tag:blogger.com,1999:blog-13197312105171690682024-03-04T23:53:33.741-05:00Photography CitedAnonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.comBlogger64125tag:blogger.com,1999:blog-1319731210517169068.post-8586874351493526332015-12-23T11:43:00.003-05:002015-12-23T11:46:28.593-05:00The absurd life of Félix Nadar, French portraitist and human flight advocate - The Guardian<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgRhr-D-drSVz5HWE6O7IM-5XNpSx8z-u0d5TSLRSp8VWRRq0u2prIf_zM6mXYJxL8YZ2tSD31FfEneILLL-8yTJ4MIN0aI7-F2z5WJ0f1Sqd-fHEXNDgj2TgNMW3T0N8kKU8CpqAxIBPQ/s1600/Felix_nadar_c1860.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgRhr-D-drSVz5HWE6O7IM-5XNpSx8z-u0d5TSLRSp8VWRRq0u2prIf_zM6mXYJxL8YZ2tSD31FfEneILLL-8yTJ4MIN0aI7-F2z5WJ0f1Sqd-fHEXNDgj2TgNMW3T0N8kKU8CpqAxIBPQ/s320/Felix_nadar_c1860.jpg" width="230" /></a>"Another way is to look closely at his photographs. He had future generations in mind when assembling his portrait gallery of eminent contemporaries; he wanted to present posterity with a “convincing and sympathetic likeness” of the people he admired. Roland Barthes (who thought Nadar was the world’s greatest photographer) confessed that his own fascination with photography was “tinged with necrophilia … a fascination with what has died but is represented as wanting to be alive”.<br />
<br />
We can’t really know someone by peering at a photograph taken 150 years ago (the same is true of a selfie taken 15 minutes ago). Yet the magic of Nadar’s portraits – their sincerity, their freshness, the unwavering faith they demonstrate in the possibility of capturing a piercingly accurate psychological likeness – tempts us to forget our scepticism, to look past the sepia tint, the old style hats and coats, and our doubts about the veracity of photographic images. We’re tempted, when we first see them, to trust the spark of recognition, that instant when we come face to face with a fellow being who’s alive and knowable."<br />
<br />
<a href="http://www.theguardian.com/books/2015/dec/23/books-felix-nadar-france-photography-flight" target="_blank">The absurd life of Félix Nadar, French portraitist and human flight advocate - The Guardian</a>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-66128918078258162802015-12-23T09:14:00.002-05:002015-12-23T09:20:47.069-05:00What your yearbook photo says about social evolution - CBCRadio - Spark<a href="https://draft.blogger.com/"></a><span id="goog_723261574"></span><span id="goog_723261575"></span>"A team of computer scientists has used deep learning algorithms on thousands of yearbook photos to perform a scalable historical analysis of large collections of images. Shiry Ginosar explains how these photos have helped us gain new insights into everything from fashion to the evolution of the smile"<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0JZ5E5IU3tUjHBm2KKO9R0KQbA0mHNUp8q8IhWt1NfKBtOVifT1PYLocuX-HLxUegJAaV1tczcXQX56jyPlZ9UyQ0h-3giWpy0N9rRetjDL6MMIIOqz-xRsjVRuVoKaCyuDLWGVUs-PST/s1600/A+Century+of+Portraits+-+A+Visual+Historical+Record+of+American+High+School+Yearbooks.png" imageanchor="1"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0JZ5E5IU3tUjHBm2KKO9R0KQbA0mHNUp8q8IhWt1NfKBtOVifT1PYLocuX-HLxUegJAaV1tczcXQX56jyPlZ9UyQ0h-3giWpy0N9rRetjDL6MMIIOqz-xRsjVRuVoKaCyuDLWGVUs-PST/s320/A+Century+of+Portraits+-+A+Visual+Historical+Record+of+American+High+School+Yearbooks.png" width="320" /></a><br />
<a href="http://www.cbc.ca/radio/spark/304-yearbook-photo-analysis-social-media-imposters-and-more-1.3366518/what-your-yearbook-photo-says-about-social-evolution-1.3368450" target="_blank">What your yearbook photo says about social evolution - CBCRadio - Spark</a>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-41807019316015479882015-12-22T10:23:00.000-05:002015-12-23T09:16:38.521-05:00The Year in Pictures: How We Made the Cut - NYT"What is a Pictures of the Year photo? How do you define that?<br />
<div>
<br /></div>
<div>
Jeffrey: A masterfully crafted photograph. Use of frame, focus choices, compelling drama, the things that define great photography. Photojournalism, specifically.</div>
<div>
<br /></div>
<div>
Meaghan: There is a lot of variety in the collection, so it’s hard to isolate exactly what that iconic picture is. But it really needs to stand alone rather than in the context of some greater story or presentation."</div>
<div>
<br /></div>
<div>
<a href="http://lens.blogs.nytimes.com/2015/12/22/times-year-in-pictures-2015-meaghan-looram-jeffrey-scales-lens/?module=BlogPost-Title&version=Blog%20Main&contentCollection=Multimedia&action=Click&pgtype=Blogs&region=Body" target="_blank">The Year in Pictures: How We Made the Cut</a></div>
<div>
</div>
<a href="http://lens.blogs.nytimes.com/2015/12/22/times-year-in-pictures-2015-meaghan-looram-jeffrey-scales-lens/?smid=tw-share"></a>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-9259593659814949722010-09-14T09:10:00.000-04:002010-09-14T09:10:44.902-04:00Last Chance - Allen Ginsberg’s Photos at National Gallery of Art - Review - NYTimes.com<a href="http://www.nytimes.com/2010/09/13/arts/design/13beat.html?ref=design">Last Chance - Allen Ginsberg’s Photos at National Gallery of Art - Review - Holland Cotter -NYTimes.com</a>: "The poet Allen Ginsberg, who died in 1997, adored life, feared death and craved fame. These obsessions seemed to have kept him, despite his practice of Buddhist meditation, from sitting still for long. He was constantly writing, teaching, traveling, networking, chasing lovers, sampling drugs, pushing political causes and promoting the work of writer friends.<div><br /></div><div>In the early 1950s he began to photograph these friends in casual snapshots, meant to be little more than souvenirs of a shared time and ethos. Years later his picture taking — often of the same friends, now battered by life or approaching death — became more formal and artful, as if he were trying to freeze his subjects’ faces and energies, and to show off his photographic skills, for the history books."<br /><div><br /></div><div>Related Links:</div><div><a href="http://www.nga.gov/exhibitions/ginsberginfo.shtm">Beat Memories: The Photographs of Allen Ginsberg at the National Gallery of Art</a></div></div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-26728529041476838822010-09-11T08:05:00.000-04:002010-09-11T08:05:49.042-04:00Leader of the Pack - The New York Times<a href="http://www.nytimes.com/2010/09/12/t-magazine/12talk-davidson-t.html?