3/15/2012
Italy Celebrates the 100th Anniversary of the Birth of Futurism with Several Exhibitions
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Italy ignited its motors at full speed to celebrate the 100th anniversary of Futurism, the most important artistic movement that the country has created and which gave the world a new beauty, that of speed. In this image, a work that is part of audiovisual exhibition "Presentism, time and space in the long now" created by British musician Brian Eno to commemorate the 100th anniversary of the birth of Futurism and which can be seen at Palacio Ruspoli in Rome. Photo: EFE.
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| ROME.- Several exhibitions and artistic performances that started this Friday prove that Italian culture still has in mind that artistic movement that was born on February 20, 1909 with the publishing of the Futurist Manifesto by Filippo Tommaso, which he published in the French daily newspaper Le Figaro. “We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed”, says the fourth point in that Manifesto that bets on the “courage, audacity, and revolt that will be essential elements of our poetry” that arises from artistic inspiration. With all of these and other fundaments in mind- eleven in total included in the Futurist Manifesto- Italians vindicate today that, even though the founding of this movement was set up in Paris, it is still an artistic movement that has the Italian seal. That is why, and after the city of Marinetti, Milan, started a few days ago the celebrations in honor of the movement, it is the capital city which has now become the center of the celebrations of the anniversary of Futurism. A party named "Futuroma". One of the main exhibitions that Rome opened this week is an audiovisual composition by British musician Brian Eno, who has produced Coldplay and was a member of Roxy Music, which is now on view at Memmo Foundation, at the Ruspoli Palace, and is titled "Presentism, time and space in the long now". "I call it 'Presentism' because in today’s history we cannot separate the future from the present. What we do today, what we destroy, determines our future. There is no longer a difference between present and future. What could once be called Futurism, today is Presentism", said Eno in a recent interview published in " La Repubblica ". "A great part of what I do is linked more to painting, because my first instinct has always been to make music that could stand the test of time like paintings do", he added. Masterpieces of Futurism at the Peggy Guggenheim Collection presents key paintings of the movement such as Materia and Dynamism of a Cyclist by Boccioni, Mercury Passing Before the Sun by Balla, The Galleria of Milan by Carrà, Blue Dancer by Severini, three works from Peggy Guggenheim’s collection (Severini’s Sea = Dancer, Balla’s Abstract Speed + Sound, and Boccioni’s sculpture Dynamism of a Speeding Horse + Houses), as well as loans from private collections by Balla, Boccioni, Carrà and Sironi. This will also be the debut of a recent gift to the Solomon R. Guggenheim Foundation, Sironi’s early masterpiece The Cyclist (1916). The exhibition includes three of Boccioni’s four extant sculptures: in addition to the mixed media Dynamism of a Speeding Horse + Houses, bronze cast of his celebrated Development of a Bottle in Space and Unique Forms of Continuity in Space. An introductory section of paintings, sculptures and drawings contextualizes the Futurist movement with works of other historical avant-gardes, such as Divisionism, Cubism, Orphism and Vorticism. Jean Metzinger and Raymond Duchamp-Villon explored notions of movement and the mechanical dynamism of modern life, while the London Vorticist Edward Wadsworth, who was inspired by the rhetoric of Marinetti, is represented with two woodcuts, Street Singers and Top of the Town, each of them recent gifts to the Solomon R. Guggenheim Foundation, and now on exhibition for the first time. |
L'OBBIETTIVO FUTURISTA FOTODINAMISMO E FOTOGRAFIA
L'OBBIETTIVO FUTURISTA FOTODINAMISMO E FOTOGRAFIACATALOGO DELLA MOSTRA ITNERANTE PER IL CENTENARIO DEL FUTURISMO
PAGG. 168 CON CENTINAIA DI FOTOGRAFIE
MASOERO, THAYAHT, TATO, LUXARDO, MARINETTI, WULZ, MAZZONI, RIDENTI, RAM, PARISIO, PEDROTTI, BRAGAGLIA,
TESTI, MANIFESTI.
NUOVA EDIZIONE
Informazioni sul venditore professionale Massimiliano Vittori
Email: novecento@micso.net
futurist photodynamism by anton giulio bragaglia
futurist photodynamism
by anton giulio bragaglia 1st july 1913
by anton giulio bragaglia 1st july 1913
To begin with, Photodynamism cannot be interpreted as an innovation applicable to photography in the way that chronophotography was. Photodynamism is a creation that aims to achieve ideals that are quite contrary to the objectives of all the representational means of today. If it can be associated at all with photography, cinematography and chronophotography, this is only by virtue of the fact that, like them, it has its origins in the wide field of photographic science, the technical means forming common ground. All are based on the physical properties of the camera.
We are certainly not concerned with the aims and characteristics of cinematography and chronophotography. We are not interested in the precise reconstruction of movement, which has already been broken up and analysed. We are involved only in the area of movement which produces sensation, the memory of which still palpitates in our awareness.
We despise the precise, mechanical, glacial reproduction of reality, and take the utmost care to avoid it. For us this is a harmful and negative element, whereas for cinematography and chronophotography it is the very essence. They in their turn overlook the trajectory, which for us is the essential value.
The question of cinematography in relation to us is absolutely idiotic, and can only be raised by a superficial and imbecilic mentality motivated by the most crass ignorance of our argument.
Cinematography does not trace the shape of movement. It subdivides it, without rules, with mechanical arbitrariness, disintegrating and shattering it without any kind of aesthetic concern for rhythm. It is not within its coldly mechanical power to satisfy such concerns.
Besides which, cinematography never analyses movement. It shatters it in the frames of the film strip, quite unlike the action of Photodynamism, which analyses movement precisely in its details. And cinematography never synthesises movement, either. It merely reconstructs fragments of reality, already coldly broken up, in the same way as the hand of a chronometer deals with time even though this flows in a continuous and constant stream.
Photography too is a quite distinct area; useful in the perfect anatomical reproduction of reality; necessary and precious therefore for aims that are absolutely contrary to ours, which are artistic in themselves, scientific in their researches, but nevertheless always directed towards art.
And so both photography and Photodynamism possess their own singular qualities, clearly divided, and are very different in their importance, their usefulness and their aims.
Marey's chronophotography, too, being a form of cinematography carried out on a single plate or on a continuous strip of film, even if it does not use frames to divide movement which is already scanned and broken up into instantaneous shots, still shatters the action. The instantaneous images are even further apart, fewer and more autonomous than those of cinematography, so that this too cannot be called analysis.
In actual fact, Marey's system is used, for example, in the teaching of gymnastics. And out of the hundred images that trace a man's jump the few that are registered are just sufficient to describe and to teach to the young the principal stages of a jump.
But although this may be all very well for the old Marey system, for gymnastics and other such applications, it is not enough for us. With about five extremely rigid instantaneous shots we cannot obtain even the reconstruction of movement, let alone the sensation. Given that chronophotography certainly does not reconstruct movement, or give the sensation of it, any further discussion of the subject would be idle, except that the point is worth stressing, as there are those who, with a certain degree of elegant malice, would identify Photodynamism with chronophotography, just as others insisted on confusing it with cinematography.
Marey's system, then, seizes and freezes the action in its principal stages, those which best serve its purpose. It thus describes a theory that could be equally deduced from a series of instantaneous photographs. They could similarly be said to belong to different subjects, since, if a fraction of a stage is removed, no link unites and unifies the various images. They are photographic, contemporaneous, and appear to belong to more than one subject. To put it crudely, chronophotography could be compared with a clock on the face of which only the quarter-hours are marked, cinematography to one on which the minutes too are indicated, and Photodynamism to a third on which are marked not only the seconds, but also the intermovemental fractions existing in the passages between seconds. This becomes an almost infinitesimal calculation of movement.
In fact it is only through our researches that it is possible to obtain a vision that is proportionate, in terms of the strength of the images, to the very tempo of their existence, and to the speed with which they have lived in a space and in us.
