Liz Deschenes
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We Went to No Man's Land: Women Artists from the Rubell Family Collection
We Went to No Man’s Land: Women Artists from The Rubell Family Collection 12/22/15, 11:06 AM About Features AFC Editions Donate Sound of Art Search Art F City We Went to No Man’s Land: Women Artists from The Rubell Family Collection by Paddy Johnson and Michael Anthony Farley on December 21, 2015 We Went To... Like 6 Tweet Mai-Thu Perret with Ligia Dias, “Apocalypse Ballet (Pink Ring) and “Apocalypse Ballet (3 White Rings,” steel, wire, papier-mâché, emulsion paint, varnish, gouache, wig, flourescent tubes, viscose dress and leather belt, 2006. No Man’s Land: Women Artists from The Rubell Family Collection 95 NW 29 ST, Miami, FL 33127, U.S.A. through May 28, 2016 Participating artists: Michele Abeles, Nina Chanel Abney, Njideka Akunyili Crosby, Kathryn Andrews, Janine Antoni, Tauba Auerbach, Alisa Baremboym, Katherine Bernhardt, Amy Bessone, Kerstin Bratsch, Cecily Brown, Iona Rozeal Brown, Miriam Cahn, Patty Chang, Natalie Czech, Mira Dancy, DAS INSTITUT, Karin Davie, Cara Despain, Charlotte Develter, Rineke Dijkstra, Thea Djordjadze, Nathalie Djurberg, Lucy Dodd, Moira Dryer, Marlene Dumas, Ida Ekblad, Loretta Fahrenholz, Naomi Fisher, Dara Friedman, Pia Fries, Katharina Fritsch, Isa Genzken, Sonia Gomes, Hannah Greely, Renée Green, Aneta Grzeszykowska, Jennifer Guidi, Rachel Harrison, Candida Höfer, Jenny Holzer, Cristina Iglesias, Hayv Kahraman, Deborah Kass, Natasja Kensmil, Anya Kielar, Karen Kilimnik, Jutta Koether, Klara Kristalova, Barbara Kruger, Yayoi Kusama, Sigalit Landau, Louise Lawler, Margaret Lee, Annette Lemieux, Sherrie Levine, Li Shurui, Sarah Lucas, Helen Marten, Marlene McCarty, Suzanne McClelland, Josephine Meckseper, Marilyn Minter, Dianna Molzan, Kristen Morgin, Wangechi Mutu, Maria Nepomuceno, Ruby Neri, Cady Noland, Katja Novitskoval Catherine Opie, Silke Otto-Knapp, Laura Owens, Celia Paul, Mai-Thu Perret, Solange Pessoa, Elizabeth Peyton, R.H. -
(Exhibition Catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin
SOL LEWITT SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 American Masters 1940–1980 (exhibition catalogue). Texts by Lucina Ward, James Lawrence and Anthony E Grudin. Canberra: National Gallery of Australia, 2018: 186–187, illustrated. Cameron, Dan and Fatima Manalili. The Avant-Garde Collection. Newport Beach, California: Orange County Museum of Art, 2018: 57, illustrated. Destination Art: 500 Artworks Worth the Trip. New York: Phaidon, 2018: 294, 374, illustrated. LeWitt, Sol. “Sol LeWitt: A Primary Medium.” In Auping, Michael. 40 Years: Just Talking About Art. Fort Worth, Texas and Munich: Modern Art Museum of Fort Worth; DelMonico BooksꞏPrestel, 2018: 84–87, illustrated. Picasso – Gorky – Warhol: Sculptures and Works on Paper, Collection Hubert Looser (exhibition catalogue). Edited by Florian Steininger. Krems an der Donau, Austria and Zürich: Kunsthalle Krems; Fondation Hubert Looser, 2018: 104, illustrated. Sol LeWitt: Between the Lines (exhibition catalogue). Texts by Francesco Stocchi. Rem Koolhaas and Adachiara Zevi. Milan: Fondazione Carriero, 2018 Sol LeWitt: Wall Drawings. Edited by Lindsay Aveilhé. [New York]: Artifex Press, 2018. 2017 Sol LeWitt: Selected Bibliography—Books 2 The Art Museum. London: Phaidon, 2017: 387, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 129, 151, 221, illustrated. Delirious: Art at the Limits of Reason 1950–1980 (exhibition catalogue). Texts by Kelly Baum, Lucy Bradnock and Tina Rivers Ryan. New York: Met Breuer, 2017: pl.21, 22, 23, 24, illustrated. Doss, Erika. American Art of the 20th–21st Centuries. New York and Oxford: Oxford University Press, 2017: fig. 113, p.178, illustrated. Gross, Béatrice. -
Depth of Field PDF Only
