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The International Letter
ESHPh European Society for the History of Photography Association Européenne pour l’Histoire de la Photographie Europäische Gesellschaft für die Geschichte der Photographie The International Letter La lettre internationale Mitteilungen Autumn 2013 Vienna ESHPh: Komödiengasse 1/1/17 A - 1020 Vienna. Austria Phone: +43 (0) 676 430 33 65 E mail: [email protected] http://www.donau-uni.ac.at/eshph Dear Reader, The new issue of PhotoResearcher no. 20 "Medieval Views – The Middle Age through the Lenses of 19 th Century Photographers" appeared at the beginning of October – earlier than ever before – and there are also interesting new essays on our website, see ePublishing www.donau- univ.ac.at/eshph . We would like to remind our ESHPh members of the date of our General Assembly in Vienna; it will be held on 24 October 2013 at 5 pm at the Austrian National Library (Department of Pictures and Graphics). Full members have the opportunity to send in requests for items to be included on the agenda until 10 October 2013 ( [email protected] ). In future, donors of the ESHPh will be able to deduct their donations from tax. This makes a marginal adaption of our statutes necessary. You can find the draft on our website: http://www.donau-uni.ac.at /About ESHPh. We hope you will find many of our recommendations interesting and wish you pleasant reading. Uwe Schögl Ulla Fischer-Westhauser President of the ESHPh Vice-president Vienna, October 2013 ESHPh - The International Letter - Autumn 2013 2 Australia Australian Centre for Photography ACP, Paddington/Sidney -
Home Is Where the Art Is
new dutch masters ARTS HOLLAND MAGAZINE ARTS HOLLAND MAGAZINE five galleries five artists Harmen de Hoop PUBLIC SCULPTURE, AMSTERDAM Harmen de Hoop is a true master in site- speci!c art. For many years he invades and disrupts daily surroundings and routines. His work ranges from painting basketball court lines on a busy street intersection to putting plates of dog food in the underground. De Hoop makes people look di"erently at things that have become normal for them. In Public Sculpture, de Hoop’s work immediately becomes part of the neighbourhood and lives on the podium as if it has been there for years and not minutes. VV HOME IS WHERE THE ART IS TEXT - Nina Folkersma is an For a small country with less of a longstanding They function as an intermediary between artists independent curator, critic tradition of collecting contemporary art, the Dutch and collectors, curators, art institutions and the and consultant in the field galleries don’t do so badly. The gallery world in public. In the process, a gallerist assumes various More to Explore of contemporary art. Cur- the urban conglomeration of western Holland is roles: as the artist’s confidant, as a mediator for the rently, she is the chair of the highly dynamic and self-aware – and strikingly public, as an international entrepreneur, or as a Unseen is an annual international photo- board of ArtTable The Neth- international. fundraiser and producer of new work. graphy fair in Amsterdam, that provides erlands and a member of new photo graphy the platform it deserves. the art advisory committee Arts Holland Magazine visited five galleries in the The degree of importance that the five gallery own- unseenamsterdam.com of the City of Amsterdam cities of Amsterdam, The Hague, Rotterdam and ers place on these separate activities is reflected for the new North South Utrecht and asked the gallerists about their person- in their policies and gives each gallery a distinct Visit kesselskramerpublishing.com subway line. -
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. -
Alec Soth's Journey: Materiality and Time Emily Elizabeth Greer
Alec Soth’s Journey: Materiality and Time Emily Elizabeth Greer Introduction The photographer Alec Soth is known for series of images and publications that encapsulate his travels through time and place within the American landscape. Each grouping of photographs uses a specific medium and geographical orientation in order to explore unique journeys and themes, such as the loneliness and banality of strangers in a public park, religion and debauchery in the Mississippi Delta, and the isolation of hermits in the valleys of rural Montana. Yet how are we to understand the place of these smaller journeys within Soth’s larger artistic career? How are these publications and series connected to one another, and how do they evolve and change? Here, I will consider these questions as they relate to the specific materials within Soth’s work. Using material properties as a framework illuminates the way in which each series illustrates these specific themes, and also how each grouping of images holds a significant place within the artist’s larger photographic oeuvre. Throughout Alec Soth’s career, his movement between mediums has evolved in a manner that mirrors the progression of themes and subject matter within his larger body of work as a whole. From his earliest photographic forays in black and white film to his most recent digital video projects, Soth creates images that depict a meandering passage through time and place.1 His portraits, still lifes, and landscapes work together to suggest what one might call a stream of conscious wandering. The chronological progression of materiality in his works, from early black and white photography to large format 8x10 color images to more recent explorations in digital photography and film, illuminates the way in which each medium is used to tell a story of temporality and loneliness within the American landscape. -