The greater the speed of an action, the less intense and broad win be its trace when registered with Photodynamism. It follows that the slower it moves, the less it will be dematerialised and distorted. The more the image is distorted, the less real it will be. It will be more ideal and lyrical, further extracted from its personality and closer to type, with the same evolutionary effect of distortion as was followed by the Greeks in their search for their type of beauty.
There is an obvious difference between the photographic mechanicality of chronophotography -embryonic and rudimentary cinematography - and the tendency of Photodynamism to move away from that mechanicality, following its own ideal, and completely opposed to the aims of all that went before (although we do propose to undertake our own scientific researches into movement).
Photodynamism, then, analyses and synthesises movement at will, and to great effect. This is because it does not have to resort to disintegration for observation, but possesses the power to record the continuity of an action in space, to trace in a face, for instance, not only the expression of passing states of mind, as photography and cinematography have never been able to, but also the immediate shifting of volumes that results in the immediate transformation of expression.
A shout, a tragical pause, a gesture of terror, the entire scene, the complete external unfolding of the intimate drama, can be expressed in one single work. And this applies not only to the point of departure or that of arrival - nor merely to the intermediary stage, as in chronophotography - but continuously, from beginning to end, because in this way, as we have already said, the intermovemental stages of a movement can also be invoked.
In fact, where scientific research into the evolution and modelling of movement are concerned, we declare Photodynarnism to be exhaustive and essential, given that no precise means of analysing a movement exists (we have already partly examined the rudimentary work of chronophotography).
And so - just as the study of anatomy has always been essential for an artist - now a knowledge of the paths traced by bodies in action and of their transformation in motion will be indispensable for the painter of movement.
In the composition of a painting, the optical effects observed by the artist are not enough. A precise analytical knowledge of the essential properties of the effect, and of its causes, are essential. The artist may know how to synthesise such analyses, but within such a synthesis the skeleton, the precise and almost invisible analytical elements, must exist. These can only be rendered visible by the scientific aspects of Photodynamism.
In fact, every vibration is the rhythm of infinite minor vibrations, since every rhythm is built up of an infinite quantity of vibrations. In so far as human knowledge has hitherto conceived and considered movement in its general rhythm, it has fabricated, so to speak, an algebra of movement. This has been considered simple and finite (cf. Spencer: First Principles - The Rhythm of Motion). But Photodynamism has revealed and represented it as complex, raising it to the level of an infinitesimal calculation of movement (see our latest works, e.g. The Carpenter, The Bow, Changing Positions).
Indeed, we represent the movement of a pendulum, for example, by relating its speed and its tempo to two orthogonal axes.
We will obtain a continuous and infinite sinusoidal curve.
But this applies to a theoretical pendulum, an immaterial one. The representation we will obtain from a material pendulum will differ from the theoretical one in that, after a longer or shorter (but always finite) period, it will stop.
It should be clear that in both cases the lines representing such movement are continuous, and do not portray the reality of the phenomenon. In reality, these lines should be composed of an infinite number of minor vibrations, introduced by the resistance of the point of union. This does not move with smooth continuity but in a jerky way caused by infinite coefficients. Now, a synthetic representation is more effective, even when its essence envelops an analytically divisionist value, than a synthetic impressionist one (meaning divisionism and impressionism in the philosophical sense). In the same way the representation of realistic movement will be much more effective in synthesis - containing in its essence an analytical divisionist value (e.g. The Carpenter, The Bow, etc.), than in analysis of a superficial nature, that is, when it is not minutely interstatic but expresses itself only in successive static states (e.g. The Typist).
Therefore, just as in Seurat's painting the essential question of chromatic divisionism (synthesis of effect and analysis of means) had been suggested by the scientific enquiries of Rood, so today the need for movemental divisionism, that is, synthesis of effect and analysis of means in the painting of movement, is indicated by Photodynamism. But - and this should be carefully noted - this analysis is infinite, profound and sensitive, rather than immediately perceptible.
This question has already been raised by demonstrating that, just as anatomy is essential in static reproduction, so the anatomy of an action - intimate analysis - is indispensable in the representation of movement. This will not resort to thirty images of the same object to represent an object in movement, but will render it infinitely multiplied and extended, whilst the figure present will appear diminished.
Photodynamism, then, can establish results from positive data in the construction of moving reality, just as photography obtains its own positive results in the sphere of static reality.
The artist, in search of the forms and combinations that characterise whatever state of reality interests him, can, by means of Photodynamism, establish a foundation of experience that will facilitate his researches and his intuition when it comes to the dynamic representation of reality. After all, the steady and essential relationships which link the development of any real action with artistic conception are indisputable, and are affirmed independently of formal analogies with reality.
Once this essential affinity has been established, not only between artistic conception and the representation of reality, but also between artistic conception and application, it is easy to realise how much information dynamic representation can offer to the artist who is engaged in a profound search for it.
In this way fight and movement in general, light acting as movement, and hence the movement of light, are revealed in Photodynamism. Given the transcendental nature of the phenomenon of movement, it is only by means of Photodynamism that the painter can know what happens in the intermovemental states, and become acquainted with the volumes of individual motions. He will be able to analyse these in minute detail, and will come to know the increase in aesthetic value of a flying figure, or its diminution, relative to light and to the dematerialization consequent upon motion. Only with Photodynamism can the artist be in possession of the elements necessary for the construction of a work of art embodying the desired-for synthesis.
With reference to this the sculptor Roberto Melli wrote to me explaining that, in his opinion, Photodynamism 'must, in the course of these new researches into movement which are beginning to make a lively impression on the artist's consciousness, take the place which has until now been occupied by drawing, a physical and mechanical phenomenon very different from the physical transcendentalism of Photodynamism. Photodynamism is to drawing what the new aesthetic currents are to the art of the past.' . . .
Now, with cinematography and Marey's equivalent system the viewer moves abruptly from one state to another, and thus is limited to the states that compose the movement, without concern for the intermovemental states of the action; and with photography he sees only one state. But with Photodynamism, remembering what took place between one stage and another, a work is presented that transcends the human condition, becoming a transcendental photograph of movement. For this end we have also envisaged a machine which will render actions visible, more effectively than is now today possible with actions traced from one point, but at the same time keeping them related to the time in which they were made. They will remain idealised by the distortion and by the destruction imposed by the motion and light which translate themselves into trajectories.
So it follows that when you tell us that the images contained in our Photodynamic works are unsure and difficult to distinguish, you are merely noting a pure characteristic of Photodynamism. For Photodynamism, it is desirable and correct to record the images in a distorted state, since images themselves are inevitably transformed in movement. Besides this, our aim is to make a determined move away from reality, since cinematography, photography and chronophotography already exist to deal with mechanically precise and cold reproduction.
We seek the interior essence of things: pure movement; and we prefer to see everything in motion, since as things are dematerialised in motion they become idealised, while still retaining, deep down, a strong skeleton of truth.
This is our aim, and it is by these means that we are attempting to raise photography to the heights which today it strives impotently to attain, being deprived of the elements essential for such an elevation because of the criteria of order that make it conform with the precise reproduction of reality. And then, of course, it is also dominated by that ridiculous and brutal negative element, the instantaneous exposure, which has been presented as a great scientific strength when in fact it is a laughable absurdity.
But where the scientific analysis of movement is concerned - that is, in the multiplication of reality for the study of its deformation in motion - we possess not merely one but a whole scale of values applied to an action. We repeat the idea, we insist, we impose and return to it without hesitation and untiringly, until we can affirm it absolutely with the obsessive demonstration of exterior and internal quality which is essential for us.
And it is beyond doubt that by way of such multiplication of entities we will achieve a multiplication of values, capable of enriching any fact with a more imposing personality.
In this way, if we repeat the principal states of the action, the figure of a dancer - moving a foot, in mid-air, pirouetting - will even when not possessing its own trajectory or offering a dynamic sensation, be much more like a dancer, and much more like dancing, than would a single figure frozen in just one of the states that build up a movement.
