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Penelope Umbrico's Suns Sunsets from Flickr
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Image Commodification and Image Recycling: Penelope Umbrico's Suns Sunsets from Flickr Minjung “Minny” Lee CUNY City College of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/506 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The City College of New York Image Commodification and Image Recycling: Penelope Umbrico’s Suns from Sunsets from Flickr Submitted to the Faculty of the Division of the Arts in Candidacy for the Degree of Master of Arts Department of Humanities and Liberal Arts by Minjung “Minny” Lee New York, New York May 2014 Copyright © 2014 by Minjung “Minny” Lee All rights reserved CONTENTS Acknowledgements v List of Illustrations vi Introduction 1 Chapter 1. Umbrico’s Transformation of Vernacular Visions Found on Flickr 14 Suns from Sunsets from Flickr and the Flickr Website 14 Working Methods for Suns from Sunsets from Flickr 21 Changing Titles 24 Exhibition Installation 25 Dissemination of Work 28 The Temporality and Mortality of Umbrico’s Work 29 Universality vs. Individuality and The Expanded Role of Photographers 31 The New Way of Image-making: Being an Editor or a Curator of Found Photos 33 Chapter 2. The Ephemerality of Digital Photography 36 The Meaning and the Role of JPEG 37 Digital Photographs as Data 40 The Aura of Digital Photography 44 Photography as a Tool for Experiencing 49 Image Production vs. -
Project #3: Inspired By… - Description Critique Date - 3/29/19 (Fri)
Project #3: Inspired by… - Description Critique Date - 3/29/19 (Fri) "The world is filled to suffocating. Man has placed his token on every stone. Every word, every image, is leased and mortgaged. We know that a picture is but a space in which a variety of images, none of them original, blend and clash." – Sherrie Levine Conceptual Requirements: In this project, you will do your best to interpret the style of a particular photographer who interests you. You will research them as well as their work in order to make photographs that have a signature aesthetic or approach that is specific to them, and also contribute your ideas. Technical Requirements: 1. Start with the list on the back of this page (the Project Description sheet), and start web searches for these photographers. All the ones listed are masters in their own right and a good starting point for you to begin your search. Select one and confirm your choice with me by the due date (see the syllabus). 2. After choosing a photographer, go on the web and to the library to check out books on them, read interviews, and look at every image you can that is made by them. Learn as much as you can and take notes on your sources. 3. Type your name, date, and “Project 3: Inspired by...” at the top of a Letter sized page. Then write a 2 page research paper on your chosen photographer. Be sure to include information such as where and when they were born, where it is that they did their work, what kind of camera and film formats they used, their own personal history, etc. -
Downloaded From: Usage Rights: Creative Commons: Attribution-Noncommercial-No Deriva- Tive Works 4.0
Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle. -
Joan Fontcuberta
JOAN FONTCUBERTA Barcelona, 1955 INDIVIDUAL EXHIBITIONS 2013 Àngels barcelona, Barcelona, Spain. 2012 Orogénesis, photo edition berlin, Berlin. Deletrix, Nathalie Parienté, Paris. A través del Mirall, espai d’arts rocaumbert, Granollers. 2011 FAUNA. Museo Universitario del Chopo. MX. From here on. Atelier de Mécanique, Arles, Les Rencontres D’Arles, FR (co-curator). FAUNA. Museo Universitario del Chopo. MX. Frontal Nude i altres paisatges, Galeria Palma Dotze, Vilafranca del Penedès. A través del espejo, Centro Cultural Puertas de Castilla, Murcia. A través del espejo, Casa de la Moneda, Bogotá. 2010 Through the Looking Glass, Angels Barcelona. Orgénesis, Foam Fotografie Museum, Amsterdam. Resiliència, Galería Mayoral, Barcelona. A través del espejo, Galerías Xalapa, México. De Natura, Musée des Beaux-Arts, Lille. 2009 Blow up Blow up, Galeria Àngels Barcelona. Blow Up Blow Up, Atelier de Forges, Rencontres Internationales de la Photographie, Arles. Datascapes, Djanogly Art Gallery, Nottingham. Datascapes, Usher Gallery, Lincoln. Googlegrams, Galeria Vanguardia, Bilbao. Googlegrams, Albury Regional Gallery, New South Wales, Austràlia. Googlegrams, Pinnacles Gallery, Riverway Arts Centre, Queensland, Australia. Hydropithèque, Musée-Chateau, Annecy. Landscapes without Memory, Reiss-Eingelhorn Museen, Mannheim. Santa Inocencia, Museo de Albarracín, Albarracín. 