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Aesthetica Issue 100 Celebrations
Aesthetica Magazine commemorates 100 issues, launching the milestone edition at the Future Now Symposium, with a dedicated day of innovative masterclasses. Aesthetica Magazine reaches a significant milestone in 2021, publishing the 100th issue of the magazine, and marking 18 years of independent publishing. This special edition will be launched with a full day of virtual talks at the Future Now Symposium (28 April), celebrating one of the UK’s leading art and culture publications, founded in York, UK. Kicking the day off, between 09.30 and 10.30, audiences can hear from both of Aesthetica’s founders, Cherie Federico and Dale Donley, to learn more about the journey of starting Aesthetica Magazine as a project and developing the publication into one of the world’s leading voices for art and design, with a reach of 500,000, as well as a platform for creativity across the Art Prize, Creative Writing Award and Film Festival. A series of talks bring the 100th issue of Aesthetica to life, including an examination of international lighting design with Sarah Schleuning, Dallas Museum of Art; and Cindi Strauss, Museum of Fine Arts Houston. From the invention of the first electric light by Humphry Davy in 1808 to Phillips’ development of the “ultraefficient” lightbulb in 2011, lighting technology has fascinated engineers, scientists and designers worldwide. This session brings the last century of into focus. Hear from some of our favourite photographers over the years, including Ellie Davies, Kevin Cooley, Ryan Schude, Yannis Davy Guibinga and Brooke DiDonato. In this creative panel discussion, we ask: how do you take a photograph in a new way? How far can you push the ideas in order to create something that is captivating and also contributes to wider discourse on image-making? Closing the first day of the festival, at 18.30-19.30, 100th issue cover photographer Kriss Munsya considers the power of images to reclaim identities and tackle internalised structures. -
Global Photographies
Sissy Helff, Stefanie Michels (eds.) Global Photographies Image | Volume 76 Sissy Helff, Stefanie Michels (eds.) Global Photographies Memory – History – Archives An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access for the public good. The Open Access ISBN for this book is 978-3-8394-3006-4. More information about the initiative and links to the Open Access version can be found at www.knowledgeunlatched.org. This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivs 4.0 (BY-NC-ND) which means that the text may be used for non- commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contac- ting [email protected] © 2018 transcript Verlag, Bielefeld Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de Cover concept: Kordula Röckenhaus, Bielefeld Cover illustration: Sally Waterman, PastPresent No. 6, 2005, courtesy of the artist Proofread and typeset by Yagmur Karakis Printed by docupoint GmbH, Magdeburg Print-ISBN 978-3-8376-3006-0 PDF-ISBN -
A Finding Aid to the Samuel J. Wagstaff Papers, Circa 1932-1985, in the Archives of American Art
A Finding Aid to the Samuel J. Wagstaff Papers, circa 1932-1985, in the Archives of American Art Catherine S. Gaines Funding for the digitization of this collection was provided by the Terra Foundation for American Art December 13, 2006 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical Note............................................................................................................. 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 5 Series 1: Correspondence, 1932-1986.................................................................... 5 Series 2: Writings, 1961-1983................................................................................ 25 Series 3: Miscellaneous Papers and Artifacts, -