The picture therefore can be invaded and pervaded by the essence of the subject. It can be obsessed by the subject to the extent that it energetically invades and obsesses the public with its own values. It will not exist as a passive object over which an unconcerned public can take control for its own enjoyment. It will be an active thing that imposes its own extremely free essence on the public, though this will not be graspable with the insipid facility common to all images that are too faithful to ordinary reality.
To further this study of reality multiplied in its volumes, and the multiplication of the lyrical plastic sensation of these, we have conceived a method of research, highly original in its mechanical means, which we have already made known to some of our friends.
But in any case, at the moment we are studying the trajectory, the synthesis of action, that which exerts a fascination over our senses, the vertiginous lyrical expression of life, the lively invoker of the magnificent dynamic feeling with which the universe incessantly vibrates.
We will endeavour to extract not only the aesthetic expression of the motives, but also the inner, sensorial, cerebral and psychic emotions that we feel when an action leaves its superb, unbroken trace.This is in order to offer to others the necessary factors for the reproduction of the desired feeling.And it is on our current researches into the interior of an action that all the emotive artistic values existing in Photodynamism are based.
To those who believe that there is no need for such researches to be conducted with photographic means, given that painting exists, we would point out that, although avoiding competing with painting, and working in totally different fields, the means of photographic science are so swift, so fertile, and so powerful in asserting themselves as much more forward looking and much more in sympathy with the evolution of life than all other old means of representation.
Manifesti del Futurismo
Carmelo Bene - Manifesti del Futurismo
1-Noi vogliamo cantare l'amor del pericolo, l'abitudine all'energia e alla temerità.
2-Il coraggio, l'audacia, la ribellione, saranno elementi essenziali della nostra poesia.
3-La letteratura esaltò fino ad oggi l'immobilità penosa, l'estasi ed il sonno. Noi vogliamo esaltare il movimento aggressivo, l'insonnia febbrile, il passo di corsa, il salto mortale, lo schiaffo ed il pugno.
4-Noi affermiamo che la magnificenza del mondo si è arricchita di una bellezza nuova: la bellezza della velocità
5-Noi vogliamo inneggiare all'uomo che tiene il volante, la cui asta attraversa la Terra, lanciata a corsa, essa pure, sul circuito della sua orbita.
6-Bisogna che il poeta si prodighi con ardore, sfarzo e magnificenza, per aumentare l'entusiastico fervore degli elementi primordiali.
7-Non vi è più bellezza se non nella lotta. Nessuna opera che non abbia un carattere aggressivo può essere un capolavoro.
8-Noi siamo sul patrimonio estremo dei secoli! poiché abbiamo già creata l'eterna velocità onnipresente.
9-Noi vogliamo glorificare la guerra-sola igiene del mondo-il militarismo, il patriottismo, il gesto distruttore
10-Noi vogliamo distruggere i musei, le biblioteche, le accademie d'ogni specie e combattere contro il moralismo, il femminismo e contro ogni viltà opportunistica o utilitaria
11-Noi canteremo le locomotive dall'ampio petto, il volo scivolante degli aeroplani. È dall'Italia che lanciamo questo manifesto di violenza travolgente e incendiaria col quale fondiamo oggi il Futurismo
1-Noi vogliamo cantare l'amor del pericolo, l'abitudine all'energia e alla temerità.
2-Il coraggio, l'audacia, la ribellione, saranno elementi essenziali della nostra poesia.
3-La letteratura esaltò fino ad oggi l'immobilità penosa, l'estasi ed il sonno. Noi vogliamo esaltare il movimento aggressivo, l'insonnia febbrile, il passo di corsa, il salto mortale, lo schiaffo ed il pugno.
4-Noi affermiamo che la magnificenza del mondo si è arricchita di una bellezza nuova: la bellezza della velocità
5-Noi vogliamo inneggiare all'uomo che tiene il volante, la cui asta attraversa la Terra, lanciata a corsa, essa pure, sul circuito della sua orbita.
6-Bisogna che il poeta si prodighi con ardore, sfarzo e magnificenza, per aumentare l'entusiastico fervore degli elementi primordiali.
7-Non vi è più bellezza se non nella lotta. Nessuna opera che non abbia un carattere aggressivo può essere un capolavoro.
8-Noi siamo sul patrimonio estremo dei secoli! poiché abbiamo già creata l'eterna velocità onnipresente.
9-Noi vogliamo glorificare la guerra-sola igiene del mondo-il militarismo, il patriottismo, il gesto distruttore
10-Noi vogliamo distruggere i musei, le biblioteche, le accademie d'ogni specie e combattere contro il moralismo, il femminismo e contro ogni viltà opportunistica o utilitaria
11-Noi canteremo le locomotive dall'ampio petto, il volo scivolante degli aeroplani. È dall'Italia che lanciamo questo manifesto di violenza travolgente e incendiaria col quale fondiamo oggi il Futurismo
3/14/2012
3/13/2012
3/09/2012
GROUPSHOW - NEW EDITIONS / PHOTO EDITION BERLIN
GROUPSHOW - NEW EDITIONS
05 March - 04 April 2012
New works by
Gottfried Jäger | Yotta Kippe | Tor Seidel | Claus Stolz | Eliska Bartek |
Frank Hülsbömer | Manfred Paul | Klaus Dietrich | Jeremy Lynch | Detlev Schneider
Eliška Bartek: CV04 - Cliché Verre, 30 x 40cm, 2011
Tor Seidel, Portrait 6.11.11 (Tryptich), 2012
PHOTO EDITION BERLIN
gallery for contemporary photography
Ystaderstr.14a, D - 10437 Berlin
+49 (0)30 41717831
+49 (0)157 71419616
www.photo-edition-berlin.com
Claus Stolz:Sun 180A, 180E, Heliographie, 80 x 80cm, 2011
PHOTO EDITION BERLIN | Baden-Baden
Nikolaus von Wolff
Büttenstr.7, D - 76530 Baden-Baden
Tel: +49 (0) 152 2635 0944
bb@photo-edition-berlin.com
www.photoeditionberlin.com
05 March - 04 April 2012
New works by
Gottfried Jäger | Yotta Kippe | Tor Seidel | Claus Stolz | Eliska Bartek |
Frank Hülsbömer | Manfred Paul | Klaus Dietrich | Jeremy Lynch | Detlev Schneider
Eliška Bartek: CV04 - Cliché Verre, 30 x 40cm, 2011
Tor Seidel, Portrait 6.11.11 (Tryptich), 2012
PHOTO EDITION BERLIN
gallery for contemporary photography
Ystaderstr.14a, D - 10437 Berlin
+49 (0)30 41717831
+49 (0)157 71419616
www.photo-edition-berlin.com
Claus Stolz:Sun 180A, 180E, Heliographie, 80 x 80cm, 2011
PHOTO EDITION BERLIN | Baden-Baden
Nikolaus von Wolff
Büttenstr.7, D - 76530 Baden-Baden
Tel: +49 (0) 152 2635 0944
bb@photo-edition-berlin.com
www.photoeditionberlin.com
2/27/2012
Sergey Sonin & Elena Samorodova . Egyptian pack. Part one
Man-elk
© Sergey Sonin & Elena Samorodova
Technique: Silver-gelatin print. Hand imprint
Sergey Sonin & Elena Samorodova
Egyptian Pack. Part one
POBEDA gallery
Red October Chocolate factory - Bolotnaya naberezhnaya 3 b. 4
119072 Moscow - Russia
pobeda@pobedagallery.com www.pobedagallery.com
Man-crane
© Sergey Sonin & Elena Samorodova
Technique: Silver-gelatin print. Hand imprint
Sergey Sonin & Elena Samorodova | Egyptian pack. Part one
«Egyptian pack» evokes many associations - here are both Petersburgers favorite topic of werewolves (see the movie of E. Yufit «Corpsmen werewolves») and references to the Perm animal style. Also we can recall British film «The Wicker Man» (1973) with its ritual procession of the man-beasts, however Sonin himself watched it when the work on the first part was about to end. A year ago, Sergey Sonin and Elena Samorodova, who always had a weakness for Mask culture, began to make masks of key players, the "national - romantic mythological hallucinosis» as they call it, or in short, - the living totems. It was necessary to show their impact with land-marks. Actually, «Pack»– is a marked territory.
