006, Ari Kakkinen started his Doctoral thesis in The School of Visual Culture in The University of Art and Design in Helsinki, Finland, Arja Elovirta, Chief Editor of art magazine Taide has provided a strong reference on the artist. Ari Kakkinen is an exceptional artist who has graduated from The Helsinki School of Art and Design.
The Helsinki school where Ari has been part of is an art institute which offers a platform for talented artists to have an opportunity to impress the international art connoisseurs, and enter the global art market.
The concept of "The Helsinki School" is not defined by a specific discipline, nationality or geographic region. It represents an approach, a way of thinking that has evolved out of a process of teaching at the University of Art and Design, where each generation is given the chance to invent themselves. The school focuses on creativity and provided opportunities and courage for many talented young artists. This is where the Helsinki School has pride.
The Helsinki school, since its establishment 30 years ago, shows a unique approach in how to teach and apply the use of the camera as a conceptual tool. The programs that will support these ideas are constantly being developed with the provision of high technology and essential elements for creativity, hence being noted as one of the highly recognized institutes.
In 2008, the second LIPA’s award-winning artist Ari Kakkinen will have a solo exhibition in Gallery Lumiere Seoul, and in this exhibition Ari Kakkinen presents works that portray places, spaces and even human beings covered in white cloth.
The second LIPA 2008 is awarded to Ari Kakkinen, an innovative artist currently receiving much attention internationally. He was educated and trained in The Helsinki School of Art and Design in Finland, the most prestigious art educational institution which combines the highest technological prowess, visual creativity and scientific technology. On his photographic works, he transforms the color of the objects by covering the actual objects with white cloth. Although many others doubt Ari Kakkinen’s refusal to realistically portray the objects and appreciate the formal properties of them, Andrea Holzherr, an art critic, suggests the true nature and the sense of beauty of objects portrayed in Ari Kakkinen’s works, which are strongly emphasized by his particular working process. Although the superficial characteristics of objects are lost, we should be able to understand the significance of the nature behind the objects and discover specific viewpoints of Ari Kakkinen on the idea of beauty in art.
“I feel like melting myself into the vision (of photography) and sure this kind of working is a kind of meditation. If my photographs are documents then they are documents of this meditation. But I wish this ‘melting’ of the difference of the one who sees and the one that is seen are not only a matter of ‘the artist’.”
— Ari Kakkinen
In Finnish culture whiteness is associated with everyday materials like snow or milk, but also symbolical sphere of purity, innocence, light and eternal life. On top of silencing or nothingness Kakkinen has begun to speak about “becoming” which has, of course, certain traces of religion.
Ari Kakkinen’s ambitious effort is to walk the thin line between conceptual and visual, sensed and acknowledged. To describe this “inadequate yet necessary” artistic act Kakkinen borrows the term sous rature (under erasure) from his favorite philosopher Jacques Derrida. The act of putting under erasure is an act of posing questions about the value and the importance of the things and ideas we are much too common with. The question is about different genres of knowledge, or asking fundamental questions like, what is knowledge.
“This is where I locate Ari Kakkinen’s art: the smallest details of life are worth of recognizing and celebrating as they are all we have. Seeing his art hints to these joyful details with nuances of sorrow and pain. Black is opposite of whiteness - still we are living in the grey tones between. Kakkinen celebrates both negative and positive in their joined process of becoming to an image.”
— Arja Elovirta, Editor of art magazine Taide
http://www.worknplay.co.kr/entertainmen ... hp?num=171
MB PROSPECTS — Ari Kakkinen
Stairs (Aalto 070122)
Chromogenic print, Diasec, 140 x 178,5 cm, 2007
Edition of 5 + 2 A.P.
http://www.mbprospects.com/kakkinen/kak ... hotos.html
Helsinki School : Ari Kakkinen
WHITENESSES
I am interested in photographs´ ability not to be defined, the way they escape the order of naming.
The charm of photography lies in its fantastic capability of showing the multitude and virtuality in the smallest detail. Yet, there is an unquestionable link between the reality and the photograph as a shadow.