Abstract! 100 Years of Abstract Photography, 1917–2017 1.11.2017–14.1.2018 Abstract! 100 Years of Abstract Photography, 1917–2017 1.11.2017–14.1.2018
ABSTRACT! 100 Years of Abstract Photography, 1917–2017 1.11.2017–14.1.2018 ABSTRACT! 100 Years of Abstract Photography, 1917–2017 1.11.2017–14.1.2018 Cover: Ea Vasko: #11, from the series Reflections of the Ever-changing (the Short History of Now), 2009 Production: the Finnish Museum of Photography, 2017 Keijo Kansonen (born 1952) 1 Reinogram, from the series Metro Ars 1987 Silver gelatin print, photogram, unique “Metro Ars was a series of five photographs that I created for an exhibition, curated by Ismo Kajander, that was on dis- play at various metro stations in Helsinki. My works were displayed on a hoarding on the wall across the track at the Rautatientori metro station. I exposed the many-metre-long photograms at a screen-printing facility in the basement of the Lepakko cultural centre, where a large glass plate was set up at a height of three metres, and acting as a light source was a small halogen bulb fitted inside a piece of ten-milli- metre copper pipe, in which a small hole was cut. A winding flue was soldered in place to let hot air escape, to prevent the bulb from burning out prematurely. I placed various objects, such as wine glasses, light bulbs, and alarm clock springs on the glass plate. The light source had a diameter of one millimetre. I achieved (found) a con- tinuous depth of field. I developed the exposed photostat papers in our photographic laboratory, in large developing dishes, formerly used by the National Land Survey of Finland to develop maps. -
Photography and Communication: a Study of Interrelationship
International Journal of English Learning and Teaching Skills; Vol. 1, No. 3; ISSN : 2639-7412 (Print) ISSN : 2638-5546 (Online) PHOTOGRAPHY AND COMMUNICATION: A STUDY OF INTERRELATIONSHIP Debashish Ghosh Scientific Officer, Department of Electrical Engineering, Aruni Maji, Debapriya Palai B.Tech,Forth year, Department of Electrical Engineering, Niloy Chakravorty B.Tech,Second year, Department of Electronics & Communication Engineering, Institute of Engineering & Management, Kolkata Abstract: Photography has arguably become one of the most potent instruments of communication for a contemporary artist. Its versatility, suggested truthfulness and the way in which artists distort or interpret ''reality'' has been a part of photography since the advent of the daguerreotype in 1839. Taking photographs today are no longer primarily an act of memory intended to safeguard a family's pictorial heritage, but is increasingly becoming a tool for an individual's identity formation and communication. Digital cameras, camera-phones, photo-blogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users. The aim of this article is to explore how photography has developed through time in itself and at the same time went on reshaping ideas of communication. Photography has touched and influenced almost all the major aspects of communication; the conclusion calls for a broader consideration of the links between the history of photography and media. Keywords: Photography, Media, Communication, Culture, Art history. Introduction: “The first thing to observe about the world of the 1780s is that it was at once much smaller and much larger than ours. It was smaller geographically …Yet if the world was in many respects smaller, the sheer difficulty or uncertainty of communications made it in practice much vaster than it is today.” This is how eminent Marxist historian Eric Hobsbawm starts the first pages of his seminal work on world history in four volumes. -
Barbara Probst Exposure #1: N.Y.C., 545 8Th Avenue, 01.07.00, 10:37 P.M