Owls-sisters
© Sergey Sonin & Elena Samorodova
Technique: Silver-gelatin print. Hand imprint
«Egyptian pack» contains humor in Kierkegaard's sense of the word. To paraphrase Kierkegaard, the heroes of this shooting are not humorists, but, apparently, they are comedians. Sometimes it's really quite funny, especially if you know who is hiding behind the masks (for example, Man-moose - actor and director Konstantin Murzenko, Man-boar - artist Alexey Belyaev-Gintovt, etc.).
However, it does not stop at laughing. The last project of the creative duo - «Generals of the 70’s», was also devoted to the game with disguises, but there the heroes were, at least, in harmony with their environment. The characters of «Egyptian pack», probably, are in limbo – they are some kind of anthropomorphic incognito, which to the full no longer belong to nature, but are moving somewhere beyond it.
Sonin himself, talking about the exhibition, says more about the lost Russian Gothic and calls his style «guerrilla photorealism.» To my taste, «Egyptian pack» - is rather a fable, in which instead of morality there is a hallucination, as optical experience. Hallucinations of the field artists, rather than the routine of everyday life nonsense. And this hallucinations are more Anglo-Saxon. This is seen especially in the second part of « Egyptian pack», which is now in operation.
However, the imperative hallucinations of artists, in the end, purge from the mind all redundant interpretations, so that we can only confidentially state – saw a man-beast.
Maxim Semelyak, December 2011
Man-badger
© Sergey Sonin & Elena Samorodova
Technique: Silver-gelatin print. Hand imprint
Emmanuelle Bousquet. Illusion
e-Announcement photography-now.com
© Emmanuelle Bousquet Illusion#5
courtesy acte2galerie
Emmanuelle Bousquet | Illusion
February 2 - March 2, 2012
du 2 février au 2 mars 2012
courtesy acte2galerie
Emmanuelle Bousquet . Illusion
“I began my first self-portraits at the age of 10. My maternal grandmother was the spark for this new passion. She was the one who bought me a little red Kodak, even if I remember having to go to great lengths in order to get it. In my first snapshots, I took center stage in front of the camera. I just reproduced what I knew: fashion models. Born to a family of designers, fashion was my only reference point.“
As a teenager, Emmanuelle Bousquet approached photography in a more serious manner, essentially using the medium as a form of expression. She began to photograph the two women closest to her, her mother and her sister, and herself as well. It seemed to her logical to use her own body in the same way that a painter uses his paint.
In so doing, she passed to the other side of the mirror and made her first attempt at a photographic series, in black and white, in which all three women appear.
In 2004, she meet the photographer Antoine d’Agata, who suggested that she dive right into the universe of self-portraiture in a more direct, refined way, with the least amount of references to fashion or society possible. Hence, a timeless style is born; from that point on, the crude underlying realism that emanates from Emmanuelle’s photographs is visible. Taking refuge for several weeks thereafter in places of comfort to the artist, she produced her first true series of self-portraits, entitled “Troubles.”
Subsequently, she has continued to develop this approach, while deepening her work on the femininity seen through the evolutions of her body. Enabled by the introspection acquired with Antoine d'Agata, Emmanuelle cultivated more aesthetic, symbolic concepts in her work, and defined the mise-en-scene that has become the marker of her photographic style.
"Illusion" is her third series of photographic self-portraits. Composing a group of pictorial, mystical, timeless images, they are the fruits of indeth aesthetic and existential study; the product is the worldview of an artist seen through the prism of her own reflection.
© Emmanuelle Bousquet Illusion#15
courtesy acte2galerie
© Emmanuelle Bousquet Illusion#30
courtesy acte2galerie
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
© Emmanuelle Bousquet Illusion#5
courtesy acte2galerie
Emmanuelle Bousquet | Illusion
February 2 - March 2, 2012
du 2 février au 2 mars 2012
courtesy acte2galerie
Emmanuelle Bousquet . Illusion
“I began my first self-portraits at the age of 10. My maternal grandmother was the spark for this new passion. She was the one who bought me a little red Kodak, even if I remember having to go to great lengths in order to get it. In my first snapshots, I took center stage in front of the camera. I just reproduced what I knew: fashion models. Born to a family of designers, fashion was my only reference point.“
As a teenager, Emmanuelle Bousquet approached photography in a more serious manner, essentially using the medium as a form of expression. She began to photograph the two women closest to her, her mother and her sister, and herself as well. It seemed to her logical to use her own body in the same way that a painter uses his paint.
In so doing, she passed to the other side of the mirror and made her first attempt at a photographic series, in black and white, in which all three women appear.
In 2004, she meet the photographer Antoine d’Agata, who suggested that she dive right into the universe of self-portraiture in a more direct, refined way, with the least amount of references to fashion or society possible. Hence, a timeless style is born; from that point on, the crude underlying realism that emanates from Emmanuelle’s photographs is visible. Taking refuge for several weeks thereafter in places of comfort to the artist, she produced her first true series of self-portraits, entitled “Troubles.”
Subsequently, she has continued to develop this approach, while deepening her work on the femininity seen through the evolutions of her body. Enabled by the introspection acquired with Antoine d'Agata, Emmanuelle cultivated more aesthetic, symbolic concepts in her work, and defined the mise-en-scene that has become the marker of her photographic style.
"Illusion" is her third series of photographic self-portraits. Composing a group of pictorial, mystical, timeless images, they are the fruits of indeth aesthetic and existential study; the product is the worldview of an artist seen through the prism of her own reflection.
© Emmanuelle Bousquet Illusion#15
courtesy acte2galerie
© Emmanuelle Bousquet Illusion#30
courtesy acte2galerie
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
ARCTIC HYSTERIA. CONTEMPORARY ART FROM FINLAND
e-Announcement photography-now.com
© Salla Tykkä
State Russian Museum and Exhibition Centre for Photography ROSPHOTO
Artists' Association of Finland (AAF)
Ministry for Culture of the Russian Federation
ARCTIC HYSTERIA. CONTEMPORARY ART FROM FINLAND
Veli Granö | Ilkka Halso | Pekka Jylhä | Tellervo Kalleinen & Oliver Kochta-Kalleinen | Reijo Kela | Erkki Kurenniemi | Tea Mäkipää | Pink Twins | Petri Sirviö/The Screaming Men | Anni Rapinoja | Jari Silomäki | Mika Taanila | Salla Tykkä
3 february 2012 - 1 april 2012
Opening: 2 February 2012 at 18:00
ROSPHOTO Fron Building exhibition hall, 2 floor
ROSPHOTO State Museum and Exhibition Centre for Photography
Ministry for Culture of the Russian Federation
35 Bolshaya Morskaya , 191186 Saint-Petersburg
office@rosphoto.org www.rosphoto.org
© Tea Mäkipää
ARCTIC HYSTERIA. CONTEMPORARY ART FROM FINLAND
Applying cultural clichés as a catalyst, the exhibition focuses on stereotypes, which has given cultural meaning to the specificities of a given region, Finland. Literally speaking Finland does not belong to the Arctic in a geographic sense, but the Finns are – as are, say, the Russians, the French and the English – believed to have specific national characteristics. A cliché often repeated, when discussing Finnish people, is their supposedly close connection with nature.
In fact, the humanity-nature relationship emerges as a sort of connecting thread throughout Arctic Hysteria, bridging generations and boundaries of genre in Finnish contemporary art. The utopian optimism of the 1960s and 1970s concerning technological progress is confronted with an anxiety about the environment and future in the works of younger artists. This reflects a general change that has happened in the world at large during the last four decades: From the science-fiction utopia of a new era, a space age, we have to get back to Earth and acknowledge a reality in which, after centuries of neglect, we have no choice but to take seriously environmental threats such as the climate change.