A photograph is (as Maurice Blanchot describes images) a dead body, which resembles something but is still totally uncommunicative and obscure. I find the special importance of photography in this act of the most common turning to uncanny…
http://www.helsinkischool.fi/helsinkisc ... hp?id=9042
Valokuvagalleria Hippolyte: Ari Kakkinen
http://www.hippolyte.fi/liitto/esittely/kakkinen.php
Тексты:
Колумнисты:
Норма с Олегом Климовым, Фототерапия с Викторией Мусвик, Сказки о фотографии с Владимиром Левашовым, Простые вещи с Еленой Ростуновой…
Виктория Мусвик:
http://www.photographer.ru/resources/na ... les/21.htm
Владимир Левашов:
http://www.photographer.ru/columnists/3113.htm
…
Олег Климов : Photography & Life: О фотографах и фотографии
Колумнисты:
Норма с Олегом Климовым, Фототерапия с Викторией Мусвик, Сказки о фотографии с Владимиром Левашовым, Простые вещи с Еленой Ростуновой…
Виктория Мусвик:
http://www.photographer.ru/resources/na ... les/21.htm
Владимир Левашов:
http://www.photographer.ru/columnists/3113.htm
…
Олег Климов : Photography & Life: О фотографах и фотографии
lens culture photographer interview:
Portraits
photographs by
Ingar Krauss
Untitled, Arkhangelsk, Russia 2004
http://www.lensculture.com/krauss.html
Sign Language: Ingar Krauss:
I happened across the work of German photographer Ingar Krauss at Lens Culture, one of the many fine online photography magazines around.
He works mainly in portraiture, which he approaches with an intensity strongly reminiscent of August Sander.
This project is a collection of pictures made in orphanages, juvenile prisons and camps. The faces of children he found there possess a disquieting sense of loss, looking back at us with a maturity quite beyond their obvious age.
There is a feature at Lens Culture, together with a revealing interview. Astonishingly, some of them were among his first attempts at serious photography.
http://sunburyarts.blogspot.com/2006/08 ... rauss.html
Jackson Fine Art: Ingar Kraus
Ingar Krauss Untitled (Hannah), 2005
C-Print? 14 1/2 x 12 inches
Edition of 8
http://www.jacksonfineart.com/myindex.p ... pic_id=995
Noorderlicht:
http://www.noorderlicht.com/eng/fest07/ ... index.html
Marvelli Gallery:
Ingar Krauss, Untitled (Hannah), 2001
Gelatin Silver Print, 31 x 25 inches
Ed. of 8
Ingar Krauss, Untitled (Russia), 2002
Gelatin Silver Print, 31 x 25 inches
Ed. of 8
Ingar Krauss, Untitled (Hannah), 2001
Gelatin Silver Print, 11 3/4 x 9 1/2 inches
Ed. of 8
http://www.marvelligallery.com/Kra1.html
Чуть отличный набор: Galerie Bodo Niemann
http://www.bodonie.com/ingar_krauss1.html
http://www.bodoniemann.com/ingar_krauss_info.htm
(Кольберг цитирует коротко: In his pictures, Ingar Krauss (*Berlin 1965) traces the secrets of childhood on the threshold to adulthood. Times of transformation always carry a certain element of wistfulness, or as Sally Mann puts it, "Beauty with a hint of sadness". The photographer took brilliant melancholy portraits of peculiar girls and boys moving in the fragile space between reality and dream, childhood and adulthood, the inner and the outer world).
( http://www.mdf.ru/english/festivals/fot ... od/cateye/ )
Книга:
http://www.hatjecantz.de/en/collectorse ... f=09201678
Portraits
photographs by
Ingar Krauss
Untitled, Arkhangelsk, Russia 2004
http://www.lensculture.com/krauss.html
Sign Language: Ingar Krauss:
I happened across the work of German photographer Ingar Krauss at Lens Culture, one of the many fine online photography magazines around.
He works mainly in portraiture, which he approaches with an intensity strongly reminiscent of August Sander.
This project is a collection of pictures made in orphanages, juvenile prisons and camps. The faces of children he found there possess a disquieting sense of loss, looking back at us with a maturity quite beyond their obvious age.
There is a feature at Lens Culture, together with a revealing interview. Astonishingly, some of them were among his first attempts at serious photography.
http://sunburyarts.blogspot.com/2006/08 ... rauss.html
Jackson Fine Art: Ingar Kraus
Ingar Krauss Untitled (Hannah), 2005
C-Print? 14 1/2 x 12 inches
Edition of 8
http://www.jacksonfineart.com/myindex.p ... pic_id=995
Noorderlicht:
http://www.noorderlicht.com/eng/fest07/ ... index.html
Marvelli Gallery:
Ingar Krauss, Untitled (Hannah), 2001
Gelatin Silver Print, 31 x 25 inches
Ed. of 8
Ingar Krauss, Untitled (Russia), 2002
Gelatin Silver Print, 31 x 25 inches
Ed. of 8
Ingar Krauss, Untitled (Hannah), 2001
Gelatin Silver Print, 11 3/4 x 9 1/2 inches
Ed. of 8
http://www.marvelligallery.com/Kra1.html
Чуть отличный набор: Galerie Bodo Niemann
http://www.bodonie.com/ingar_krauss1.html
http://www.bodoniemann.com/ingar_krauss_info.htm
(Кольберг цитирует коротко: In his pictures, Ingar Krauss (*Berlin 1965) traces the secrets of childhood on the threshold to adulthood. Times of transformation always carry a certain element of wistfulness, or as Sally Mann puts it, "Beauty with a hint of sadness". The photographer took brilliant melancholy portraits of peculiar girls and boys moving in the fragile space between reality and dream, childhood and adulthood, the inner and the outer world).