Depth of Field for Digital Images Robin D. Myers Better Light, Inc. In the days before digital images, before the advent of roll film, photography was accomplished with photosensitive emulsions spread on glass plates. After processing and drying the glass negative, it was contact printed onto photosensitive paper to produce the final print. The size of the final print was the same size as the negative. During this period some of the foundational work into the science of photography was performed. One of the concepts developed was the circle of confusion. Contact prints are usually small enough that they are normally viewed at a distance of approximately 250 millimeters (about 10 inches). At this distance the human eye can resolve a detail that occupies an angle of about 1 arc minute. The eye cannot see a difference between a blurred circle and a sharp edged circle that just fills this small angle at this viewing distance. The diameter of this circle is called the circle of confusion. Converting the diameter of this circle into a size measurement, we get about 0.1 millimeters. If we assume a standard print size of 8 by 10 inches (about 200 mm by 250 mm) and divide this by the circle of confusion then an 8x10 print would represent about 2000x2500 smallest discernible points. If these points are equated to their equivalence in digital pixels, then the resolution of a 8x10 print would be about 2000x2500 pixels or about 250 pixels per inch (100 pixels per centimeter). The circle of confusion used for 4x5 film has traditionally been that of a contact print viewed at the standard 250 mm viewing distance. -
Film Grain, Resolution and Fundamental Film Particles
FFFiiilllmmm GGGrrraaaiiinnn,,, RRReeesssooollluuutttiiiooonnn aaannnddd FFFuuunnndddaaammmeennntttaaalll FFFiiilllmmm PPPaaarrrtttiiicccllleeesss Version 9 March 2006 Tim Vitale © 2006 use by permission only 1 Introduction 1 2 Fundamental Film Particles – Silver-Halide 0.2 - 2.0 um 3 Feature Size and Digital Resolution: Data Table 1 4 Dye Clouds are the Fundamental Particles Color Film 6 3 Film Grain 6 Dye Clouds are the Film Grain in Color Film 6 Film Grain in Black-and-White Film 7 Cross-Section of Film 9 Grain Size Variability 9 RMS Granularity – Film Image Noise 9 RMS Granularity of Several Films: Data Table 2 10 Film Resolution – Sharpness 10 System Resolving Power Equation 12 Lens Issues Effecting Resolution 12 Film Issues Effecting Resolution 12 Evaluation a System: Camera, Lens and Film 13 Selected Film & Lens Resolution Data: Data Table 3 13 Camera System Resolving Power: Data Table 4 14 Measuring Film Grain 14 Print Grain Index 14 Size of Perceived Film Grain: Example 15 Size Domains for Enlargement & Magnification: Data Table 5 15 Maximum Resolution of a Microscope: Data Table 6 16 4 Eliminating Film Grain from an Image 18 Drum Scan Aperture 18 Feature size vs. Digital Resolution vs. Film: Data Table 7 19 Scan Resolution in Flatbed Scanning 19 Wet Mounting for Film Scanning 20 New Generation of Flatbed Scanners 21 Future Generation of Scanners – Epson Perfection V750-M 23 Software for Diminishing Film Grain 24 1 Introduction The purpose of this complex essay is to demonstrate the following: • Fundamental film particles (silver -
A Tone Signature Analysis of Multispectral Photography
University of North Dakota UND Scholarly Commons Theses and Dissertations Theses, Dissertations, and Senior Projects 8-1-1969 A Tone Signature Analysis of Multispectral Photography Michael V. Miller Follow this and additional works at: https://commons.und.edu/theses Recommended Citation Miller, Michael V., "A Tone Signature Analysis of Multispectral Photography" (1969). Theses and Dissertations. 3672. https://commons.und.edu/theses/3672 This Thesis is brought to you for free and open access by the Theses, Dissertations, and Senior Projects at UND Scholarly Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UND Scholarly Commons. For more information, please contact [email protected]. A TONS SIGNATURE ANALYSIS OF MULTISPECTRAL PHOTOGRAPHY by Michael V. Miller Bachelor of Philosophy, University of North Dakota 196? A Thesis Submitted to the Faculty o f the University o f North Dakota in partial fulfillment of the requirements fo r the Degree o f Master of Science Grand Forks, North Dakota August 1969 T/W HU This thesis submitted by Michael V. Miller in partial fulfillment o f the requirements fo r the Degree o f Master o f Science from the University o f North Dakota is hereby approved by the Faculty Advisory Committee under whom the work has been done. i i 287930 Permission T itle A TONS SIGNATURE ANALYSIS OF MULTISPECTRAL PHOTOGRAPHY Department Department o f Geography Decree Master of Science______ __________ ______ ______ In presenting this thesis, in partial fulfillment of the requirements fo r a graduate degree from the University o f North Dakota, I agree that the Library o f this University shall make it freely available for inspection. -