© Jari Silomäki
Arctic Hysteria is an intriguing review of Finnish contemporary art curated by Alanna Heiss (New York) and Marketta Seppälä (Helsinki). The exhibition is comprised of the works of over 15 contemporary Finnish artists focusing especially on mediums of photo, film, video and sound installation: Veli Granö, Ilkka Halso, Pekka Jylhä, Tellervo Kalleinen & Oliver Kochta-Kalleinen, Reijo Kela, Erkki Kurenniemi, Tea Mäkipää, Pink Twins, Petri Sirviö/The Screaming Men, Anni Rapinoja, Jari Silomäki, Mika Taanila and Salla Tykkä. Curators: Alanna Heiss (USA) and Marketta Haila (Finland).
The exhibition is organized in St. Petersburg by State Museum and Exhibition Centre ROSPHOTO and the Artists’ Association of Finland with the support of FRAME Finnish Fund for Art Exchange.The exhibition is made possible by the Ministry of Education and Culture Finland, Gerda and Salomo Wuorio Foundation, Alfred Kordelin Foundation, Finnish Cultural Foundation, Finnish Film Foundation, Arts Council of Finland, AVEK (The Promotion Centre for Audiovisual Culture), and Finnish Cultural Institute in St. Petersburg.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
© Salla Tykkä
State Russian Museum and Exhibition Centre for Photography ROSPHOTO
Artists' Association of Finland (AAF)
Ministry for Culture of the Russian Federation
ARCTIC HYSTERIA. CONTEMPORARY ART FROM FINLAND
Veli Granö | Ilkka Halso | Pekka Jylhä | Tellervo Kalleinen & Oliver Kochta-Kalleinen | Reijo Kela | Erkki Kurenniemi | Tea Mäkipää | Pink Twins | Petri Sirviö/The Screaming Men | Anni Rapinoja | Jari Silomäki | Mika Taanila | Salla Tykkä
3 february 2012 - 1 april 2012
Opening: 2 February 2012 at 18:00
ROSPHOTO Fron Building exhibition hall, 2 floor
ROSPHOTO State Museum and Exhibition Centre for Photography
Ministry for Culture of the Russian Federation
35 Bolshaya Morskaya , 191186 Saint-Petersburg
office@rosphoto.org www.rosphoto.org
© Tea Mäkipää
ARCTIC HYSTERIA. CONTEMPORARY ART FROM FINLAND
Applying cultural clichés as a catalyst, the exhibition focuses on stereotypes, which has given cultural meaning to the specificities of a given region, Finland. Literally speaking Finland does not belong to the Arctic in a geographic sense, but the Finns are – as are, say, the Russians, the French and the English – believed to have specific national characteristics. A cliché often repeated, when discussing Finnish people, is their supposedly close connection with nature.
In fact, the humanity-nature relationship emerges as a sort of connecting thread throughout Arctic Hysteria, bridging generations and boundaries of genre in Finnish contemporary art. The utopian optimism of the 1960s and 1970s concerning technological progress is confronted with an anxiety about the environment and future in the works of younger artists. This reflects a general change that has happened in the world at large during the last four decades: From the science-fiction utopia of a new era, a space age, we have to get back to Earth and acknowledge a reality in which, after centuries of neglect, we have no choice but to take seriously environmental threats such as the climate change.
© Jari Silomäki
Arctic Hysteria is an intriguing review of Finnish contemporary art curated by Alanna Heiss (New York) and Marketta Seppälä (Helsinki). The exhibition is comprised of the works of over 15 contemporary Finnish artists focusing especially on mediums of photo, film, video and sound installation: Veli Granö, Ilkka Halso, Pekka Jylhä, Tellervo Kalleinen & Oliver Kochta-Kalleinen, Reijo Kela, Erkki Kurenniemi, Tea Mäkipää, Pink Twins, Petri Sirviö/The Screaming Men, Anni Rapinoja, Jari Silomäki, Mika Taanila and Salla Tykkä. Curators: Alanna Heiss (USA) and Marketta Haila (Finland).
The exhibition is organized in St. Petersburg by State Museum and Exhibition Centre ROSPHOTO and the Artists’ Association of Finland with the support of FRAME Finnish Fund for Art Exchange.The exhibition is made possible by the Ministry of Education and Culture Finland, Gerda and Salomo Wuorio Foundation, Alfred Kordelin Foundation, Finnish Cultural Foundation, Finnish Film Foundation, Arts Council of Finland, AVEK (The Promotion Centre for Audiovisual Culture), and Finnish Cultural Institute in St. Petersburg.
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Lynn Davis.theme of water: Icebergs (1986-2007), Evening/Northumberland Strait (1993-1996) and China (2001)
e-Announcement photography-now.com
Iceberg IV, Disko Bay, Greenland, 2004.
Gold toned gelatin silver print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
Lynn Davis
2 February – 19 May 2012
Vernissage | Thursday | 2 February | 6 – 8 pm
Stockerstr. 33, CH-8022 Zurich Switzerland
+41 (0)44 202 69 25 zuerich@houkgallery.com http://www.houkgallery.com
Opening hours: Tues-Fri 11am-6pm, Sat 11am-5pm
Evening/Northumberland Strait XI, 1994.
Selenium toned gelatin silver print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
Lynn Davis
Galerie Edwynn Houk Zurich is pleased to announce an exhibition of important photographs by Lynn Davis (American, b. 1944). The show takes place from 2 February to 19 May 2012 and draws from three series that span the artist’s prolific career and are based around the theme of water: Icebergs (1986-2007), Evening/Northumberland Strait (1993-1996) and China (2001).
Water in its various forms and spectacular manifestations around the globe has been a recurring subject and source of inspiration for Lynn Davis. She approaches every place intuitively and photographs each with a minimalist sensibility, stripping it bare of content and meaning in an attempt to capture its essence. She meticulously extracts basic geometric compositions that in return link one site with another, one body of work with the next. Davis transforms her negatives into luminous and exquisite black-and-white prints, painstakingly toning each with gold or selenium in order to achieve an even richer, more detailed photograph.
When Davis was first learning to make photographs together with her close friend and co-conspirator, Robert Mapplethorpe, her work focused on the nude form. These formative works were made with the same visual style and formal rigor that ultimately became Davis’ hallmark, which suited her perfectly when she eventually abandoned the studio in favor of the world at large.
After Davis’ first trip to Greenland in 1986, her work changed dramatically in response to finding a sense of placidity in the forms and illuminations of icebergs. Subsequently, Davis has travelled to more than 70 countries and sought out some of the most remote monuments—both, natural and human-made—on a quest to portray these timeless places “of all cultures in every country.” However, over time her journeys to a world of wonders became less about exhaustive documentation than the search for an inner, almost spiritual connection with the universality of their basic forms.
In 2005, the American Academy of Arts and Letters awarded Davis an Academy Award in Art, making her the first photographer ever to earn such an honor. Her photographs have been exhibited internationally and collected widely. Her work appears in the collections of the Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Chicago Museum of Contemporary Art, the Houston Museum of Fine Arts, and the J. Paul Getty Museum in Los Angeles, which held an important exhibition of Davis’ photographs in 1999.
Iceberg VI, Disko Bay, Greenland, 2004.
Selenium toned gelatin silver enlargement print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Iceberg IV, Disko Bay, Greenland, 2004.
Gold toned gelatin silver print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
Lynn Davis
2 February – 19 May 2012
Vernissage | Thursday | 2 February | 6 – 8 pm
Stockerstr. 33, CH-8022 Zurich Switzerland
+41 (0)44 202 69 25 zuerich@houkgallery.com http://www.houkgallery.com
Opening hours: Tues-Fri 11am-6pm, Sat 11am-5pm
Evening/Northumberland Strait XI, 1994.
Selenium toned gelatin silver print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
Lynn Davis
Galerie Edwynn Houk Zurich is pleased to announce an exhibition of important photographs by Lynn Davis (American, b. 1944). The show takes place from 2 February to 19 May 2012 and draws from three series that span the artist’s prolific career and are based around the theme of water: Icebergs (1986-2007), Evening/Northumberland Strait (1993-1996) and China (2001).