2008 De facto. Joan Fontcuberta. 1986 - 2008. Curator: Iván de la Nuez. Palau de la Virreina, Barcelona. Des monstres et des prodiges, Musée-Château, Annecy. Sputnik, Artothèque, Annecy. Sputnik, Musée Gassendi, Digne. Botánica oculta, Photomuseim, Zarautz. Googlegramas, Galerie Braunbehrens, Munich.cat. Googlegramas, Instituto Cervantes, Nápoles. Googlegramas, Instituto Cervantes, Pekín. Deconstructing Osama, Fundació Octubre, Valencia. Deconstructing Osama, Fundació La Caixa, Lleida. Tierras de nadie, Centro Cultural Miguel Castillejo, Jaén.cat. 2007 Perfida Imago, Musée d’Angers. Orogenesis, Bellas Artes Gallery, Santa Fe (Nuevo Méjico, EE.UU.). -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
© 2016 Mary Kate Scott ALL RIGHTS RESERVED
© 2016 Mary Kate Scott ALL RIGHTS RESERVED THE PHOTOGRAPHY OF ABSENCE: DEATH IN POSTMODERN AMERICA By MARY KATE SCOTT A dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Andrés Zervigón And approved by ________________________________________ ________________________________________ ________________________________________ ________________________________________ New Brunswick, New Jersey January 2016 ABSTRACT OF THE DISSERTATION The Photography of Absence: Death in Postmodern America By MARY KATE SCOTT Dissertation Director: Dr. Andrés Zervigón It is a paradox that postmodern photographic theory—so thoroughly obsessed with death—rarely addresses intimate scenes of explicit death or mortality. Rather, it applies these themes to photographs of living subjects or empty spaces, laying upon each image a blanket of pain, loss, or critical dissatisfaction. Postmodern theorists such as Rosalind Krauss and Geoffrey Batchen root their work in the writings of Roland Barthes, which privilege a photograph’s viewer over its subject or maker. To Barthes’ followers in the 1980s and 1990s, the experiences depicted within the photograph were not as important as our own relationships with it, in the present. The photographers of the Pictures Generation produced groundbreaking imagery that encouraged the viewer to question authority, and even originality itself. Little was said, though, about intimacy, beauty, the actual fact of death, or the author’s individual experience. However, a significant group of American art photographers at the end of the twentieth century began making works directly featuring their own personal experiences with mortality. -
Introduction
Introduction Martin Parr is a chronicler of our age. In the face of the constantly growing flood of images released by the media, his photographs offer us the opportunity to see the world from his unique perspective. At first glance, his photographs seem exaggerated or even grotesque. The motifs he chooses are strange, the colours are garish and the perspectives are unusual. Parr's term for the overwhelming power of published images is "propaganda". He counters this propaganda with his own chosen weapons: criticism, seduction and humour. As a result, his photographs are original and entertaining, accessible and understandable. But at the same time they show us in a penetrating way that we live, how we present ourselves to others, and what we value. Leisure, consumption and communication are the concepts that this British photographer has been researching for several decades now on his worldwide travels. In the process, he examines national characteristics and international phenomena to find out how valid they are as symbols that will help future generations to understand our cultural peculiarities. Parr enables us to see things that have seemed familiar to us in a completely new way. In this way he creates his own image of society, which allows us to combine an analysis of the visible signs of globalisation with unusual visual experiences. In his photos, Parr juxtaposes specific images with universal ones without resolving the contradictions. Individual characteristics are accepted and eccentricities are treasured. The themes Parr selects and his inimitable treatment of them set him apart as a photographer whose work involves the creation of extensive series. -
Viewing the World (Dfid)