Festschrift:Experimenting with Research: Kenneth Mees, Eastman
Science Museum Group Journal Festschrift: experimenting with research: Kenneth Mees, Eastman Kodak and the challenges of diversification Journal ISSN number: 2054-5770 This article was written by Jeffrey Sturchio 04-08-2020 Cite as 10.15180; 201311 Research Festschrift: experimenting with research: Kenneth Mees, Eastman Kodak and the challenges of diversification Published in Spring 2020, Issue 13 Article DOI: http://dx.doi.org/10.15180/201311 Abstract Early industrial research laboratories were closely tied to the needs of business, a point that emerges strikingly in the case of Eastman Kodak, where the principles laid down by George Eastman and Kenneth Mees before the First World War continued to govern research until well after the Second World War. But industrial research is also a gamble involving decisions over which projects should be pursued and which should be dropped. Ultimately Kodak evolved a conservative management culture, one that responded sluggishly to new opportunities and failed to adapt rapidly enough to market realities. In a classic case of the ‘innovator’s dilemma’, Kodak continued to bet on its dominance in an increasingly outmoded technology, with disastrous consequences. Component DOI: http://dx.doi.org/10.15180/201311/001 Keywords Industrial R&D, Eastman Kodak Research Laboratories, Eastman Kodak Company, George Eastman, Charles Edward Kenneth Mees, Carl Duisberg, silver halide photography, digital photography, Xerox, Polaroid, Robert Bud Author's note This paper is based on a study undertaken in 1985 for the R&D Pioneers Conference at the Hagley Museum and Library in Wilmington, Delaware (see footnote 1), which has remained unpublished until now. I thank David Hounshell for the invitation to contribute to the conference and my fellow conferees and colleagues at the University of Pennsylvania for many informative and stimulating conversations about the history of industrial research. -
At Mass Moca, Reimagining Photography
PHOTOGRAPHY REVIEW At Mass MoCA, reimagining photography CLIFFORD ROSS) Clifford Ross’ “Mountain IV” By Mark Feeney GLOBE STAFF JUNE 18, 2015 NORTH ADAMS — Familiarity may or may not breed contempt. It can certainly breed lack of imagination. Photography has never been more ubiquitous. A chicken in every pot never happened — thanks to cellphones, a digital camera in every pocket or purse pretty much has. Why would anyone, including artists, feel a need to rethink anything so common and useful? Yet that very ubiquity makes fresh responses to the medium all the more useful, and fresh responses are what three shows at the Massachusetts Museum of Contemporary Art offer. “Clifford Ross: Landscape Seen & Imagined” reminds us that photography involves seeing by two parties: the photographer, and the viewer of the photographs taken. There’s nothing remarkable about this fact, except that Ross makes it so through his use of scale. Much of the show runs through March. Another portion, the “Hurricane Wave” series, runs through Aug. 30. In addition, an “immersive outdoor video installation,” as Mass MoCA describes it, will be on display most Thursday and Friday evenings between June 26 and Sept. 4. Ross’ “Hurricane L” That video display isn’t the only thing immersive about Ross’s work. Simply described, “Sopris Wall I” is a photograph of Mount Sopris, in the Colorado Rockies, flanked by trees, with a small body of water in the foreground. That description, while accurate enough so far as it goes, goes nowhere near far enough to give any sense of the experience of seeing “Sopris Wall I” in person. -
Thomas Demand Roxana Marcoci, with a Short Story by Jeffrey Eugenides