Water in its various forms and spectacular manifestations around the globe has been a recurring subject and source of inspiration for Lynn Davis. She approaches every place intuitively and photographs each with a minimalist sensibility, stripping it bare of content and meaning in an attempt to capture its essence. She meticulously extracts basic geometric compositions that in return link one site with another, one body of work with the next. Davis transforms her negatives into luminous and exquisite black-and-white prints, painstakingly toning each with gold or selenium in order to achieve an even richer, more detailed photograph.
When Davis was first learning to make photographs together with her close friend and co-conspirator, Robert Mapplethorpe, her work focused on the nude form. These formative works were made with the same visual style and formal rigor that ultimately became Davis’ hallmark, which suited her perfectly when she eventually abandoned the studio in favor of the world at large.
After Davis’ first trip to Greenland in 1986, her work changed dramatically in response to finding a sense of placidity in the forms and illuminations of icebergs. Subsequently, Davis has travelled to more than 70 countries and sought out some of the most remote monuments—both, natural and human-made—on a quest to portray these timeless places “of all cultures in every country.” However, over time her journeys to a world of wonders became less about exhaustive documentation than the search for an inner, almost spiritual connection with the universality of their basic forms.
In 2005, the American Academy of Arts and Letters awarded Davis an Academy Award in Art, making her the first photographer ever to earn such an honor. Her photographs have been exhibited internationally and collected widely. Her work appears in the collections of the Museum of Modern Art in New York, the Los Angeles County Museum of Art, the Chicago Museum of Contemporary Art, the Houston Museum of Fine Arts, and the J. Paul Getty Museum in Los Angeles, which held an important exhibition of Davis’ photographs in 1999.
Iceberg VI, Disko Bay, Greenland, 2004.
Selenium toned gelatin silver enlargement print.
© Lynn Davis, Courtesy Edwynn Houk Gallery, New York/Zurich
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
Chris Engman. The Artist as an Explorer
e-Announcement photography-now.com
The Haul, 2006
© Chris Engman /Courtesy Galerie Clair
Chris Engman
The Artist as an Explorer
January 26 - February 25 2012
Opening: Thursday, January 26 2012, 7 pm
Franz-Joseph-Str. 10, 80801 Munichm +49 (0)89 38 66 74 42
info@clair.me http://www.clair.me
The Audience, 2004
© Chris Engman /Courtesy Galerie Clair
Chris Engman | The Artist as an Explorer
"My work calls attention to our misperceptions: the gulf that exists between how we see and how we think we see, how we think and how we think we think, and the inconstant and constructed nature of memory. My photographs are documentations of sculptures and installations but also records of actions and elaborate processes. They are acts of reverence and participation in a deep and reassuring natural order much larger than myself. " Chris Engman
Chris Engman's images are not quite what they seem. They make use of the language of landscape photography to create a feeling of familiarity on first glance. A second look suggests that not all is as it should be. By intervening in the natural landscape to create installations for the camera, Engman makes photographs that challenge the dichotomy between the natural and the artificial and are a subtle commentary on the act of taking a photograph.
The Meeting, 2004
© Chris Engman /Courtesy Galerie Clair
Based in Seattle, Engman uses the vast empty landscapes of eastern Washington as both the backdrop and the focus of his images. Although his medium is photography, his artistic process is quite different from that of the 'traditional' landscape photographer. Rather than taking his camera out to respond to the environment around him, Engman's images begin with an idea. "I write about it, turn it over in my mind, and gradually the requirements for a site take shape." He does not look to sublimate the beauty of the natural landscape or to document or comment on its transformation. Instead Engman uses the landscape as his toolbox, as the raw material with which to give form to his ideas.
In some ways his approach could be considered anti-photographic. Rather than using the camera to record or document reality, he manipulates the physical world to create an image specifically for the camera. Self-described as "a sculptor or installation artist who uses photography as a tool", Engman's approach is closer to that of Land artists such as Robert Smithson or Richard Long than to much of contemporary landscape photography.
[ ... ] Whereas most manipulation in photography today is camouflaged or hidden, Engman's interventions are designed to remind us of the fact that photography—and perhaps even the act of looking itself—is inherently a process of visual manipulation. He uses the basic tools of the medium (perspective, framing, light and shadow) not as a comment on the authenticity of analog photography versus the fabrication of digital, but rather as a reminder that photography can never be an objective or truthful medium.
Marc Feustel, Author and Curator, Paris
Variations, 2010
© Chris Engman /Courtesy Galerie Clair
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
The Haul, 2006
© Chris Engman /Courtesy Galerie Clair
Chris Engman
The Artist as an Explorer
January 26 - February 25 2012
Opening: Thursday, January 26 2012, 7 pm
Franz-Joseph-Str. 10, 80801 Munichm +49 (0)89 38 66 74 42
info@clair.me http://www.clair.me
The Audience, 2004
© Chris Engman /Courtesy Galerie Clair
Chris Engman | The Artist as an Explorer
"My work calls attention to our misperceptions: the gulf that exists between how we see and how we think we see, how we think and how we think we think, and the inconstant and constructed nature of memory. My photographs are documentations of sculptures and installations but also records of actions and elaborate processes. They are acts of reverence and participation in a deep and reassuring natural order much larger than myself. " Chris Engman
Chris Engman's images are not quite what they seem. They make use of the language of landscape photography to create a feeling of familiarity on first glance. A second look suggests that not all is as it should be. By intervening in the natural landscape to create installations for the camera, Engman makes photographs that challenge the dichotomy between the natural and the artificial and are a subtle commentary on the act of taking a photograph.
The Meeting, 2004
© Chris Engman /Courtesy Galerie Clair
Based in Seattle, Engman uses the vast empty landscapes of eastern Washington as both the backdrop and the focus of his images. Although his medium is photography, his artistic process is quite different from that of the 'traditional' landscape photographer. Rather than taking his camera out to respond to the environment around him, Engman's images begin with an idea. "I write about it, turn it over in my mind, and gradually the requirements for a site take shape." He does not look to sublimate the beauty of the natural landscape or to document or comment on its transformation. Instead Engman uses the landscape as his toolbox, as the raw material with which to give form to his ideas.
In some ways his approach could be considered anti-photographic. Rather than using the camera to record or document reality, he manipulates the physical world to create an image specifically for the camera. Self-described as "a sculptor or installation artist who uses photography as a tool", Engman's approach is closer to that of Land artists such as Robert Smithson or Richard Long than to much of contemporary landscape photography.
[ ... ] Whereas most manipulation in photography today is camouflaged or hidden, Engman's interventions are designed to remind us of the fact that photography—and perhaps even the act of looking itself—is inherently a process of visual manipulation. He uses the basic tools of the medium (perspective, framing, light and shadow) not as a comment on the authenticity of analog photography versus the fabrication of digital, but rather as a reminder that photography can never be an objective or truthful medium.
Marc Feustel, Author and Curator, Paris
Variations, 2010
© Chris Engman /Courtesy Galerie Clair
photography-now.com
Torstr. 218 | 10115 Berlin | Editor: Claudia Stein
contact@photography-now.com | T +49.30.24 34 27 80
2/16/2012
manolis Kassimatis: fotografando musicante P.J. Harvey
μανολης κασιματης: φωτογραφιζοντας την μουσικο P. J. HARVEY
1/21/2012
Christina Z. Anderson.The Experimental Photography Workbook, 6th edition
The Experimental Photography Workbook,
6th edition, is a completely revised and updated version, professionally published, now with full-color images from over 100 photographers illustrating all processes. Inside you will find succinct how-to’s on photograms, clichés-verres, lumenprints, chemigrams, photo-chemigrams, collage, photomontage, photo transfers, pinhole, zoneplate, holga, paper negatives, sabattier, chromoskedasic printing, painting with light, lith printing, liquid emulsion, modern tintype, mordançage, dye mordanting, bleachout, toning, applied color, abrasion tone, bromoil, encaustic, distressing film, etc. The Workbook is the perfect “short & sweet” manual to put play back into the analog black & white darkroom, and will be a perfect impetus to increased creativity for students and professionals alike. What’s in it for me?