Our Choice of New and Emerging Photographers to Watch
OUR CHOICE OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH TASNEEM ALSULTAN SASHA ARUTYUNOVA XYZA BACANI IAN BATES CLARE BENSON ADAM BIRKAN KAI CAEMMERER NICHOLAS CALCOTT SOUVID DATTA RONAN DONOVAN BENEDICT EVANS PETER GARRITANO SALWAN GEORGES JUAN GIRALDO ERIC HELGAS CHRISTINA HOLMES JUSTIN KANEPS YUYANG LIU YAEL MARTINEZ PETER MATHER JAKE NAUGHTON ADRIANE OHANESIAN CAIT OPPERMANN KATYA REZVAYA AMANDA RINGSTAD ANASTASIIA SAPON ANDY J. SCOTT VICTORIA STEVENS CAROLYN VAN HOUTEN DANIELLA ZALCMAN © JUSTIN KANEPS APRIL 2017 pdnonline.com 25 OUR CHOICE OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH EZVAYA R © KATYA © KATYA EDITor’s NoTE Reading about the burgeoning careers of these 30 Interning helped Carolyn Van Houten learn about working photographers, a few themes emerge: Personal, self- as a photographer; the Missouri Photo Workshop helped assigned work remains vital for photographers; workshops, Ronan Donovan expand his storytelling skills; Souvid fellowships, competitions and other opportunities to engage Datta gained recognition through the IdeasTap/Magnum with peers and mentors in the photo community are often International Photography Award, and Daniella Zalcman’s pivotal in building knowledge and confidence; and demeanor grants from the Pulitzer Center on Crisis Reporting altered and creative problem solving ability keep clients calling back. the course of her career. Many of the 2017 PDN’s 30 gained recognition by In their assignment work, these photographers deliver pursuing projects that reflect their own experiences and for their clients without fuss. Benedict Evans, a client interests. Salwan Georges explored the Iraqi immigrant says, “set himself apart” because people like to work with community of which he’s a part. Xyza Bacani, a one- him. -
Notable Photographers Updated 3/12/19
Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius -
Photography Exhibition ‘This Place’ Will Be Presented by Tang Teaching Museum in Collaboration with Museums at Colgate, Hamilton and Ualbany
The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College For Immediate Release Photography Exhibition ‘This Place’ will be presented by Tang Teaching Museum in collaboration with museums at Colgate, Hamilton and UAlbany The Tang to feature work by Wendy Ewald, Gilles Peress, Stephen Shore, Nick Waplington that explores Israel and the West Bank SARATOGA SPRINGS, N.Y. (December 12, 2017) — The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College is leading a four-campus exhibition of This Place, which features more than 600 images by twelve internationally acclaimed photographers who explore the personal and public spaces in Israel and the West Bank. Opening February 3 through April 22, 2018, the Tang’s presentation will feature work by four of the twelve photographers, who each took different approaches, highlighting how photography can illuminate multiple perspectives on a complex topic: Wendy Ewald, taught and photographed children and adults in fourteen communities in Israel and the West Bank in their homes and villages, collecting tens of thousands of digital images, a selection of which is on display at the Tang Museum; Gilles Peress photographed the Road of Patriarchs from Hebron to Jerusalem and the Palestinian village of Silwan in East Jerusalem, areas he considers to be fault lines in the Israeli-Palestinian conflict; Stephen Shore used a his 8 x 10 view camera and a digital camera to photograph landscapes and cityscapes, sacred places, street scenes, and community; and Nick Waplington created a photographic survey of Jewish settlements in the West Bank through both family portraits and images of the natural and built environment. -
Mapping the Jihadist Threat: the War on Terror Since 9/11
Campbell • Darsie Mapping the Jihadist Threat A Report of the Aspen Strategy Group 06-016 imeless ideas and values,imeless ideas contemporary dialogue on and open-minded issues. t per understanding in a nonpartisanper understanding and non-ideological setting. f e o e he mission ofhe mission enlightened leadership, foster is to Institute Aspen the d n T io ciat e r p Through seminars, policy programs, initiatives, development and leadership conferences the Institute and its international partners seek to promote the pursuit of the pursuit partners and its international promote seek to the Institute and ground common the ap Mapping the Jihadist Threat: The War on Terror Since 9/11 A Report of the Aspen Strategy Group Kurt M. Campbell, Editor Willow Darsie, Editor u Co-Chairmen Joseph S. Nye, Jr. Brent Scowcroft To obtain additional copies of this report, please contact: The Aspen Institute Fulfillment Office P.O. Box 222 109 Houghton Lab Lane Queenstown, Maryland 21658 Phone: (410) 820-5338 Fax: (410) 827-9174 E-mail: [email protected] For all other inquiries, please contact: The Aspen Institute Aspen Strategy Group Suite 700 One Dupont Circle, NW Washington, DC 20036 Phone: (202) 736-5800 Fax: (202) 467-0790 Copyright © 2006 The Aspen Institute Published in the United States of America 2006 by The Aspen Institute All rights reserved Printed in the United States of America ISBN: 0-89843-456-4 Inv No.: 06-016 CONTENTS DISCUSSANTS AND GUEST EXPERTS . 1 AGENDA . 5 WORKSHOP SCENE SETTER AND DISCUSSION GUIDE Kurt M. Campbell Aspen Strategy Group Workshop August 5-10, 2005 . -