( http://www.mdf.ru/english/festivals/fot ... od/cateye/ )
Книга:
http://www.hatjecantz.de/en/collectorse ... f=09201678
Photographie | Ingar Krauss | portraits
Marvelli Gallery is pleased to present an exhibition of new large-scale, black & white portraits by German photographer Ingar Krauss. The opening of the show on Thursday, September 8, 6 - 8pm will coincide with the release of the book “Ingar Krauss: Portraits” published by Hatje Cantz Verlag. The exhibition will present Krauss’ latest photographs, mostly taken in Arkhangelsk, Russia in 2004. After his memorable series of portraits of young inmates in Russian juvenile prisons, Krauss continued his exploration of “those children and adolescents who already have a biography and a story to tell.” He photographed some young Sisters of Mercy, in the white dress of their orthodox order, cadets from the merchant Navy, and other compelling youth in Arkhangelsk. The subjects are all alone and in their expression there is a psychological intensity, a profound longing or a deep reserve. “The portraits are understated, unsentimental, and as straightforward as official documents, but they also have an extraordinary emotional weight and clarity. There are flashes of defiance, pain, incomprehension, bitter amusement, and bottomless grief here, but neither the photographer nor his subjects are pouring out their feelings, and the restraint on both sides of the camera is palpable and genuinely moving” (Vince Aletti, from the introduction of the forthcoming book).
http://www.photographie.com/?evtid=106684
Ingar Krauss: Portraits of Eastern European Migrant Workers in Germany
NEW YORK, 28 DECEMBER 2007—As with his 2004 show, In a Russian Juvenile Prison, German photographer Ingar Krauss' new large-scale, black and white portraits of Eastern European migrant workers manage to capture the psychologically poignant and often grim existential condition of particular class levels of Eastern Europeans. Whether before or after the fall of the Soviet Empire , anyone who has lived or travelled extensively in Eastern Europe will recognize such faces, as well as Krauss' aspiration to make reality and biography visible in photographs.
Ingar Krauss had this to say about his work in his show Birds of Passage now on view through 2 February 2008 at Marvelli Gallery in New York's Chelsea district…
Born in 1965 in East Berlin, GDR, Ingar Krauss is a self-taught photographer. Unlike fellow compatriot and high-tech art market star Andreas Gursky , Krauss' work appears to be concerned with many of the same questions of social history, identity and aesthetics as the portraits of August Sander and Eugéne Atget. He started to exhibit his photographs in 2001. In addition to solo exhibitions in Berlin, Milan and New York, Krauss has participated in international group shows devoted to portraiture such as About Face. Photography and the Death of the Portrait, Hayward Gallery, London (2004), and Je t'envisage: La disparition du portrait at the Musée de l'Elysée in Lausanne (2004). Also in 2004, Krauss was awarded the Leica Prize during the Fourth Grand Prix International de Photographie, Vevey, Switzerland. Recently his work was included in ECCE UOMO at Spazio Oberdan, Milan. He currently lives and works in Berlin.
http://www.culturekiosque.com/art/comme ... rs112.html
Marvelli Gallery is pleased to present an exhibition of new large-scale, black & white portraits by German photographer Ingar Krauss. The opening of the show on Thursday, September 8, 6 - 8pm will coincide with the release of the book “Ingar Krauss: Portraits” published by Hatje Cantz Verlag. The exhibition will present Krauss’ latest photographs, mostly taken in Arkhangelsk, Russia in 2004. After his memorable series of portraits of young inmates in Russian juvenile prisons, Krauss continued his exploration of “those children and adolescents who already have a biography and a story to tell.” He photographed some young Sisters of Mercy, in the white dress of their orthodox order, cadets from the merchant Navy, and other compelling youth in Arkhangelsk. The subjects are all alone and in their expression there is a psychological intensity, a profound longing or a deep reserve. “The portraits are understated, unsentimental, and as straightforward as official documents, but they also have an extraordinary emotional weight and clarity. There are flashes of defiance, pain, incomprehension, bitter amusement, and bottomless grief here, but neither the photographer nor his subjects are pouring out their feelings, and the restraint on both sides of the camera is palpable and genuinely moving” (Vince Aletti, from the introduction of the forthcoming book).
http://www.photographie.com/?evtid=106684
Ingar Krauss: Portraits of Eastern European Migrant Workers in Germany
NEW YORK, 28 DECEMBER 2007—As with his 2004 show, In a Russian Juvenile Prison, German photographer Ingar Krauss' new large-scale, black and white portraits of Eastern European migrant workers manage to capture the psychologically poignant and often grim existential condition of particular class levels of Eastern Europeans. Whether before or after the fall of the Soviet Empire , anyone who has lived or travelled extensively in Eastern Europe will recognize such faces, as well as Krauss' aspiration to make reality and biography visible in photographs.