Table of contents
Preface to the 6th Edition
Supply List
Section 1: (Mostly) Camera-less Experimentation
Chapter 1 Photograms and Clichés-Verre
Chapter 2 Lumenprints
Chapter 3 Collage and Photomontage
Chapter 4 Photo Transfers
Section 2: Camera and Film Experimentation
Chapter 5 Pinhole and Zoneplate
Pinhole Exposure Tables
Chapter 6 The Holga
Chapter 7 In-Camera Tips
After Dark Chart
Chapter 8 Film Experimentation
Chapter 9 Paper Negatives
Section 3: Darkroom Experimentation
Chapter 10 Sabattier/alias Solarization
Chapter 11 Lith Printing
Chapter 12 Liquid Emulsion
Chapter 13 Modern Tintype
Chapter 14 Miscellaneous Darkroom Techniques
Section 4: Colorful Monochrome
Chapter 15 The Chemigram
Chapter 16 The Photo + Chemigram
Chapter 17 Toning, Traditional & Experimental
Chapter 18 Abrasion Tone
Chapter 19 Applied Color
Chapter 20 Dye Mordanting
Section 5: Finished Print Experimentation
Chapter 21 Mordançage
Chapter 22 Bleaching and Bleachout
Chapter 23 Bromoil
Chapter 24 Encaustic
Appendix
Time/Temperature Chart
F-Stop Printing Chart
Print Exposure Change Table
Chemical Weights (g to tsp)
Conversion Table, Quick and Easy
Units of Measurement
Sample Syllabus
Sources for Supplies
Recommended Reading
Index
Details
260 pages with 276 photographs
ISBN no: 978-0-9846816-0-0 Published by Z Photo Press 2012
English Softcover: 8.5 x 10.75 x .53 inches
About Christina
Christina Z. Anderson is Assistant Professor of Photography and Photo Option Coordinator at Montana State University, Bozeman, where she specializes in alternative and experimental process photography. She has authored three books: Tutti Nudi, Reflections on the Reemergence of the Nude during the Italian Renaissance, The Experimental Photography Workbook, and Alternative Processes, Condensed. In the works is a comprehensive book on the history and practice of gum printing. Anderson’s alternative process works have been published in The Book of Alternative Photographic Processes, 2nd Edition, Photographic Possibilities, 3rd Edition, PhotoTechnique Magazine, the British Journal of Photography, and Silvershotz and exhibited in over 65 shows in 22 states as well as Puerto Rico, China, Belgium, England, and New Zealand.
Her web address is http://christinazanderson.com
6th edition, is a completely revised and updated version, professionally published, now with full-color images from over 100 photographers illustrating all processes. Inside you will find succinct how-to’s on photograms, clichés-verres, lumenprints, chemigrams, photo-chemigrams, collage, photomontage, photo transfers, pinhole, zoneplate, holga, paper negatives, sabattier, chromoskedasic printing, painting with light, lith printing, liquid emulsion, modern tintype, mordançage, dye mordanting, bleachout, toning, applied color, abrasion tone, bromoil, encaustic, distressing film, etc. The Workbook is the perfect “short & sweet” manual to put play back into the analog black & white darkroom, and will be a perfect impetus to increased creativity for students and professionals alike. What’s in it for me?
Table of contents
Preface to the 6th Edition
Supply List
Section 1: (Mostly) Camera-less Experimentation
Chapter 1 Photograms and Clichés-Verre
Chapter 2 Lumenprints
Chapter 3 Collage and Photomontage
Chapter 4 Photo Transfers
Section 2: Camera and Film Experimentation
Chapter 5 Pinhole and Zoneplate
Pinhole Exposure Tables
Chapter 6 The Holga
Chapter 7 In-Camera Tips
After Dark Chart
Chapter 8 Film Experimentation
Chapter 9 Paper Negatives
Section 3: Darkroom Experimentation
Chapter 10 Sabattier/alias Solarization
Chapter 11 Lith Printing
Chapter 12 Liquid Emulsion
Chapter 13 Modern Tintype
Chapter 14 Miscellaneous Darkroom Techniques
Section 4: Colorful Monochrome
Chapter 15 The Chemigram
Chapter 16 The Photo + Chemigram
Chapter 17 Toning, Traditional & Experimental
Chapter 18 Abrasion Tone
Chapter 19 Applied Color
Chapter 20 Dye Mordanting
Section 5: Finished Print Experimentation
Chapter 21 Mordançage
Chapter 22 Bleaching and Bleachout
Chapter 23 Bromoil
Chapter 24 Encaustic
Appendix
Time/Temperature Chart
F-Stop Printing Chart
Print Exposure Change Table
Chemical Weights (g to tsp)
Conversion Table, Quick and Easy
Units of Measurement
Sample Syllabus
Sources for Supplies
Recommended Reading
Index
Details
260 pages with 276 photographs
ISBN no: 978-0-9846816-0-0 Published by Z Photo Press 2012
English Softcover: 8.5 x 10.75 x .53 inches
About Christina
Christina Z. Anderson is Assistant Professor of Photography and Photo Option Coordinator at Montana State University, Bozeman, where she specializes in alternative and experimental process photography. She has authored three books: Tutti Nudi, Reflections on the Reemergence of the Nude during the Italian Renaissance, The Experimental Photography Workbook, and Alternative Processes, Condensed. In the works is a comprehensive book on the history and practice of gum printing. Anderson’s alternative process works have been published in The Book of Alternative Photographic Processes, 2nd Edition, Photographic Possibilities, 3rd Edition, PhotoTechnique Magazine, the British Journal of Photography, and Silvershotz and exhibited in over 65 shows in 22 states as well as Puerto Rico, China, Belgium, England, and New Zealand.
Her web address is http://christinazanderson.com
1/15/2012
Η Φωτογραφική Λέσχη Λιβαδειάς φιλοξενεί το Χρήστο Λαμπριανίδη.Σάββατο 21 Ιανουαρίου 2012
Η Φωτογραφική Λέσχη Λιβαδειάς φιλοξενεί το Χρήστο Λαμπριανίδη το Σάββατο 21 Ιανουαρίου 2012 και ώρα 7.00 μ.μ. Χώρος: Αίθουσα Φωτογραφικής Λέσχης Λιβαδειάς - Μπουφίδου 32 - 34 Ώρα:7.00 μ.μ. Είσοδος Ελεύθερη O Χρήστος Λαμπριανίδης παρουσιάζει τη δική του προσέγγιση στην Εννοιολογική φωτογραφία. Από τον Φειδία στον Καραβάτσιο και από τον Κόπολα στο Photoshop. Μια διαδρομή που ξεκινά από τη γλυπτική της αρχαιότητας περνά στη ζωγραφική και τον κινηματογράφο και καταλήγει στα πιο σύγχρονα εργαλεία επεξεργασίας φωτογραφίας.
Βιογραφικό: Ο Χρήστος Λαμπριανίδης ζει μόνιμα στην Κοζάνη. Το επάγγελμά του είναι καθηγητής Πληροφορικής. Ασχολείται με τη φωτογραφία από το 2006. Δίδαξε Photoshop στο Φωτογραφικό Εργαστήρι του Δήμου Κοζάνης, στη Φωτογραφική Λέσχη Κοζάνης καθώς και στη Φωτογραφική Ομάδα του Τ.Ε.Ι. Δυτικής Μακεδονίας. Συμμετείχε σε 7 ομαδικές εκθέσεις καθώς και σε ένα λεύκωμα με δύο άλλους φωτογράφους. Δουλειές του έχουν επιλεγεί και παρουσιαστεί στον έντυπο και ηλεκτρονικό τύπο της Ελλάδας και του εξωτερικού (Fuctart, Point of Simplicity Digital Photos κ.α.). Συνεντεύξεις και δουλειά του έχουν δημοσιευτεί σε εφημερίδες και ένθετα. (Ελευθεροτυπία, Βήμαγκαζίνο, Ποντίκι, Καθημερινή κ.α) όπως επίσης και σε τηλεοπτικά μέσα (ΣΚΑΙ - Γυρίσματα) Φωτογραφίες του έχουν διακριθεί και βραβευτεί σε διαγωνισμούς τόσο στην Ελλάδα όσο και στο εξωτερικό. Επίσης έχουν γίνει εξώφυλλα σε audio CD στην Ελλάδα, στις Η.Π.Α και Μεγάλη Βρετανία καθώς και σε βιβλία της Ελλάδας και του εξωτερικού. Είναι βραβευμένος με το μετάλλιο της PSA (Photographic Society of America)
Ιστοσελίδα www.christos-lamprianidis.gr
1/03/2012
Παρουσίαση της φωτογραφικής δουλείας της Έυας Βουτσάκη στη ΛΕ.Φ.ΚΙ.