_r=1">Leader of the Pack - The New York Times</a><div><br /></div><div> Jim Lewis for the NYT, "Photography — like music and unlike, say, architecture — is a field that encourages prodigies; Davidson was one. When he was only 23, he was invited by Henri Cartier-Bresson himself to join Magnum Photos, and by the time he found the Jokers, he’d already produced an impressive body of work, including a series on the Lower East Side and a strange, touching portfolio of a dwarf who worked for a traveling circus. Dozens if not hundreds of assignments and projects were to come: pictures of Central Park, of the English countryside, of the civil rights movement and, perhaps most famously, “East 100th Street,” a Jacob Riis-like study of the infamous heart of a New York ghetto."</div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-45320839170223858622010-07-11T09:52:00.000-04:002011-09-13T08:21:54.146-04:00Exhibition: Engaged Observers: Documentary Photography since the Sixties<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 1.5; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://www.getty.edu/art/exhibitions/engaged_observers/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="Engaged Observers -Getty Center Exhibitions- June 29 - November 14, 2010">Engaged Observers: Getty Center Exhibitions - June 29 – November 14, 2010</a></div>
<div style="font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 1.5; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://www.getty.edu/art/exhibitions/engaged_observers/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="Engaged Observers -Getty Center Exhibitions- June 29 - November 14, 2010"></a><a href="http://www.getty.edu/art/exhibitions/engaged_observers/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;"><img alt="Engaged Observers: Documentary Photography since the Sixties" class="alignleft size-medium wp-image-293" height="126" src="http://photographycited.files.wordpress.com/2010/07/engaged-observers-documentary-photography-since-the-sixties.png?w=126&h=126" style="border-bottom-color: rgb(0, 133, 181); border-bottom-style: solid; border-bottom-width: 2px; border-left-color: rgb(0, 133, 181); border-left-style: solid; border-left-width: 2px; border-right-color: rgb(0, 133, 181); border-right-style: solid; border-right-width: 2px; border-top-color: rgb(0, 133, 181); border-top-style: solid; border-top-width: 2px; float: left; margin-bottom: 0px; margin-left: 5px; margin-right: 5px; margin-top: 0px; padding-bottom: 2px; padding-left: 2px; padding-right: 2px; padding-top: 2px;" title="Engaged Observers: Documentary Photography since the Sixties" width="126" /></a>From the exhibition’s introduction, “In the decades following World War II, an independently minded and critically engaged form of photography began to gather momentum. Its practitioners have combined their skills as artists and reporters, creating extended photographic essays that delve deeply into topics of social concern and present distinct personal visions of the world.</div>
<div style="font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 1.5; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
Engaged Observers looks in depth at projects by a selection of the most vital photographers who have contributed to the development of this approach. Passionately committed to their subjects, they have authored evocative bodies of work that are often published extensively as books and transcend the realm of traditional photojournalism.”</div>
<div style="font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 1.5; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
The exhibition features the work of, <a href="http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&pid=2K7O3R149GCO&nm=Philip%20Jones%20Griffiths" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank">Philip Jones Griffiths</a><span class="Apple-style-span" style="color: #222222;">, </span><a href="http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R14GRLX&nm=Leonard%20Freed" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank">Leonard Freed</a><span class="Apple-style-span" style="color: #222222;">, </span><a href="http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R139C2T&nm=W.%20Eugene%20Smith" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank">W. Eugene and Aileen M. Smith</a><span class="Apple-style-span" style="color: #222222;">,</span><a href="http://www.susanmeiselas.com/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank">Susan Meiselas</a><span class="Apple-style-span" style="color: #222222;">, </span><a href="http://www.maryellenmark.com/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank">Mary Ellen Mark</a><span class="Apple-style-span" style="color: #222222;">, </span><a href="http://www.laurengreenfield.com/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank">Lauren Greenfield</a><span class="Apple-style-span" style="color: #222222;">, </span><a href="http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.PhotographerDetail_VPage&l1=0&pid=2K7O3R1VY0EV&nm=Larry%20Towell" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank">Larry Towell</a><span class="Apple-style-span" style="color: #222222;">, </span><a href="http://www.amazonasimages.com/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank">Sebastião Salgado</a><span class="Apple-style-span" style="color: #222222;"> and </span><a href="http://www.jamesnachtwey.com/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank">James Nachtwey</a></div>
<div style="font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 1.5; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
Related Links:</div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 1.5; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://www.getty.edu/bookstore/titles/observers.html" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="Book: Engaged Observers: Documentary Photography since the Sixties - By Brett Abbott">Book: Engaged Observers: Documentary Photography since the Sixties – By Brett Abbott</a></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 1.5; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://www.getty.edu/bookstore/titles/america.html" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="Book: Black in White America - By Leonard Freed">Book: Black in White America – By Leonard Freed</a></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 1.5; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://articles.latimes.com/2010/jun/27/entertainment/la-ca-doc-photos-20100627" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="Latimes.com - When it paid to photograph hard truth - By Leah Ollman">Latimes.com – When it paid to photograph hard truth - By Leah Ollman</a></div>
Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-11776887588143845052010-07-03T09:35:00.000-04:002011-09-13T08:22:32.511-04:00Exhibition: South African Photographs: David Goldblatt<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 1.5; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://www.thejewishmuseum.org/exhibitions/goldblatt" style="color: #cc0000; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;"><img alt="South African Photographs: David Goldblatt" class="alignleft size-thumbnail wp-image-252" height="139" src="http://photographycited.files.wordpress.com/2010/07/south-african-photographs-david-goldblatt.png?w=150&h=139" style="border-bottom-color: rgb(202, 0, 2); border-bottom-style: solid; border-bottom-width: 2px; border-left-color: rgb(202, 0, 2); border-left-style: solid; border-left-width: 2px; border-right-color: rgb(202, 0, 2); border-right-style: solid; border-right-width: 2px; border-top-color: rgb(202, 0, 2); border-top-style: solid; border-top-width: 2px; float: left; margin-bottom: 0px; margin-left: 5px; margin-right: 5px; margin-top: 0px; padding-bottom: 2px; padding-left: 2px; padding-right: 2px; padding-top: 2px;" title="South African Photographs David Goldblatt" width="150" /></a><a href="http://www.thejewishmuseum.org/exhibitions/goldblatt" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;">The Jewish Museum – South African Photographs: David Goldblatt – May 02, 2010 – September 19, 2010</a>.</div>
<div style="font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; line-height: 1.5; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
From<span class="Apple-style-span" style="color: #222222;"> </span><a href="http://www.thejewishmuseum.org/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="http://www.thejewishmuseum.org/">The Jewish Museum</a><span class="Apple-style-span" style="color: #222222;"> “</span><a href="http://www.davidgoldblatt.com/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="http://www.davidgoldblatt.com">David Goldblatt</a><span class="Apple-style-span" style="color: #222222;"> </span>(b. 1930) is one of South Africa’s most highly regarded photographers. As both citizen and photographer, he was witness to apartheid’s infiltration into every aspect of South African life. The exhibition includes 150 black and white photographs by Goldblatt that focus on South Africa’s human landscape in the apartheid and post-apartheid eras. Very precise captions written by the artist accompany each photo in order to convey context and critical information about the image. His photos do not look at the large events or the public face of violence; rather they focus on the world of ordinary people and the minutiae of everyday life, illuminating the depth of injustice and the character of the people who imposed it and who struggled against it. Goldblatt’s Jewish identity is germane to his work. The anti-Semitism that he frequently experienced made him especially sensitive to the deep humiliation and discrimination suffered by blacks under apartheid, informing his artistic vision as well as his attitude toward his country.”</div>
<div style="font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
Related Links:</div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<br /></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://www.davidgoldblatt.com/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="David Goldblatt - http://www.davidgoldblatt.com">David Goldblatt – http://www.davidgoldblatt.com</a></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<br /></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://www.thejewishmuseum.org/goldblattmines" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="The Jewish Museum - South African Photographs: David Goldblatt Slide show">The Jewish Museum – South African Photographs: David Goldblatt Slide show</a></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<br /></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://online.wsj.com/article/SB10001424052748703315404575250270255296944.html#articleTabs%3Darticle" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="WSJ.com - Seeing the Big Picture in the Tiniest Details - By William Meyers">WSJ.com – Seeing the Big Picture in the Tiniest Details – By William Meyers</a></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<br /></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://www.nytimes.com/2010/07/02/arts/design/02goldblatt.html" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="NYTimes.com - Country Divided in Black and White - By Holland Cotter">NYTimes.com – Country Divided in Black and White – By Holland Cotter</a></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<br /></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://www.nytimes.com/slideshow/2010/07/01/arts/design/20100702-goldblatt-slideshow.html?ref=design" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="NYTimes.com - The Hard Facts of South Africa Slide Show">NYTimes.com - The Hard Facts of South Africa Slide Show</a></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<br /></div>
<div style="color: #222222; font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, sans-serif; font-size: 13px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<a href="http://www.nybooks.com/blogs/nyrblog/2010/jul/02/apartheids-twisted-dream/" style="color: #004477; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: underline;" target="_blank" title="NYbooks.com Blog - Apartheid's Twisted Dream: David Goldblatt's South Africa - By Joseph Lelyveld">NYbooks.com Blog – Apartheid’s Twisted Dream: David Goldblatt’s South Africa – By Joseph Lelyveld</a></div>
Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-68213253000525376592010-06-14T09:01:00.000-04:002012-01-03T09:29:35.724-05:00Stephen Gill - Coming up for Air<div>
<div>
<a href="http://nobodybooks.com/shop/">Nobody's Bookshop</a>, "<a href="http://nobodybooks.com/shop/products-page/book/coming-up-for-air">Coming up for Air</a> is the result of Stephen Gill’s long-term photographic body of work made in Japan between 2008 & 2009. These images create a chance to sink into a kind of fictional aquatic world that somehow leaves you gasping for breath.</div>
<div>