2005 ANNUAL REPORT CONTENTS 6 Economic 10 Studies Global Economy and Development 27 Katrina’S Lessons in Recovery
QUALITY IMPACT AND INDEPENDENCE ANNUAL REPORT THE 2005 1775 Massachusetts Avenue, NW Washington, DC 20036 www.brookings.edu BROOKINGSINSTITUTION 2005 ANNUAL REPORT CONTENTS 6 Economic 10 Studies Global Economy and Development 27 Katrina’s Lessons in Recovery 39 Brookings Institution Press 14 40 Governance Center for Executive Education Studies 2 About Brookings 4 Chairman’s Message 5 President’s Message 31 Brookings Council 18 36 Honor Roll of Contributors Foreign 42 Financial Summary Policy Studies 44 Trustees 24 Metropolitan Policy Editor: Melissa Skolfield, Vice President for Communications Copyright ©2005 The Brookings Institution Writers: Katie Busch, Shawn Dhar, Anjetta McQueen, Ron Nessen 1775 Massachusetts Avenue, NW 28 Design and Print Production: The Magazine Group, Inc. Washington, DC 20036 Jeffrey Kibler, Virginia Reardon, Brenda Waugh Telephone: 202-797-6000 Support for Production Coordinator: Adrianna Pita Fax: 202-797-6004 Printing: Jarboe Printing www.brookings.edu Cover Photographs: (front cover) William Bradstreet/Folio, Inc., Library of Congress Card Number: 84-641502 Brookings (inside covers) Catherine Karnow/Folio, Inc. Broadcast reporters zoom in for a forum on a new compact for Iraq THE BROOKINGS INSTITUTION featuring U.S. Sen. Joseph Biden of Delaware. he Brookings Institution is a pri- vate nonprofit organization devoted to independent research and innovative policy solutions. Celebrating its 90th anniversary in 2006, Brookings analyzes current and emerging issues and produces new ideas that matter—for the nation and the world. ■ For policymakers and the media, Brookings scholars provide the highest-quality research, policy recommendations, and analysis on the full range of public policy issues. ■ Research at the Brookings Institution is conducted to inform the public debate, not advance a political agenda. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Press Release
49 Geary Street, 4th Floor, San Francisco, CA 94108 t: 415 981 2661 f: 415 981 4041 fraenkelgallery.com For immediate release: 5 February – 4 April 2015 fraenkel gallery is pleased to announce our first solo exhibition of the work of Alec Soth. On view from February 5 – April 4, 2015, Alec Soth: Songbook will feature approximately 20 new and never-before-seen photographs. The artist will be present for the exhibition opening and signing of his new publication, Songbook, on Thursday, February 5, from 5:30 to 7:30 pm. Celebrated for his haunting and influential portraits and landscapes in such acclaimed books asSleeping by the Mississippi, Broken Manual, and NIAGARA, Alec Soth has recently turned his lens toward community life in the country. From 2012 to 2014 Soth traveled the United States looking for signs of social life in our era of virtual social networks. To aid in his search, Soth assumed the increasingly obsolescent role of community newspaper reporter. From upstate New York to Silicon Valley, he attended hundreds of meetings, dances, festivals and family gatherings. With Songbook, Soth has stripped these pictures of their news context in order to highlight the longing for connection at their root. Fragmentary, funny, and sad, Songbook is a lyrical depiction of the tension between American individualism and the ongoing desire to be united. Alec Soth (b. 1969) is based in Minneapolis, Minnesota. His work has been presented at numerous museums, including solo exhibitions at the Jeu de Paume, Paris; Fotomuseum Winterthur, Switzerland; and the Walker Art Center, Minneapolis. Among his many publications are Dog Days, Bogotá; The Last Days of W; Fashion Magazine; and the LBM Dispatch series, with writer Brad Zellar. -
Carroll, Eric William. “I Struggle When I Know the Words to a Place by Heart,” the Design Observer, May 19, 2014
Carroll, Eric William. “I struggle when I know the words to a place by heart,” The Design Observer, May 19, 2014. Photographs from the irregular newspaper LBM Dispatch Howard in the asparagus patch of a community garden. Detroit. [Photo by Alec Soth, from LBM Dispatch #3: Michigan] Ten years ago, photographer Alec Soth established himself as a master of the 8x10 format in his series Sleeping by the Mississippi; these days he’s known for posting “unselfies” on Instagram. Where others might see creative regression, I see an artist determined to find an effective use for photography in an era when, as Soth says, “a document is being made of just about everything all of the time.” Lately Soth has been issuing “Dispatches” in the form of an irregular newspaper created with writer (and fellow Minnesotan) Brad Zellar. Together, they take road trips to distant states and report the stories of the people and the land. The partners work on their own deadline and produce a self-published broadsheet shortly after they return. The papers are simple — black and white, flash-lit photographs of people and landscapes, presented with titles and often with a brief text. Under the title, Jack. Downtown Dallas. 50th Anniversary of the J.F.K. assassination, we see a boy wearing a fedora and raincoat in front of a nondescript wall, avoiding eye contact with the photographer. We learn that he was named after Jack Kennedy, and that his parents have taken him out of school to attend the memorial. In another photograph, titled 88-year-old Bil (“My mother said she couldn’t pronounce the other L”).