INTERVIEW Barbara Probst Exposure #1: N.Y.C., 545 8th Avenue, 01.07.00, 10:37 p.m. 2000, Ultrachrome ink on cotton paper 12 parts: 66 x 44 inches each Edition of 5 Between Staged and Documentary Courtesy of the Museum of Fine Arts, Houston and Murray Guy (New York, NY) YASUFUMI Nakamori meets with barbara Probst Artist Barabara Probst and MFAH’s Assistant Curator of Photography Yasufumi Nakamori met in the artist’s studio in Chinatown, New York City on Monday, May 16, 2011. From her 11th floor studio of a pre-war building, facing North, one could see a complex and expansive skyline of Manhattan. Much of her thinking and asufumi Nakamori: When and how did working with clay every day and clay being such a blatantly 30 or 40 degrees, so every student would be able to see every shooting takes place in the studio. Nakamori, you start photography? I thought you had neutral material without any reference sensitized me for my possible angle of the model. once studied with Bernd and Hilla Becher experience with photography as a medium which directly who worked on the Museum’s acquisition at the Kunstakademie Dusseldorf. references the real. It feels like I came full circle, but under very different circumstances and with different intentions. I am using of the artist’s Exposure #69: N.Y.C., 555 8th Barbara Probst: I actually studied YN: What are your thoughts on the relationship between photography now, and not clay. I am not interested in the Avenue, 02.24.09, 6:16 p.m., had previously sculpture and not photography. -
The Radical Camera: New York's Photo League, 1936-1951 a N ED
The Jewish Museum TheJewishMuseum.org 1109 Fifth Avenue [email protected] AN EDUCATOR’S RESOURCE New York, NY 10128 212.423.5200 Under the auspices of The Jewish Theological Seminary teachers. These materials can be used to supplement and enhance enhance and supplement to used be can materials These teachers. students’ ongoing studies. This resource was developed for elementary, middle, and high school school high and middle, elementary, for developed was resource This 1936-1951 New York’s Photo League, York’s New The Camera: Radical Acknowledgments This educator resource was written by Lisa Libicki, edited by Michaelyn Mitchell, and designed by Olya Domoradova. At The Jewish Museum, Nelly Silagy Benedek, Director of Education; Michelle Sammons, Educational Resources Coordinator; and Hannah Krafcik, Marketing Assistant, facilitated the project’s production. Special thanks to Dara Cohen-Vasquez, Senior Manager of School Programs and Outreach; Mason Klein, Curator; and Roger Kamholz, Marketing Editorial Manager, for providing valuable input. These curriculum materials were inspired by the exhibition The Radical Camera: New York’s Photo League, 1936-1951 on view at The Jewish Museum November 4, 2011–March 25, 2012. This resource is made possible by a generous grant from the Kekst Family. PHOTO LEAGUE: an EDUCator’S guIDE ACKNOWLEDGMENTS 2 Introduction Overview members were inspired by this social climate to make inequity and discrimination a subject of their work. The Photo League was a New York City–based organization of professional and amateur photographers. A splinter group The early 1940s witnessed the country’s rapid transition from of the Film and Photo League, it was founded in 1936 by New Deal recovery to war mobilization. -
Arlene Gottfried L’Insouciance D’Une Époque
DOSSIER DE PRESSE ARLENE GOTTFRIED L’INSOUCIANCE D’UNE ÉPOQUE 9 JANVIER – 5 MARS 2016 Du mercredi au samedi de 14h à 19h et sur rendez-vous Vernissage le 9 janvier de 14h à 19h ©Arlene Gottfried / Courtesy Les Douches la Galerie Décalé, tendre, libre, intime, joyeux, les qualificatifs ne manquent pas pour résumer ce portrait du New York des années 70-80. Une vie sans contrainte qui nous apparaît à des années lumière de notre quotidien. Ce vent de liberté d’expression avant l’épidémie du sida transparaît dans cette fresque noir et blanc. Nous sommes très heureux d’exposer pour la première fois en France ce travail d’Arlene Gottfried à la galerie. Une grande dame de la photographie qui mérite d’être mieux connue. Commissaires d’exposition : Laurence Cornet et Françoise Morin Contact : Françoise Morin 01 78 94 03 00 - [email