<br /></div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://nobodybooks.com/shop/wp-content/uploads/wpsc/product_images/IMG_2020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://nobodybooks.com/shop/wp-content/uploads/wpsc/product_images/IMG_2020.jpg" /></a></div>
Unlike other well-known series by Gill this time the information in his images has been starved, completely denied or mimized in favour of achieving ‘a kind of fictional aquatic world."</div>
</div>
<div>
<br />
<span class="Apple-style-span" style="color: black;"><a href="http://www.telegraph.co.uk/culture/photography/7813330/Photographer-Stephen-Gill-the-devil-in-the-detail.html">Photographer Stephen Gill: the devil in the detail - Telegraph - By Tamsin Blanchard</a></span>: "Timothy Prus, who runs the Archive of Modern Conflict, says, 'Coming up for Air really marks a turning point for Stephen. He’s really raised the bar with it. This is by far the best, but you expect really good stuff to start coming now he is in his late thirties.’</div>
<div>
<br />
P<span id="goog_1399522249"></span><span id="goog_1399522250"></span><a href="http://www.blogger.com/"></a>rus says Gill is trying to make his work quieter and quieter. 'It’s about a lot of things. It’s about our human condition as if we were fish in a Japanese aquarium. He is relating the condition of fish to a world outside the glass they know nothing about. It’s a funny feeling looking at the pictures as if you are stuck on the other side of the page. There are a wholeload of underlying issues. On another level, it’s quite a jolly book about a romp through Japanese aquariums.’ Prus says that Gill has dedicated two special editions of his book to his veteran 20-year-old goldfish, Chippy, who is also given an acknowledgement in the book.</div>
<div>
<br />
Coming up for Air is the result of a long process of editing, printing, choosing papers and cloth bindings, finding the right printer (Gill chose one in Belgium), as well as the right material for the dust jacket."<br />
<br />
Related Links:<br />
<br />
<a href="http://www.stephengill.co.uk/portfolio/news">Stephen Gill - http://www.stephengill.co.uk/portfolio/news</a><br />
<br /></div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-26219035566373312912010-06-13T14:16:00.001-04:002010-06-13T15:58:37.762-04:00Outside Inside by Bruce Davidson<a href="http://www.guardian.co.uk/books/2010/jun/13/outside-inside-bruce-davidson-review">Outside Inside by Bruce Davidson - Sean O'Hagan The Observer</a><br />
"I view my work as a series," writes Davidson. "I often find myself as an outsider on the inside, discovering beauty and meaning in the most desperate of situations."<br />
<div><br />
<br />
<a href="http://www.steidlville.com/books/958-Journey-of-Consciousness.html">Steidl</a>, "Over the course of his long career Bruce Davidson has travelled the world making reportage stories both on assignment as a member of the <a href="http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.AgencyHome_VPage&pid=2K7O3R1VX08V">Magnum</a> agency and on subjects of personal interest. A few years ago he returned to his archive of negatives housed in a room in his Manhattan apartment and began a ritual of revisiting each and every one of the stories he had made, from his work as a student in 1954 to his urban landscapes in Los Angeles in 2009. Printing in his darkroom alongside the archive, he began to elaborate a very personal selection, discovering forgotten images and throwing new light onto some of his most famous series. <a href="http://www.steidlville.com/books/958-Journey-of-Consciousness.html">Outside Inside</a> is the result of this work, a sumptuous three volume box set with fifty-three chapters over 800 pages. Each chapter is introduced by a short text written by Davidson himself. The result is a celebration of the development of a master of the medium and an autobiography, a photographer’s life seen through his work.<br />
<br />
<a href="http://www.steidlville.com/books/958-Journey-of-Consciousness.html">Outside Inside by Bruce Davidson - Steidl</a></div><br />
<object width="500" height="340"><param name="movie" value="http://www.youtube.com/v/a6PO0rBFJKU&hl=en_US&fs=1&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/a6PO0rBFJKU&hl=en_US&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="500" height="340"></embed></object>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-8326833866680577922010-06-13T08:52:00.000-04:002010-06-13T08:52:57.708-04:00Furtive Photography, Tate Modern Exhibition: Exposed - The Daily Beast<a href="http://www.thedailybeast.com/blogs-and-stories/2010-05-27/tate-moderns-new-exhibit-exposed-voyeurism-surveillance-and-the-camera/">From Furtive Photography by Philip Gefter a review of the Tate Modern's exhibition, Exposed</a>,"Surveillance cameras are not only ubiquitous in our culture but ever more conspicuous in the course of our daily lives. No longer is it possible to avoid the gaze of global satellite monitors, building-mounted videocameras, or that beady little dot on our computer screens. Even cellphone images give spying new meaning: Their real-time portability can capture scenes and moments wherever you are. Still, despite these persistent new challenges to the ever-eroding “zone of privacy,” photographers have been violating personal space without consent since the medium was first invented."Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-82638296319582543622010-06-13T07:58:00.001-04:002010-06-13T08:55:56.528-04:00Henri Cartier-Bresson: The Modern Century by Peter Galassi - The Guardian<a href="http://www.guardian.co.uk/books/2010/jun/12/henri-cartier-bresson-modern-century#">Henri Cartier-Bresson: The Modern Century by Peter Galassi - Liz Jobey - The Guardian</a>: "The small camera made it easy to capture subjects on the move, but just as crucially, it made it easy for the photographer to adjust his point of view. Anybody who has seen film of Cartier-Bresson at work will understand how important movement was to the making of his pictures. Truman Capote, who went on an assignment with him in 1946, described him as 'dancing along the pavement like an agitated dragonfly, three Leicas swinging from straps around his neck, a fourth one hugged to his eye: click-click-click (the camera seems a part of his own body) clicking away with joyous intensity . . . "Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-86194656121463146052010-02-11T19:27:00.000-05:002010-02-11T19:30:15.343-05:00How we learned to love Photoshop - Charles Arthur - The Guardian<div style="text-align: left;"><span class="Apple-style-span" style="text-decoration: underline;"><span class="Apple-style-span" style="color:#000000;"><a href="http://www.guardian.co.uk/technology/2010/feb/11/photoshop-20-years-old-verb">How we learned to love Photoshop - </a></span><span class="Apple-style-span" style="color:#000000;"><a href="http://www.guardian.co.uk/technology/2010/feb/11/photoshop-20-years-old-verb"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; "></span></a></span></span><div style="display: inline !important; "><span class="Apple-style-span" style="color:#000000;"><a href="http://www.guardian.co.uk/technology/2010/feb/11/photoshop-20-years-old-verb"><span class="Apple-style-span" style="text-decoration: underline;"></span></a></span><span class="Apple-style-span" style="color:#000000;"><a href="http://www.guardian.co.uk/technology/2010/feb/11/photoshop-20-years-old-verb">Charles Arthur</a></span><a href="http://www.guardian.co.uk/technology/2010/feb/11/photoshop-20-years-old-verb"> - </a></div><span class="Apple-style-span" style="text-decoration: underline;"><a href="http://www.guardian.co.uk/technology/2010/feb/11/photoshop-20-years-old-verb">The Guardian</a></span>: "How we learned to love Photoshop</div><div style="text-align: left;"><br /></div>"Photoshop has, like Google, transcended its origins in the world of computing, and become a verb. But whereas "to Google" is almost always used positively to express usefulness, Photoshopping is almost always a term of abuse: "That picture was Photo shopped" has become a shorthand way of saying it is untrustworthy and misleading (Adobe, the company that sells Photoshop, decries its use as a verb: "It must never be used as a common verb or a noun," it tuts. Too late.)"<div><br /></div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-39856315867636629482010-02-11T18:57:00.000-05:002010-02-11T18:57:29.303-05:00From Instant Thrill of Polaroid, Enduring Art, Now for Sale - NYTimes.com<a href="http://www.nytimes.com/2010/02/11/arts/design/11polaroid.html?pagewanted=1&ref=design">From Instant Thrill of Polaroid, Enduring Art, Now for Sale - Carol Vogel for NYTimes.com</a><div><br /></div><div>"In the 1960s about half of all American households owned a Polaroid camera, according to the company’s own estimates. And while the instant thrill of having a tangible record of first birthdays, prom nights, vacations and Christmas dinners was the driving force behind the company’s success, its revolutionary product also changed forever the way many artists worked. Ansel Adams captured some fabled images of Yosemite National Park using a Polaroid; Andy Warhol and Chuck Close took Polaroid portraits — of themselves, friends and celebrities — and William Wegman used a Polaroid to shoot his beloved Weimaraners.</div><div><br /></div><div>Now some of those works, as well as conventional prints that Polaroid’s founder, Edwin H. Land, brought together in one of the most storied collections in photography — a visual diary of 20th-century culture — are going on the auction block."</div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-48921813665899690722010-02-10T20:49:00.000-05:002010-02-10T21:10:04.380-05:00Sunil Gupta: Rewriting the history of photography<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_WthTnpFh9kI/S3Njibf82-I/AAAAAAAAAHU/R8DWzMyspJI/s1600-h/Where+Three+Dreams+Cross+150+Years+of+Photography+from+India+Pakistan+and+Bangladesh.png"><img style="cursor:pointer; cursor:hand;width: 309px; height: 320px;" src="http://3.bp.blogspot.com/_WthTnpFh9kI/S3Njibf82-I/AAAAAAAAAHU/R8DWzMyspJI/s320/Where+Three+Dreams+Cross+150+Years+of+Photography+from+India+Pakistan+and+Bangladesh.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5436798618314791906" /></a><br /><a href="http://www.telegraph.co.uk/culture/photography/7132473/Sunil-Gupta-at-Whitechapel-rewriting-the-history-of-photography.html">Sunil Gupta at Whitechapel: rewriting the history of photography - Telegraph</a><div><br /></div><div>Telegraph, "Artist and curator Sunil Gupta has distilled the history of photography in India, Pakistan and Bangladesh into a landmark exhibition at London's Whitechapel Gallery. In a series of articles for the Telegraph.co.uk he picks his favourite images from a collection spanning 150 years."</div><div><br /></div><div>Related Link: <a href="http://www.telegraph.co.uk/culture/photography/7207930/Sunil-Gupta-at-Whitechapel-rewriting-the-history-of-photography-II.html">Sunil Gupta at Whitechapel: rewriting the history of photography II</a></div><div><a href="http://www.telegraph.co.uk/culture/photography/7132397/Where-Three-Dreams-Cross-150-Years-of-Photography-from-India-Pakistan-and-Bangladesh.html">Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh<blockquote></blockquote></a></div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-44342689900896727132010-01-31T08:40:00.000-05:002010-01-31T08:44:10.708-05:00William Eggleston: 21st Century - Exhibitions at the Victoria Miro Gallery<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_WthTnpFh9kI/S2WJHEStscI/AAAAAAAAAHI/ddcbvDPl_e4/s1600-h/William+Eggleston+Victoria+Miro.png"><img style="cursor:pointer; cursor:hand;width: 320px; height: 185px;" src="http://1.bp.blogspot.com/_WthTnpFh9kI/S2WJHEStscI/AAAAAAAAAHI/ddcbvDPl_e4/s320/William+Eggleston+Victoria+Miro.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5432899279996694978" /></a><br /><a href="http://www.victoria-miro.com/exhibitions/_404/">William Eggleston: 21st Century - Exhibitions at the Victoria Miro Gallery</a><div><br /></div><div>From the introduction, "21st Century presents new photographs with increasingly abstracted compositions. Many have collage-like elements - a wreath-toting Santa Claus on a windowpane, close-ups of patterned rolls of vinyl - further manipulating the traditional understanding of "straight" photography. Through abstraction, Eggleston links his photographic work to his work in other mediums. In fact, his concern for a contained pictorial statement, as opposed to a documentary reflection of the world, more closely aligns him to a painter's artistic practice. His continued artistic exploration - in drawing and photography - informs an oeuvre rich with emotional sensitivity."