Thomas Demand Roxana Marcoci, with a short story by Jeffrey Eugenides Author Marcoci, Roxana Date 2005 Publisher The Museum of Modern Art ISBN 0870700804 Exhibition URL www.moma.org/calendar/exhibitions/116 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art museumof modern art lIOJ^ArxxV^ 9 « Thomas Demand Thomas Demand Roxana Marcoci with a short story by Jeffrey Eugenides The Museum of Modern Art, New York Published in conjunction with the exhibition Thomas Demand, organized by Roxana Marcoci, Assistant Curator in the Department of Photography at The Museum of Modern Art, New York, March 4-May 30, 2005 The exhibition is supported by Ninah and Michael Lynne, and The International Council, The Contemporary Arts Council, and The Junior Associates of The Museum of Modern Art. This publication is made possible by Anna Marie and Robert F. Shapiro. Produced by the Department of Publications, The Museum of Modern Art, New York Edited by Joanne Greenspun Designed by Pascale Willi, xheight Production by Marc Sapir Printed and bound by Dr. Cantz'sche Druckerei, Ostfildern, Germany This book is typeset in Univers. The paper is 200 gsm Lumisilk. © 2005 The Museum of Modern Art, New York "Photographic Memory," © 2005 Jeffrey Eugenides Photographs by Thomas Demand, © 2005 Thomas Demand Copyright credits for certain illustrations are cited in the Photograph Credits, page 143. Library of Congress Control Number: 2004115561 ISBN: 0-87070-080-4 Published by The Museum of Modern Art, 11 West 53 Street, New York, New York 10019-5497 (www.moma.org) Distributed in the United States and Canada by D.A.P./Distributed Art Publishers, New York Distributed outside the United States and Canada by Thames & Hudson Ltd., London Front and back covers: Window (Fenster). -
Art & Science of Photography.Indd
Art and Science of Photography by Jan Steinman ©2001–2007, Jan Steinman. All rights reserved. Contents Introduction 1 Art Camera Basics 3 and Exposure 5 Perspective 7 Motion Control 9 Depth of Field 11 Science Light 13 Macro 15 Composition 17 of Photography Field Trip 19 by Jan Steinman Contents Art & Science of Photography ii Introduction There are two types of people in this world: those who divide the world up into two types, and those who think there is more to it all than that. I guess I fall into both groups — I can’t make up my mind! On the one hand, it is useful to stereotype people, to better understand their motivations and desires. On the other hand, how dare anyone put me, or anyone else, in a nice, tidy box! Dividing up the world into “art” types and “science” types is a useful way to look at things. So much of what we do falls neatly into one category or another. Play music? Art. Build a machine? Science. On the other hand, no one exists who lives wholly in the realm of the aesthetic, just as technology alone cannot provide a full life. I’ll be making a special effort to bring these two together, but you have to join me in that effort. If you are an “art” type, try to pay special attention to the “science” bits — they’ll help you achieve the artistic effects that you may have thought were up to luck. Or if you are a “science” type, try to spend time on the “art” topics — they’ll help you get beyond technically profi- cient, but boring, images. -
Art in the Twenty-First Century Screening Guide: Season
art:21 ART IN2 THE TWENTY-FIRST CENTURY SCREENING GUIDE: SEASON TWO SEASON TWO GETTING STARTED ABOUT THIS SCREENING GUIDE ABOUT ART21, INC. This screening guide is designed to help you plan an event Art21, Inc. is a non-profit contemporary art organization serving using Season Two of Art in the Twenty-First Century. This guide students, teachers, and the general public. Art21’s mission is to includes a detailed episode synopsis, artist biographies, discussion increase knowledge of contemporary art, ignite discussion, and inspire questions, group activities, and links to additional resources online. creative thinking by using diverse media to present contemporary artists at work and in their own words. ABOUT ART21 SCREENING EVENTS Public screenings of the Art:21 series engage new audiences and Art21 introduces broad public audiences to a diverse range of deepen their appreciation and understanding of contemporary art contemporary visual artists working in the United States today and and ideas. Organizations and individuals are welcome to host their to the art they are producing now. By making contemporary art more own Art21 events year-round. Some sites plan their programs for accessible, Art21 