protected] ARLENE GOTTFRIED Arlene Gottfried, dont le travail est encore mal connu en France, est avant tout new-yorkaise. Toute son œuvre s’inscrit dans ce monde urbain très spécifique, qui a constamment nourri sa soif d’observation depuis l’enfance. L’exposition organisée aux Douches présente - pour la première fois à Paris – une sélection de photographies de jeunesse, prises dans les années 70 et 80, lorsqu’elle sillonnait sans cesse Brooklyn à la recherche de lieux vivants, de tronches étonnantes, de scènes de rue insolites. C’est une spontanéité détachée d’ambition qui dessine son parcours. Refusant de faire des études, elle a préféré prendre un emploi de bureau pendant la journée et apprendre la photographie en cours du soir. -
ROMAN ROAD PRESS RELEASE PHOTO LONDON Stand G23
ROMAN ROAD PRESS RELEASE PHOTO LONDON Stand G23 Thursday 17 May – Sunday 20 May 2018 Opening Hours: Thursday 17 May: 12 PM – 8 PM Somerset House Friday 18 May: 12 PM – 7.30 PM Strand Saturday 19 May: 12 PM – 7.30 PM London, WC2R 1LA Sunday 20 May: 12 PM – 6.30 PM Exhibited Artists: Antony Cairns, Gita Lenz, Natalia LL, George Platt Lynes, Aaron Siskind, Daisuke Yokota Roman Road is very pleased to be participating in the fourth edition of Photo London, hosted at Somerset House from 17 – 20 May 2018. Featuring both 20th-century and contemporary photographic works, our stand brings together pieces by international artists who have engaged with experimental printing methods and the aesthetics of abstraction. The display considers the definitions of abstract photography, looking at the originality and process of artists who have abstracted subject and composition, or experimented with techniques that manipulate forms and impart new meaning. The stand features experimental works by contemporary artists Antony Cairns and Daisuke Yokota. Employing unlikely supports and radical techniques, Cairns’ work engages deeply with technological developments and he transforms machines and recycled materials into art objects. The display includes selected works from two of his most recent series – E.I. and IBM – through which he presents his images of cities petrified in e-reader screens and printed on tinted IBM computer punch cards. Yokota’s works on the stand are taken from his Matter/Burn Out (2016), a series whereby he documented the process of setting fire to installation prints in a vacant construction site in Xiamen, China. -
Summer in Barcelona
OFFICIAL Monthly agenda FREE GUIDE! AUGUST 2017 SUMMER IN BARCELONA TRADITIONAL THE BEST FOOD AGENDA WITH CULTURE AND WINE MORE THAN FOR ALL EXPERIENCES 200 ACTIVITIES CONTENTS August 2017 Tibidabo Amusement Park. 08 COVER STORY 18 IN THE CITY Summer in Barcelona A month packed with culture Live intensely: beaches and Music outdoors and in iconic sea activities, culture and buildings, festivals, parties entertainment, gastronomy, sport... and traditional Catalan celebrations, major sports 14 ART events... A thrilling cultural Passport to the best museums summer. All of Barcelona’s art at your fingertips with the combination Articket. 22 SHOPPING Shopping centres 16 FOOD AND DRINK An excellent shopping and Wine and food experiences entertainment option for all. Routes and tours, courses and workshops, tastings, pairings… 25 AGENDA Enjoy your wine and food. More than 200 daily activities. Follow us @VisitBCN_EN facebook.com/visitbarcelona youtube.com/c/visitbarcelonaofficial pinterest.com/visitbcn/ instagram.com/visitbarcelona plus.google.com/+visitbarcelonaofficial Key to symbols Type: show, sport, culture, gastro-tourism Target: family, children, romantic Space: outdoors, routes, historical, panoramic Time: morning, afternoon, evening, all day Publisher: Turisme de Barcelona. Passatge de la Concepció, 7-9. Tel. 93 368 97 00. visitbarcelona.com · Design & layout: ZetaCorp (Ediciones Reunidas SA - Grupo Zeta). Tel. 93 227 94 16 · Advertising: Director Comercial, Juan Garçon. ZETA Gestión de Medios. Tel. 93 484 66 00 · DL: B 12.919.2016 · Printed on certified paper 3 THE HOT Su. 20 TRADITIONS P. 41 LIST The traditional festival August 2017 in the Sants neighbourhood. Tu. 8 We. 23 OUTDOOR CINEMA P. 37 MUSIC P. -