</div><div><br /></div><div><br /></div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-44770418934255400132009-08-08T09:08:00.000-04:002010-06-12T13:54:33.918-04:00Photographer Milton Rogovin Preserved the faces of Those With Silenced Voices - Randy Kennedy - NYTimes.com<a href="http://www.nytimes.com/2009/08/09/arts/design/09kenn.html">Milton Rogovin Preserved the faces of Those With Silenced Voices - Randy Kennedy - NYTimes.com</a><div><br /></div><div>Randy Kennedy for NYT.com, "Mr. Rogovin was an optometrist whose business was decimated and his children shunned after he refused to testify before the House Un-American Activities Committee in 1958. An article published that year in The New York Times reported that friendly witnesses described him as “the chief Communist in the area.” He turned to photography because his “voice was essentially silenced,” as he once said. What followed was more than 40 years of powerfully straightforward pictures of others without voices: the poor and working class of Buffalo’s East Side and Lower West Side, Appalachia, Mexico, Chile and other countries."</div><div><br /></div><div>Related Link: <a href="http://www.miltonrogovin.com/">Milton Rogovin</a></div><div><br /></div><div>Related Link: <a href="http://lens.blogs.nytimes.com/2009/08/07/showcase-milton-rogovin/">Showcase: Milton Rogovin - The New York Times Lens Blog</a></div><div><br /></div><div>Related Link: <a href="http://www.nytimes.com/slideshow/2009/08/09/arts/20090809-KENN_index.html">Photographer Milton Rogovin: Working Class NYT Slide Show</a></div><div><br /></div><div><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/HTTAcM90p8M&hl=en&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/HTTAcM90p8M&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></div><div><br /></div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com1tag:blogger.com,1999:blog-1319731210517169068.post-73535801866231679372009-08-07T09:33:00.000-04:002010-06-12T13:54:33.939-04:00Photographic Links to Golden Age of Dutch Painting at the Museum of the City of New York - Martha Schwendener for NYTimes.com<a href="http://www.nytimes.com/2009/08/07/arts/design/07photos.html?_r=1#">Art Review - 'Dutch Seen' - Photographic Links to Golden Age of Dutch Painting at the Museum of the City of New York - Martha Schwendener for NYTimes.com</a>:<div><br /></div><div>Martha Schwendener for NYTimes.com, “Dutch Seen: New York Rediscovered,” organized by Kathy Ryan, who is director of photography for The New York Times Magazine, takes the old Dutch-New York connection and runs with it. The show, at the Museum of the City of New York, is part of NY400, a series of exhibitions and events commemorating the 400th anniversary of Henry Hudson’s voyage on the Half Moon, financed by the Dutch East India Company."</div><div><br /></div><div><a href="http://graphics8.nytimes.com/images/2009/08/07/arts/07dutch_500.jpg"><img src="http://graphics8.nytimes.com/images/2009/08/07/arts/07dutch_500.jpg" width="413" height="500" alt="" /></a></div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-53745067931270489212009-07-31T09:04:00.000-04:002010-06-12T13:54:33.955-04:00Photographer Sited: Hein-kuhn Oh<div class="mobile-photo"><a href="http://www.heinkuhnoh.com/"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5364609433503189218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTbRtG4O7HDiR8Mu1IUQJDWKBwmA0ARwLom4q9ds9mfaZ8NuVpNYlgo6BrGW_k26PVHEOJBD05TCPieisbXvwHzWjBsdKyLjcpWIhVvEwlb1T1Qe3n3CIP7jkevBbYUgCazhBNYw7FY97K/s320/Hein-kuhn+Oh-767518.png" /></a></div><div style="font: 12.0px Lucida Grande; margin: 0.0px 0.0px 0.0px 0.0px;">Photographer Hein-kuhn Oh:</div><div style="font: 12.0px Lucida Grande; margin: 0.0px 0.0px 0.0px 0.0px;"></div><div style="font: 12.0px Lucida Grande; margin: 0.0px 0.0px 0.0px 0.0px;"><a href="http://www.heinkuhnoh.com/">http://www.heinkuhnoh.com/</a></div><br />Related Link: Cosmetic girls<br /><a href="http://www.heinkuhnoh.com/index.html?d1=01&d2=02&d3=&lang=eng">http://www.heinkuhnoh.com/index.html?d1=01&d2=02&d3=&lang=eng</a>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-89291057469492642732009-07-30T07:08:00.000-04:002010-06-12T13:54:33.971-04:00Exhibition: Robert Mapplethorpe, perfection in form - Galleria dell’Accademia di Firenze<div class="mobile-photo"><a href="http://www.unannoadarte.it/mapplethorpe/"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5364208627001559890" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW0Tz5d-G5fZQxRFCW149h87Zs-_1uQ6ccHmoeSgF6JhBWll8g5i6plBmyOze_qcC8q8NM64zwXAMlTYBAWcqOL8HeX1WjbMGBiDBGjVGXmujyK8zOWPBGX4jSFusLDYcm9eY8Sxazv3eo/s320/Robert+Mapplethorpe+perfection+in+form-747202.png" /></a></div>Exhibition: Robert Mapplethorpe, perfection in form - Galleria dell'Accademia di Firenze"An exhibition dedicated to great American photographer Robert Mapplethorpe, in the twentieth anniversary of his death, at the Accademia Gallery of Florence until September 27,2009."<br /><br />From the Exhibition site, "From its very title, Robert Mapplethorpe, perfection in form, exhibition curators Franca Falletti and Jonathan Nelson intend to express the profound principle that associates the artist of photography with the great Renaissance masters and, in particular, with Michelangelo: the search for balance, the precision and clarity inherent to 'Form' that tends toward perfection by means of the geometric rigour of volumes defined by line and sculpted by light."<br /><a href="http://www.unannoadarte.it/mapplethorpe/">http://www.unannoadarte.it/mapplethorpe/</a><br /><br />Related Link: <a href="http://www.mapplethorpe.org/">http://www.mapplethorpe.org/</a><br /><br />Related Link: Model combination: Robert Mapplethorpe and Michelangelo<br /><br /><a href="http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2009/jul/29/robert-mapplethorpe-michelangelo">http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2009/jul/29/robert-mapplethorpe-michelangelo</a><br /><br /><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/gOqXBRCd5MY&hl=en&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/gOqXBRCd5MY&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com1tag:blogger.com,1999:blog-1319731210517169068.post-88613228968759602562009-07-29T09:38:00.000-04:002010-06-12T13:54:33.988-04:00A photography companion volume to Imperial by William T. Vollmann<p class="mobile-photo"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimAGaJ25Lw1zkpI28FvwbVGMIFsmlU-_Laj8mSfoJiRXkgHW7Yf97acQDd8pQq4GwRFTJ0X3__EBzQsWfsBBUenl1AEVsd_731Tnp_Ob_rYaTzgrFRJNftp21hI7CWUnRzyhFDzdhvpqXr/s1600-h/Imperial+Photogarphs+by+William+T+Vollmann+Powerhouse+Books-737920.png"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimAGaJ25Lw1zkpI28FvwbVGMIFsmlU-_Laj8mSfoJiRXkgHW7Yf97acQDd8pQq4GwRFTJ0X3__EBzQsWfsBBUenl1AEVsd_731Tnp_Ob_rYaTzgrFRJNftp21hI7CWUnRzyhFDzdhvpqXr/s320/Imperial+Photogarphs+by+William+T+Vollmann+Powerhouse+Books-737920.