Ingar Krauss had this to say about his work in his show Birds of Passage now on view through 2 February 2008 at Marvelli Gallery in New York's Chelsea district…
Born in 1965 in East Berlin, GDR, Ingar Krauss is a self-taught photographer. Unlike fellow compatriot and high-tech art market star Andreas Gursky , Krauss' work appears to be concerned with many of the same questions of social history, identity and aesthetics as the portraits of August Sander and Eugéne Atget. He started to exhibit his photographs in 2001. In addition to solo exhibitions in Berlin, Milan and New York, Krauss has participated in international group shows devoted to portraiture such as About Face. Photography and the Death of the Portrait, Hayward Gallery, London (2004), and Je t'envisage: La disparition du portrait at the Musée de l'Elysée in Lausanne (2004). Also in 2004, Krauss was awarded the Leica Prize during the Fourth Grand Prix International de Photographie, Vevey, Switzerland. Recently his work was included in ECCE UOMO at Spazio Oberdan, Milan. He currently lives and works in Berlin.
http://www.culturekiosque.com/art/comme ... rs112.html
East-German photographic paper + oil colours = эксклюзив…
DAVAO
Ingar Krauss
Showroom Hans-Christian Schink
D. Berlin, 05 Sep-25 Oct 2008
Ingar Krauss, Untitled, Davao 2006
Silver gelatine print, oil colours
40 x 33 inches
Ingar Krauss, Untitled, Davao 2007
Silver gelatine print, oil colours
40 x 33 inches
The artist Hans-Christian Schink opened in spring 2008 his own show room in Berlin, where he intends to invite other artists for guest exhibitions. Parallel to the big "Tropics"-Show in the Martin-Gropius-Bau he is now pleased to present DAVAO, new work by Ingar Krauss. Davao is situated in the very south of the Philippine Isles and is after Manila its second biggest city, but it is more a huge conglomerate of villages than a metropolis like Manila and is therefore dominated by agriculture and country life. Due to colonial history Spanish Catholizism and American lifestyle are belonging to the Philippine identity. But in particular the country people still live with animistic cults and the traditional pre-colonial mythology, which consists of a collection of magic figures and creatures lots of the Filipinos are still believing in, despite the strong Western influence. Ingar Krauss brought from Davao a series of portraits and animistic still lifes which he printed on outdated East-German photographic paper. He treated the prints then with oil colours, to give them a bit of a tropical sultriness.
http://photography-now.com/popup_ausst_ ... gen=T62387
DAVAO
Ingar Krauss
Showroom Hans-Christian Schink
D. Berlin, 05 Sep-25 Oct 2008
Ingar Krauss, Untitled, Davao 2006
Silver gelatine print, oil colours
40 x 33 inches
Ingar Krauss, Untitled, Davao 2007
Silver gelatine print, oil colours
40 x 33 inches
The artist Hans-Christian Schink opened in spring 2008 his own show room in Berlin, where he intends to invite other artists for guest exhibitions. Parallel to the big "Tropics"-Show in the Martin-Gropius-Bau he is now pleased to present DAVAO, new work by Ingar Krauss. Davao is situated in the very south of the Philippine Isles and is after Manila its second biggest city, but it is more a huge conglomerate of villages than a metropolis like Manila and is therefore dominated by agriculture and country life. Due to colonial history Spanish Catholizism and American lifestyle are belonging to the Philippine identity. But in particular the country people still live with animistic cults and the traditional pre-colonial mythology, which consists of a collection of magic figures and creatures lots of the Filipinos are still believing in, despite the strong Western influence. Ingar Krauss brought from Davao a series of portraits and animistic still lifes which he printed on outdated East-German photographic paper. He treated the prints then with oil colours, to give them a bit of a tropical sultriness.
http://photography-now.com/popup_ausst_ ... gen=T62387
Вчера официально открылся
Fries Museum, Leeuwarden, the Netherlands
September 7 — October 26, 2008
Noorderliht Photofestival 2008
Behind Walls — Eastern Europe before 1989
участвуют 5 белорусских авторов, подробности на сайте фестиваля (выложены фото), каталог ожидается (обещали прислать три шт.)
http://www.noorderlicht.com/eng/fest08/index.html
Fries Museum, Leeuwarden, the Netherlands
September 7 — October 26, 2008
Noorderliht Photofestival 2008
Behind Walls — Eastern Europe before 1989
участвуют 5 белорусских авторов, подробности на сайте фестиваля (выложены фото), каталог ожидается (обещали прислать три шт.)
http://www.noorderlicht.com/eng/fest08/index.html
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