Astrid Kruse Jensen Between the Real and the Imaginary
Dans le cadre du XVIIIe festival Les Boréales Un festival en Nord L’Artothèque de Caen présente du 13 novembre au 23 décembre 2009 Astrid Kruse Jensen Between the real and the imaginary © Astrid Kruse Jensen, Looking out, photographie, 2006 Artothèque de Caen Hôtel d’Escoville Place Saint-Pierre 14000 Caen Tel : 02 31 85 69 73 Fax : 02 31 86 53 57 [email protected] http://www.artotheque-caen.net Exposition Astrid Kruse Jensen Between the real and the imaginary du 13 novembre au 23 décembre 2009 À l’occasion de la XVIIIème édition du festival Les Boréales Un festival en Nord, l’Artothèque de Caen présente du 13 novembre au 23 décembre 2009, les photographies d’Astrid Kruse Jensen. Je recrée des scènes imaginaires qui auraient pu exister dans certains lieux. Qu’est- ce qui est réel ? Il est impossible de différencier notre réalité subjective de la réalité commune. Nous sommes toujours avec notre propre réalité. Astrid Kruse Jensen Photographe d’origine danoise vivant à Copenhague, Astrid Kruse Jensen fait ses études à la prestigieuse Académie Gerrit Rietveld à Amsterdam, puis à l’école des Beaux-Arts de Glasgow en Ecosse. Le travail en série fournit à l’artiste un terrain d’exploration, lui permettant de cerner ses préoccupations photographiques principales : le passage en- tre réalité, image et imagination, et la création de scénarios où tout cela peut prendre forme. Cette première exposition personnelle en France sera l’occasion de découvrir une sélection de photographies issues de trois de ses projets récents : Imaginary Realities, Parallel Landscapes et The Construction of memories. -
Artbook & Distributed Art Publishers Artbook D.A.P
artbook & distributed art publishers distributed artbook D.A.P. SPRING 2017 CATALOG Matthew Ronay, “Building Excreting Purple Cleft Ovoids” (2014). FromMatthew Ronay, published by Gregory R. Miller & Co. See page 108. FEATURED RELEASES 2 Journals 77 CATALOG EDITOR SPRING HIGHLIGHTS 84 Thomas Evans Art 86 ART DIRECTOR Writings & Group Exhibitions 117 Stacy lakefield Photography 122 IMAGE PRODUCTION Maddie Gilmore Architecture & Design 140 COPY lRITING Janine DeFeo, Thomas Evans, Annabelle Maroney, Kyra Sutton SPECIALTY BOOKS 150 PRINTING Sonic Media Solutions, Inc. Art 152 Group Exhibitions 169 FRONT COVER IMAGE Photography 172 Kazimir Malevich, “Red House” (detail), 1932. From Revolution: Russian Art 1917–1932, published by Royal Academy of Arts. See page 5. Backlist Highlights 178 BACK COVER IMAGE Dorothy Iannone, pages from A CookBook (1969). Index 183 From Dorothy Iannone: A CookBook, published by JRP|Ringier. See page 51. CONTRIBUTORS INCLUDE ■ BARRY BERGDOLL Curator, Department of Architecture and Design, The Museum of Modern Art and Meyer Schapiro Professor of Art History and Archaeology, Department of Art History, Columbia University ■ JOHN MICHAEL DESMOND Professor, College of Art & Design, Louisiana State University ■ CAROLE ANN FABIAN Director, Avery Architectural & Fine Arts Library, Columbia University ■ JENNIFER GRAY Project Research Assistant, Department of Architecture and Design, The Museum of Modern Art ■ ELIZABETH S. HAWLEY PhD Candidate, The Graduate Center, City University of New York ■ JULIET KINCHIN Curator, Department of Architecture and Design, The Museum of Modern Art ■ NEIL LEVINE Emmet Blakeney Gleason Research Professor of History of Art and Architecture, Modern Architecture, Harvard University ■ ELLEN MOODY Assistant Projects Conservator, The Museum of Modern Art ■ KEN TADASHI OSHIMA Professor, Department of Architecture, University of Washington Frank Lloyd Wright: Unpacking the Archive ■ MICHAEL OSMAN Edited by Barry Bergdoll, Jennifer Gray.