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5363876152455124962" /></a></p><div>By Charles McGrath for The New York Times "A companion volume ( to Imperial by William T. Vollmann), to be published next month by powerHouse Books, contains some 200 photographs he took while working on "Imperial," for which he also wore a spy camera while trying to infiltrate a Mexican factory, and paddled in an inflatable raft down the New River in California, a rancid trench that is probably the most polluted stream in America. The water, he writes, tasted like the Salk polio vaccine."</div> <div><br /></div><div>..."Imperial," which is about Imperial County in California, the vast, flat and arid region in the southeastern part of the state, bordering Mexico, is an extreme Vollmann production: brilliant in places, practically unreadable in others. There are lyrical passages, and others edging over into magenta ("And change came; just as the urine of dehydrated people is turbid and dark, failing in transparency, so the evening sunlight, as if heated to exhaustion by and with itself, now lost the glaring whiteness which had characterized it since early morning, and it oozed down upon the pavement to stain it with gold"), along with scientific chapters, complete with graphs, on salinization and agricultural productivity, and 175 pages of notes. A page early on has a title warning of "Impending Aridity."</div> <div><br /></div><div>An Author Without Borders: <a href="http://www.nytimes.com/2009/07/29/books/29vollman.html">http://www.nytimes.com/2009/07/29/books/29vollman.html</a></div><div><br /></div>Related Link: A Drive Through 'Imperial'<div> <a href="http://www.nytimes.com/slideshow/2009/07/28/arts/20090729_VOLLMAN_SLIDESHOW_index.html">http://www.nytimes.com/slideshow/2009/07/28/arts/20090729_VOLLMAN_SLIDESHOW_index.html</a></div><div><br /></div><div><div>Imperial. Photogarphs by William T. Vollmann. Powerhouse Books, </div> </div><div><a href="http://www.amazon.com/Imperial-William-T-Vollman/dp/1576874893/ref=sr_1_1?ie=UTF8&qid=1248874500&sr=8-1">http://www.amazon.com/Imperial-William-T-Vollman/dp/1576874893/ref=sr_1_1?ie=UTF8&qid=1248874500&sr=8-1</a></div> <div><br /></div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-31196505426258253972009-07-27T09:34:00.000-04:002010-06-12T13:54:34.006-04:00Exhibition: Photographs by Rodolphe A. Reiss - The Scene Of The Crime - Musée de l'Elysée<div class="mobile-photo"><a href="http://www.elysee.ch/index.php?id=143&L=1&tx_exposition_pi1[expoUID]=98"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5363132856599064066" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_PTFwVQlXU5cYU74RV4ZUshX-idYHIcWjYuokZIz9mNwsWdRNJDZdp5QWdiXvb4XtjZzAlpVgt2aBA6pyqZ4v_QhcOvMzjdSyaqQxO9S62r7bKc6Mxhupc1sxeNYcTLnsqI7c7Woq-q6D/s320/=%3FISO-8859-1%3FQ%3FLe_th=E9=E2tre_du_crime_book_cover=2Epng%3F=-775886" /></a></div><div>From the Musée de l'Elysée, "As the investigators' artificial memory, the photographs were taken in a very formal style to document crime scenes and clues discovered as unemotionally as possible. They are all associated with Reiss's teaching or expert evaluations. They allow us to see unusual sites and environments and, paradoxically, are often formally very abstract."</div><div></div><div>"The boundary between reality and the imaginary remains unbroken here. Situated between the acts and their representation, these photographs are filled with unusual emotion due to the dramatic circumstances which they retrace."</div><div></div><div><a href="http://www.elysee.ch/index.php?id=143&L=1&tx_exposition_pi1[expoUID]=98">http://www.elysee.ch/index.php?id=143&L=1&tx_exposition_pi1[expoUID]=98</a><br /></div><div></div>Related Link- PDF Exhibition Document; The Scene of The Crime <span style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; border-collapse: collapse; font-family: arial, sans-serif; font-size: 13px; white-space: pre;"> Rodolphe A. Reiss <span style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: separate; font-family: arial; font-size: small; white-space: normal;">(1875-1929)</span></span><br /><div><a href="http://www.elysee.ch/fileadmin/website/2009/THEATRE_DU_CRIME/Dossier_presse_Le_theatre_du_crime_Anglais.pdf">http://www.elysee.ch/fileadmin/website/2009/THEATRE_DU_CRIME/Dossier_presse_Le_theatre_du_crime_Anglais.pdf</a></div><div></div><div><br /><object height="295" width="480"><param name="movie" value="http://www.youtube.com/v/5nKEnatzBMI&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/5nKEnatzBMI&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="295"></embed></object></div>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-11657194433147355212009-07-23T10:34:00.000-04:002010-06-12T13:54:34.025-04:00High Line Images<div class="mobile-photo"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYiF_-8tI2M3Qz3W3UuqXKrlSMLmTx85aK1_r6RwYiVFdu6p3djhDtlTIBNjHWUg7EDg5h4Xif8t5jOzdW4Ghx-M7HX59vAMWu2zD3JyTk6iKlACMj1V8LAx5O6NRjVHMmv34sC2iNclQ-/s1600-h/High+Line-792852.png"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5361664054743429826" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYiF_-8tI2M3Qz3W3UuqXKrlSMLmTx85aK1_r6RwYiVFdu6p3djhDtlTIBNjHWUg7EDg5h4Xif8t5jOzdW4Ghx-M7HX59vAMWu2zD3JyTk6iKlACMj1V8LAx5O6NRjVHMmv34sC2iNclQ-/s320/High+Line-792852.png" /></a></div>The High Line is located on Manhattan's West Side. It runs from Gansevoort Street in the Meatpacking District to 34th Street, between 10th & 11th Avenues.<br /><br /><a href="http://www.thehighline.org/galleries/images">http://www.thehighline.org/galleries/images</a><br /><br /><span class="Apple-style-span" style=" white-space: pre;font-family:Arial, sans-serif;font-size:10px;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/lNzr7g8FQgk&hl=en&fs=1&rel=0&color1=0x3a3a3a&color2=0x999999"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/lNzr7g8FQgk&hl=en&fs=1&rel=0&color1=0x3a3a3a&color2=0x999999" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span><br /><br />Related Link: The High Line Blog<br /><a href="http://blog.thehighline.org/">http://blog.thehighline.org/</a><br /><br />Related Link: Flickr Image Group - Friends of the High Line<br /><a href="http://www.flickr.com/groups/friendsofthehighline/pool/">http://www.flickr.com/groups/friendsofthehighline/pool/</a>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-71718895116908374272009-07-23T09:05:00.000-04:002010-06-12T13:54:34.043-04:00NYT - Lens Blog - Essay: Icons as Fact, Fiction and Metaphor By Philip Gefter<p class="mobile-photo"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPkgOal667c0PlLNhibDu-b1CF9kfnjfeIwBHq_zvIxfhKS-NsdRQy1eRp4EAAGCA1u_YSb65WhWIXOvUYIDu4GAFqPcKpgyFxZHOVzXdcDGqy0oORXCxO-pUg_KgY2C8ZW6L1rpXDFOsW/s1600-h/cw00171-730574.