Η Λέσχη Φωτογραφίας και Κινηματογράφου Χανίων υποδέχεται με χαρά την καταξιωμένη χανιώτισα φωτογράφο σε Ελλάδα και εξωτερικό Έυα Βουτσάκη η οποία θα παρουσιάσει μέρος της δουλειάς της. Η παρουσίαση θα γίνει την Τετάρτη 4 Ιανουαρίου 2012, ώρα 6:30 μ.μ. στο Καφενείο Άσωτος Υιός στο Κουμ Καπί, στα Χανιά.
Η Ευαγγελία Βουτσάκη γεννήθηκε το 1978 στα Χανιά. Απο το 1997 εως το 2006 έζησε στη Θεσσαλονίκη και στην Κωνσταντινούπολη όπου σπούδασε Νομικη (ΑΠΘ) και Τούρκικα (ΙΜΧΑ και TOMER). Τη μαγεία του σκοτεινού θαλάμου την έζησε ως μέλος του Φωτογραφικού Ομίλου ΑΠΘ (ΦΟΑΠΘ). Το 2008 πήρε την υποτροφία του ΙΚΥ για μεταπτυχιακές/διδακτορικες σπουδές στη φωτογραφία. Απο τότε ζεί στην Αγγλία και ασχολείται με την έννοια της προσωπικής φωτογραφιας, τους μύθους και τις αναμνήσεις, τα όνειρα και τις αφηγήσεις. Στην πορεία παρακολούθησε ένα 4μηνο σεμινάριο για τη Θεραπεία μέσω Τέχνης απο το BAAT του Λονδίνου και ένα εντατικό μηνιαίο σεμινάριο Φωτογραφίας Κινηματογράφου απο τα Ealing Studios.
H σειρά της Ίχνη Εντός έχει διακριθεί στους διαγωνισμούς Prix de la Photographie Paris 2008-9, Festival Voies Off, Foto8 Summer awards και έχει εκτεθεί μεταξύ άλλων στο Μουσείο Μοντέρνας Τέχνης της Ρώμης, Gallery HOST, OPEN’09 PhotoFringe, Arles Festival, γκαλερύ ΒΟΜ της Σεούλ, γκαλερύ Μελάνυθρος στην Αθήνα, γκαλερύ Μενιέρ στο Λονδίνο και Ινστιτούτο Γκαίτε της Λετονίας.
Προς το παρόν διδάσκει στο Friends Centre του Μπράιτον Υποκειμενική φωτογραφία/προσωπική αφήγηση και δημιουργία φωτογραφικού βιβλίου.
Τέλη του 2012 τα Ιχνη Εντός θα εκδοθούν απο το Editorial RM και το Crowdbooks.
http://www.evavoutsaki.com
http://evavoutsaki.blogspot.com/
12/11/2011
Νανά Στεπανιάν. ΕΝΑ ΠΑΡΑΜΥΘΙ ΣΕ ΜΙΑ ΑΛΗΘΕΙΑ
ΕΝΑ ΠΑΡΑΜΥΘΙ ΣΕ ΜΙΑ ΑΛΗΘΕΙΑ
Εικαστική έκθεση μικτής τεχνικής της Νανάς Στεπανιάν
Διάρκεια: Από 9 έως 31 Δεκεμβρίου 2011
Που: Στο Booze Cooperativa, Κολοκοτρώνη 57 – Αθήνα
Είσοδος: Ελεύθερη Ωράριο: Καθημερινά 2μμ έως 8μμ
Ζωγραφική, χρώματα, κολάζ, τυπωμένες εικόνες αντικειμένων από προσωπικές συλλογές πάνω σε ασπρόμαυρες φωτογραφίες συνθέτουν ''ένα παραμύθι σε μία αλήθεια''.
Αισιόδοξη - απαισιόδοξη
δυνατή - αδύνατη
τολμηρή - ατολμή
χαλαρή - σχολαστική
παιδί - γυναίκα
παιχνίδι - πραγματικότητα
φτωχιά - πλούσια
χαρά – θλίψη
Δύσκολο να με χαρακτηρίσω αφού είμαι όλα αυτά μαζί, δύσκολο να χαρακτηρίσω τα έργα μου που βγαίνουν απ΄όλα αυτά τα κομμάτια μου, την αλήθεια, το ψέμα, την παιδικότητα που
κουβαλάω στα πενήντα ένα μου χρόνια, την εικόνα των χρωμάτων, την εικόνα της υπερβολής, την εικόνα ''του ότι λάμπει δεν είναι πάντα χρυσός''.
Λέγομαι Νανά Στεπανιάν.
ΕΠΙΚΟΙΝΩΝΙΑ ΒΟΟΖΕ COOPERATIVA:
Άρτεμις Λειβαδάρου / Artemis Livadarou
Οργάνωση πολιτιστικών δρώμενων / Administrative department
Κοπερατίβα Τέχνης / Booze Cooperativa
Κολοκοτρώνη 57 Αθήνα / 57 Kolokotroni Str. Athens
Τηλ./Tel.: 2103240944 / 2114000863
www.boozecooperativa.com
Εικαστική έκθεση μικτής τεχνικής της Νανάς Στεπανιάν
Διάρκεια: Από 9 έως 31 Δεκεμβρίου 2011
Που: Στο Booze Cooperativa, Κολοκοτρώνη 57 – Αθήνα
Είσοδος: Ελεύθερη Ωράριο: Καθημερινά 2μμ έως 8μμ
Ζωγραφική, χρώματα, κολάζ, τυπωμένες εικόνες αντικειμένων από προσωπικές συλλογές πάνω σε ασπρόμαυρες φωτογραφίες συνθέτουν ''ένα παραμύθι σε μία αλήθεια''.
Αισιόδοξη - απαισιόδοξη
δυνατή - αδύνατη
τολμηρή - ατολμή
χαλαρή - σχολαστική
παιδί - γυναίκα
παιχνίδι - πραγματικότητα
φτωχιά - πλούσια
χαρά – θλίψη
Δύσκολο να με χαρακτηρίσω αφού είμαι όλα αυτά μαζί, δύσκολο να χαρακτηρίσω τα έργα μου που βγαίνουν απ΄όλα αυτά τα κομμάτια μου, την αλήθεια, το ψέμα, την παιδικότητα που
κουβαλάω στα πενήντα ένα μου χρόνια, την εικόνα των χρωμάτων, την εικόνα της υπερβολής, την εικόνα ''του ότι λάμπει δεν είναι πάντα χρυσός''.
Λέγομαι Νανά Στεπανιάν.
ΕΠΙΚΟΙΝΩΝΙΑ ΒΟΟΖΕ COOPERATIVA:
Άρτεμις Λειβαδάρου / Artemis Livadarou
Οργάνωση πολιτιστικών δρώμενων / Administrative department
Κοπερατίβα Τέχνης / Booze Cooperativa
Κολοκοτρώνη 57 Αθήνα / 57 Kolokotroni Str. Athens
Τηλ./Tel.: 2103240944 / 2114000863
www.boozecooperativa.com
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