Department for International DFID Development issues Viewing Department for International Development the The Department for International Development (DFID) is the British government department responsible World for promoting development and the reduction of poverty. The government elected in May 1997 increased Viewing the its commitment to development by strengthening the department and increasing its budget. The policy of the government was set out in the White Paper on International Development, published in A studyofBritishtelevisioncoveragedevelopingcountries November 1997. The central focus of the policy is a commitment to the internationally agreed target to halve the proportion of people living in extreme poverty by 2015, together with the associated targets including basic health care provision and universal access to primary education by the same date. DFID seeks to work in partnership with governments which are committed to the international targets, and also seeks to work with business, civil society and the research community to encourage progress which will help reduce poverty. We also work with multilateral institutions including the World Bank, UN agencies and the European Commission. The bulk of our assistance is concentrated on the poorest World countries in Asia and Sub-Saharan Africa. We are also contributing to poverty elimination in middle income countries, and helping the transition countries in Central and Eastern Europe to enable the widest number of people to benefit from the process of change. As well as its headquarters in London and East Kilbride, DFID has offices in New Delhi, Bangkok, Nairobi, Harare, Kampala, Dar-Es-Salaam, Pretoria, Dhaka, Suva, Kathmandu and Bridgetown. In other parts of the world, DFID works through staff based in British Embassies and High Commissions. -
HOW BRITISH PHOTOGRAPHY FOUND ITS VOICE by Paul Hill
HOW BRITISH PHOTOGRAPHY FOUND ITS VOICE by Paul Hill The 1970s was, in my opinion, photography’s most important decade of the 20th century. During this period its traditional practices were questioned – even undermined – its profile as a medium of creative self-expression was raised immeasurably, and the teaching of the subject changed beyond recognition. This is my view – partial and self opinionated – but at least I was there, hopefully providing the researchers of today, who have no particular axe to grind, with primary material to help them analyse this exciting era with critical detachment and insight. I want to stress the importance of education and dissemination during this period. The products were good and the message worth listening to, so let the wider public, as well as the cognoscenti, know about it. No one will be beat a path to your door until they know your address. Promoting debate, as well as confronting cliché-ridden photography and out-moded custom and practice, was crucial, and via various avenues, including academics, who had up to then viewed the subject as a purely vocational one, photography found a new position on the cultural and artistic map of Britain. Of course, there is a personal pre-history, and mine is similar to that of many who joined the cause – unusual. I became enamoured of personal photography, as we called it then, through journalism. I was a newspaper reporter before I decided to make one of my hobbies – photography – my career when I became a freelance in 1965. Although news photography was my mainstay, I began to appreciate other sorts of image making, and was particularly influenced by Bill Brandt’s Shadow of Light in 1966. -
ALEC SOTH Bibliography Selected Publications
ALEC SOTH Bibliography Selected Publications 2019 Soth, Alec. I Know How Furiously Your Heart is Beating. London: MACK, 2019. 2018 Soth, Alec. Alec Soth: Niagara. London: MACK, 2018. 2015 Penhall, Michele M. Stories from the Camera: Reflections on the Photograph. Albuquerque: University of Mexico, 2015. Schuman, Aaron and Kate Bush. Gathered Leaves, London: MACK, 2015. 2014 Fraenkel, Jeffrey ed. The Plot Thickens. San Francisco: Fraenkel Gallery, 2014. Knight, Robert. In Context: The Portrait in Contemporary Photographic Practice. Clinton, New York: Ruth and Elmer Wellin Museum of Art, 2014. Soth, Alec. Songbook. Minnesota: Little Brown Mushroom, 2014. “The Secret Lives of Museum Guards,” The New Yorker, September 26, 2015. “Voyages: Visual Journeys by six photographers,” The New York Times Magazine, September 26, 2015. 