affords people the opportunity to discover their broad public audiences, while others tailor their events for particular own innate abilities to understand contemporary art and to explore groups such as teachers, museum docents, youth groups, or scholars. possibilities for new viewpoints and self-expression. Art21 strongly encourages partners to incorporate interactive or participatory components into their screenings, such as question- The ongoing goals of Art21 are to enlarge the definitions and and-answer sessions, panel discussions, brown bag lunches, guest comprehension of contemporary art, to offer the public a speakers, or hands-on art-making activities. -
Museum of Modern Art in New York Exhibits New Acquisitions in Photography
Museum of Modern Art in New York exhibits new acquisition... http://www.artdaily.org/index.asp?int_sec=2&int_new=6253... 11:09 am / 16 °C The First Art Newspaper on the Net Established in 1996 Austria Tuesday, May 14, 2013 Home Last Week Artists Galleries Museums Photographers Images Subscribe Comments Search Museum of Modern Art in New York exhibits new acquisitions in photography Lynn Hershman Leeson. Robertaʼs Construction Chart #2. 1976. Chromogenic color print, printed 2003, 22 15/16 x 29 5/8″ (58.3 x 75.3 cm) The Museum of Modern Art, New York. The Modern Womenʼs Fund. © 2013 Lynn Hershman Leeson. NEW YORK, NY.- The Museum of Modern Art presents XL: 19 New Acquisitions in Photography, featuring a selection of major works—often multipart and serial images—by 19 contemporary artists, from May 10, 2013, to January 6, 2014. The exhibition features works, made between 1960 and the present, which have been acquired by the Department of Photography within the past five years and are on view at MoMA for the first time. The exhibition is organized by Roxana Marcoci, Curator; Sarah Meister, Curator; and Eva Respini, Associate Curator; with Katerina Stathopoulou, Curatorial Assistant, Department of Photography, The Museum of Modern Art. Filling five consecutive rooms in the third-floor Edward Steichen Photography Galleries, this installation includes a diverse set of works—from performative photographs to collage and appropriation to political and personal images made in the documentary tradition—that underscore the vitality of photographic experimentation today. The cross-generational group of 19 international artists consists of Yto Barrada, Phil Collins, Liz Deschenes, Stan Douglas, VALIE EXPORT, Robert Frank, Paul Graham, Leslie Hewitt, Birgit Jürgenssen, Jürgen Klauke, Běla Kolářová, Lynn Hershman Leeson, Dóra Maurer, Oscar Muñoz, Mariah Robertson, Allan Sekula, Stephen Shore, Taryn Simon, and Hank Willis Thomas. -
Exibart 78 / 3
78 bimestrale - Sped. in A.P. 45% art. 2. c. 20 let. B - l. 662/96 Firenze Copia euro 0,0001 bimestrale - Sped. in A.P. FREE Ma New York Gli esami non Vivere in un museo ANNO UNDICESIMO funziona ancora? finiscono mai Quattro artisti sono in NUMERO SETTANTOTTO La Grande Mela va avanti. Corsi e master d’arte residenza al Macro. Siamo Almeno nell’arte, nascono contemporanea nascono entrati nei loro studi APRILE/MAGGIO nuovi spazi e nuove aree ovunque. Ma l’arte si impara per raccogliere le prime DUEMILADODICI creative. Anche se non davvero? E quanto costa impressioni su questa nuova sempre di qualità. Ma artisti studiarla? Per farci che cosa esperienza. A caldo, e con un WWW.EXIBART.COM e curatori continuano a poi? Viaggio-inchiesta nella po’ di sorprese. Ma anche per sceglierla. Abbiamo provato formazione più ricercata del capire come cambia il museo a capire perché. Parlando nuovo millennio direttamente con loro Ripensare la cultura Giovani artisti italiani Qual è la differenza tra Dante Mercato in ripresa C’è qualcosa che li e una salsiccia? Uno non si Quali sono le novità e gli differenzia dagli altri, una mangia e l’altra sì. artisti che tirano? Occhio specificità, un dna visivo? Tutto qui? Mentre a parlare alle ultime aste, ma anche E quanto guardano al di cultura sono sempre i ai nuovi investitori che passato? Opinioni a soliti noti. All’appello manca stanno cambiando la scena confronto, tra critici e chi qualcuno commerciale l’arte la fa direttamente EXIBART 78 / 3 EDITORIALE di Adriana Polveroni a vi pare possibi- vita pubblica.