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPkgOal667c0PlLNhibDu-b1CF9kfnjfeIwBHq_zvIxfhKS-NsdRQy1eRp4EAAGCA1u_YSb65WhWIXOvUYIDu4GAFqPcKpgyFxZHOVzXdcDGqy0oORXCxO-pUg_KgY2C8ZW6L1rpXDFOsW/s320/cw00171-730574.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5361641024569008498" /></a></p><p class="mobile-photo"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVuvDuUwdcsWl1Y8jCqFQW12QPN1PxMSKd1zk0Up85IrU6mPKzDO8MQqR855_yvtyD6r3t36sMGoHND-kD6oU-e7JpeLm-O5zG98PVGdpUhCpdBR0GYNoldUHcY8Tc7fG-qyf26UYYteIG/s1600-h/cw00172-731447.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVuvDuUwdcsWl1Y8jCqFQW12QPN1PxMSKd1zk0Up85IrU6mPKzDO8MQqR855_yvtyD6r3t36sMGoHND-kD6oU-e7JpeLm-O5zG98PVGdpUhCpdBR0GYNoldUHcY8Tc7fG-qyf26UYYteIG/s320/cw00172-731447.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5361641027134695890" /></a></p>Philip Gefter, "Photography After Frank", "As a witness to events, the photojournalist sets out to chronicle what happens in the world as it actually occurs. A cardinal rule of the profession is that the presence of the camera must not alter the situation being<br />photographed. The viewer's expectation about a picture's veracity is largely determined by the context in which the image appears. A picture published in a newspaper is believed to be fact; an advertising image is understood to be fiction. If a newspaper image turns out to have been set up, then questions are raised about trust and authenticity. Still, somewhere between fact and fiction — or perhaps hovering slightly above either one — is the province of metaphor, where the truth is approximated in renderings of a more poetic or symbolic nature."<p><a href="http://lens.blogs.nytimes.com/2009/07/23/essay-4/">http://lens.blogs.nytimes.com/2009/07/23/essay-4/</a></p><p><br />Related Link: Photography After Frank Essays by Philip Gefter<br /><a href="http://www.aperture.org/books/books-new/photography-after-frank.html">http://www.aperture.org/books/books-new/photography-after-frank.html</a></p><p>Related Link: A Sharpshooter's Last Sleep<br /><a href="http://memory.loc.gov/ammem/cwphtml/cwpcam/cwcam3a.html">http://memory.loc.gov/ammem/cwphtml/cwpcam/cwcam3a.html</a></p>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-27319078558269856512009-07-22T15:50:00.000-04:002010-06-12T13:54:34.060-04:00Exhibition: Passing by China: Contemporary Chinese Photography - Eli Klein Fine Art Gallery<p class="mobile-photo"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQiPz_Cb6N0o1SebWwJmifcgcEqD8Jr4IzLW6bOngHHcfDeoKhXSZ7aCSlOafchwxbs7jzqIDwLymq_axR6uCViJJKWkQwMNHEXEVQSOhyphenhyphenV5tkMx-SkxwAAwkxIe4LQC90j5gq0a9x57eJ/s1600-h/Buddha+in+Cage,+Wutai+Mountain,+Shanxi+Province-743196.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQiPz_Cb6N0o1SebWwJmifcgcEqD8Jr4IzLW6bOngHHcfDeoKhXSZ7aCSlOafchwxbs7jzqIDwLymq_axR6uCViJJKWkQwMNHEXEVQSOhyphenhyphenV5tkMx-SkxwAAwkxIe4LQC90j5gq0a9x57eJ/s320/Buddha+in+Cage,+Wutai+Mountain,+Shanxi+Province-743196.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5361374359825103090" /></a></p><p class="mobile-photo"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggl6UrlW7YDIg4F13MSEYTFOZzgLQSU5yv5iCr4C6qAhR2j2FCjC4CWxjNoua1yHQydC5bXgRkLPYUU0nCQp7MsFP4IWDh30Xr4R8j8x78bxk_S4DwPNcC2CFP2H6smH-h1Ykcys_x9sTw/s1600-h/=%3FISO-8859-1%3FQ%3FZuoxiao_Zuzhou_I_Love_Modern_Art_Too=A02007=2Ejpg%3F=-744510"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggl6UrlW7YDIg4F13MSEYTFOZzgLQSU5yv5iCr4C6qAhR2j2FCjC4CWxjNoua1yHQydC5bXgRkLPYUU0nCQp7MsFP4IWDh30Xr4R8j8x78bxk_S4DwPNcC2CFP2H6smH-h1Ykcys_x9sTw/s320/=%3FISO-8859-1%3FQ%3FZuoxiao_Zuzhou_I_Love_Modern_Art_Too=A02007=2Ejpg%3F=-744510" border="0" alt="" id="BLOGGER_PHOTO_ID_5361374365709879410" /></a></p><p class="mobile-photo"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIoRQu0lNqFZPf2yqwggtM9X_CwqvDNcOc5tEnAamphLEFwf_ALtWidgHicJjZ_2MhVdwYQdfC8D3RU330962koVD1shTalPhUjc-Kw8BytGMXLk9sx_psIq84oN9iX0xDf_kUdtnRQFn0/s1600-h/=%3FISO-8859-1%3FQ%3FMaleonn_What_Love_is_No_1=A02009=2Ejpg%3F=-745281"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIoRQu0lNqFZPf2yqwggtM9X_CwqvDNcOc5tEnAamphLEFwf_ALtWidgHicJjZ_2MhVdwYQdfC8D3RU330962koVD1shTalPhUjc-Kw8BytGMXLk9sx_psIq84oN9iX0xDf_kUdtnRQFn0/s320/=%3FISO-8859-1%3FQ%3FMaleonn_What_Love_is_No_1=A02009=2Ejpg%3F=-745281" border="0" alt="" id="BLOGGER_PHOTO_ID_5361374369488411858" /></a></p>Eli Klein Fine Art Press Release - " Passing by China: Contemporary Chinese Photography, This exhibition brings together the work of ten emerging and established artists whose work has been displayed worldwide— Hung Tung-Lu, Lian Dongya, Liu Bolin, Liu Zheng, Maleonn,<br />Miao Xiaochun, Pan Yue, Wang Yiqiong, Yu Hang, and Zuoxiao Zuzhou. Using photography, these artists delve into the conflict between China's past and future and the plight of the individual caught amidst the transition."<p><a href="http://www.elikleinfineart.com/html/exhibresultsFull.asp?type=All">http://www.elikleinfineart.com/html/exhibresultsFull.asp?type=All</a></p>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0tag:blogger.com,1999:blog-1319731210517169068.post-51966496917607085182009-07-21T09:44:00.000-04:002010-06-12T13:54:34.080-04:00Photographer Sited: Andrea Stultiens<p class="mobile-photo"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXFJqWwmyluvoyGWukkDgNLe37FZ0RXiCvIJHIw9MaFt1OjRHTxOSb_kucCHxOnrLyrNTv4LsQ-mCASygUonkdRnSJwuA7kwUbhs6cOcISexolamCYn38NFoad4XHfhDQeTk_C814FlqI3/s1600-h/Andrea+Stultiens-774033.png"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXFJqWwmyluvoyGWukkDgNLe37FZ0RXiCvIJHIw9MaFt1OjRHTxOSb_kucCHxOnrLyrNTv4LsQ-mCASygUonkdRnSJwuA7kwUbhs6cOcISexolamCYn38NFoad4XHfhDQeTk_C814FlqI3/s320/Andrea+Stultiens-774033.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5360908918798180626" /></a></p>Andrea Stultiens - <a href="http://www.andreastultiens.nl">http://www.andreastultiens.nl</a><p>Related Link: Exhibition,Uganda Museum - Dutch photographer tells<br>stories through images -<br><a href="http://www.monitor.co.ug/artman/publish/its_friday/Dutch_photographer_tells_stories_through_images_88225.shtml">http://www.monitor.co.ug/artman/publish/its_friday/Dutch_photographer_tells_stories_through_images_88225.shtml</a>Anonymoushttp://www.blogger.com/profile/16196187060350645450noreply@blogger.com0