2013 Dyer, Geoff and Pico Iyer. Ping Pong. St. Paul, Minnesota: Little Brown Mushroom, September 2013. Soth, Alec and Brad Zellar. Three Valleys. St. Paul, Minnesota: Little Brown Mushroom, March 2013. 2012 Soth, Alec. Looking for Love 1996. Berlin: Kominek Books, 2012. Soth, Alec and Brad Zellar. Ohio. St. Paul, Minnesota: Little Brown Mushroom, May 2012. Soth, Alec and Brad Zellar. Upstate. St. Paul, Minnesota: Little Brown Mushroom, August 2012. Soth, Alec and Brad Zellar. Michigan. St. Paul, Minnesota: Little Brown Mushroom, November 2012. 2011 Alec Soth: Mostly Women. Portland, Oregon: Nazraeli Press, 2011. Soth, Alec. Alec Soth: La Belle Dame Sans Merci. 2011. Soth, Alec. Lonley Boy Mag (No. A-1: Alec Soth’s Midwestern Exotica). St. Paul, Minnesota: Little Brown Mushroom Books, March 2011. 2010 Rodarte, Catherine Opie, Alec Soth. Zurich: JRP Ringier, 2010. Soth, Alec. -
Magnum Books and Prints
Magnum Photos Books and Prints 01 INTRODUCTION Magnum Photos BOOKS AND PRINTS Counting among its 60 members some of the world's most respected photographers, Magnum Photos has become a cultural powerhouse with a commercial edge. Due to their ethos of excellence, humanitarian issues, independence, individuality and a sense of history, the work of Magnum photographers has long since become highly coveted among private collectors and established institutions alike. Not only is this true for fine photographic prints, but today many of the photographers' books have reached “must-have” status on the collecting market as well. This month Magnum Photos is happy to introduce a variety of rare, out-of-print, and first edition books signed by the photographers together with selected, limited edition signed prints. Many of the book & print sets detailed here are exclusive to magnumstore.com and cannot be found anywhere else. TO ORDER VISIT: WWW.MAGNUMSTORE.COM 03 TABLE OF CONTENT SUSAN MEISELAS LARRY TOWELL MAGNUM GROUP MARTIN PARR ELLIOTT ERWITT CARNIVAL STRIPPERS THE MENNONITES MUHAMMAD ALI MARTIN PARR SNAPS ELI REED BRUCE GILDEN DENNIS STOCK CHIEN-CHI CHANG PHILIP JONES GRIFFITHS BLACK IN AMERICA GO JAMES DEAN THE CHAIN AGENT ORANGE ALEX WEBB PATRICK ZACHMAN JOSEF KOUDELKA HOT LIGHT / HALF W. OR THE EYE OF THE MARK POWER LISE SARFATI RECONNAISANCE MADE WORLDS LONG NOSE THE TREASURY PROJECT THE NEW LIFE STUART FRANKLIN LEONARD FREED LEONARD FREED CHRISTOPHER ANDERSON MARTIN PARR SEA FEAVER AMSTERDAM PHOTOGRAPHS 1954 - 1990 NONFICTION FASHION MAGAZINE TO ORDER VISIT: WWW.MAGNUMSTORE.COM 05 LIMITED EDITIONS: BOOKS AND PRINTS Larry Towell THE MENNONITES Larry Towell has spent much of the last ten years pho- tographing Mennonite communities in rural Ontario and Mexico. -
Editor. “Alec Soth's Guide to Photography.” I-D. October 24, 2019
Editor. “alec soth’s guide to photography.” I-D. October 24, 2019. Dance N Style. Sandusky, OH. Alec Soth. Photography Alec Soth / Magnum Photos Last year, Magnum introduced its first ever online photography course. With contributions from Bruce Gilden, Martin Parr, Susan Meiselas, Richard Kalvar, Carolyn Drake, Peter van Agtmael and Mark Power -- arguably seven of the biggest names working right now -- ‘The Art of Street Photography’ was perhaps the most prestigious access the internet had to offer in photography education for less than $100. “Like many industries there is an urgent need for greater diversity within the photographic industry,” Shannon Ghannam, Magnum’s Global Education Director, said at the time. “We are committed to developing and giving a platform to diverse voices and perspectives through our educational programming around the world.” Following the success of the course, and the positive feedback it received, this month Magnum launch their second edition: ‘Alec Soth: Photographic Storytelling’. Alec, the legendary photographer from Minneapolis -- famed for his startling vignettes of midwestern life and still, baron landscapes -- gives a 19- lesson breakdown via video in what he believes are the key skills to succeed. From his own creative journey to the more granular details of editing, the course aims to give an broad introduction to set any budding photographer’s wheels in motion, or help a more experienced artist hone their skills further. Ahead of its launch, we had a quick chat with Alec to find out more about his photographic journey. Melissa, Flamingo Inn. Canada. What was your first introduction to photography? When I was 16 I had a teacher that opened my eyes to the world of art.