577-1201 [email protected] ROGER BALLEN Born 1950 Lives
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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 -
ROGER BALLEN B.1950, New York Lives and Works in Johannesburg, South Africa
WWW.TRISHCLARK.CO.NZ 1 BOWEN AVENUE T +64 9 379 9556 AUCKLAND 1010 C +64 21 378 940 NEW ZEALAND [email protected] ROGER BALLEN b.1950, New York Lives and works in Johannesburg, South Africa SOLO EXHIBITIONS 2015 Museo de Arte Contemporáneo, Santiago, Chile Museu de Arte Moderna de São Paulo, Brazil 2014 Circa Gallery, Johannesburg Festival de la Luz, Buenos Aires Fotografiska, Stockholm, Sweden Kunst- und Kulturzentrum Monschau, Aachen, DE Moscow Media Centre, Moscow Russia Museu Oscar Niemeyter, Brazil Museum of Contemporary Art, Rome 2013 Belfast Photo Festival, Belfast, Northern Island Galerie Clairefontaine, Luxembourg Johannesburg Art Fair, South Africa Maison De L'Image Documentaire, The CèTávoiR Association, Paris, France Museum of Old and New, Hobart Australia Nikolaj Copenhagen Contemporary Art Center, Denmark Photoink, New Delhi, India Pingao International Photography Festival, China Palm Springs Art Museum, California, USA Smithsonian National Museum of African Art, Washington DC, USA Westlicht, Schauplatz fur Fotografie, Vienna, Austria 2012 Erdmann Contemporary & the Photographers Gallery za, Cape Town, South Africa Guate Festival, Guatemala de la Asunción, Guatemala Kleinschmidt Fine Photographs, Wiesbaden, Germany Kunstalle, Vienna, Austria Manchester Art Museum, England Marta Herford Museum, Herford, Germany Musee de l Elysee, Lausanne Switzerland Museu de Arte Moderna, Rio de Janiero, Brazil Northwest University Museum, Potchestroom, SA Novosibirsk Art Museum, Russia Rosphoto, St. Pieterburg, Russia Tel Aviv Museum -
How Ninja from Die Antwoord Performs South African White Masculinities Through the Digital Archive
ZEF AS PERFORMANCE ART ON THE ‘INTERWEB’: How Ninja from Die Antwoord performs South African white masculinities through the digital archive by Esther Alet Rossouw Submitted in fulfilment of the requirements of the degree MAGISTER ARTIUM in the Department of Drama Faculty of Humanities University of Pretoria Supervisor: Dr M Taub AUGUST 2015 1 ABSTRACT The experience of South African rap-rave group Die Antwoord’s digital archive of online videos is one that, in this study, is interpreted as performance art. This interpretation provides a reading of the character Ninja as a performance of South African white masculinities, which places Die Antwoord’s work within identity discourse. The resurgence of the discussion and practice of performance art in the past thirty years has led some observers to suggest that Die Antwoord’s questionable work may be performance art. This study investigates a reconfiguration of the notion of performance art in online video. This is done through an interrogation of notions of risk, a conceptual dimension of ideas, audience participation and digital liveness. The character Ninja performs notions of South African white masculinities in their music videos, interviews and short film Umshini Wam which raises questions of representation. Based on the critical reading of Die Antwoord’s online video performance art, this dissertation explores notions of Zef, freakery, the abject, new ethnicities, and racechanges, as related to the research field of whiteness, to interpret Ninja’s performance of whiteness. A gendered reading of Die Antwoord’s digital archive is used to determine how hegemonic masculinities are performed by Ninja. It is determined that through their parodic performance art, Die Antwoord creates a transformative intervention through which stagnant notions of South African white masculinity may be reconfigured. -
Roger Ballen
BLEED TRIM SAFETY The Professional Gallery Wed to Sun: noon – 6 pm www.ocad.ca/progallery The public is invited to a free lecture by the artist at the Ontario College of Art & Design Wednesday, April 8 at 6:30 pm. Ontario College of Art and Design colour: 1C TRIM: 10 1/2" x 10 1/2" (26.7 cm x 26.7 cm) magazine ad - ArtForum trim: 10 1/2” x 10 1/2” BLEED: 10 3/4" x 10 3/4" (27.3 cm x 27.3 cm) February 20, 2009 insertion date: April 2009 LIVE: 9 1/2" x 9 1/2" (24.2 cm x 24.2 cm) contact: Charles Reeve sign off: __________________________ made? When we’re considering Roger Ballen’s art, answering this question raises another, namely, where are we? If^\i9Xcc\e1 Given that Vredeveld made Memento mori the same year that Ballen released his seventh book, Shadow Chamber, perhaps that’s where we are. But where is that? “The images in Shadow Chamber are completely honest, contingent, expressive 9fXi[`e^?flj\ and truthful; they are fully vested in the tropes and conventions of documentary photography,” writes Robert Sobieszek in that book’s introduction. “The images are also fabricated, orchestrated, artful and ctional, in direct descent from other OCAD Professional Gallery historical photographic ctions.” b March 5 - May 31, 2009 That seems right. Consider Oblivious (2003). We’re in a room, a chamber, a bedroom — in French, une chambre. We see a bed with a cover, a pillow and a puppy. This might be what Sobieszek calls this image’s truthful, documentary side. -
CP Roger Ballen UK.Indd
PRESSKIT SEPTEMBER 7, 2019 – JULY 31, 2020 Press opening: Friday September 6 (9.30am-1pm) THE WORLD ACCORDING TO ROGER BALLEN After developing an idiosyncratic style which is referred to as “Ballenesque”, Roger Ballen became one of the most prominent photographers of his generation. He achieved international recognition through his unique and powerful use of drawing, painting, and collage alongside various sculptural techniques in elaborate installations, inventing a new, hybrid aesthetics, firmly rooted in the art of photography. At the same time, Roger Ballen directed several acclaimed videos, including I fink u freeky with the South African Band Die Antwoord. With the exhibition “The World according to Roger Ballen”, la Halle Saint Pierre Paris will be showing an unforgettable overview of this extraordinary artist, an unprecedented experience. On this occasion, unseen installations will be created by Roger Ballen exclusively for this exhibition, as well as his unseen recent color photographs. Roger’s Roger, 2019 © Marguerite Rossouw 1 INTRODUCTION TO THE EXHIBITION B Y MARTINE LUSARD Y Roger Ballen reigns over the a world of absurd and repetitive black-and-white world of the gestures into another human psyche. Disturbing, existence, in which they are provocative and enigmatic, the artists of a sculptural the work of this American-born universe that they themselves South African photographer, a have created. geologist by training, expresses the sense of confusion of a man In Dorps: Small Towns of South confronted by the nonsensical Africa (1986), Ballen shows nature both of his life and of us places where both the the world in general. Ballen’s architecture and the inhabitants work has been the subject of Martine Lusardy are in decline. -
7.10 Nov 2019 Grand Palais
PRESS KIT COURTESY OF THE ARTIST, YANCEY RICHARDSON, NEW YORK, AND STEVENSON CAPE TOWN/JOHANNESBURG CAPE AND STEVENSON NEW YORK, RICHARDSON, YANCEY OF THE ARTIST, COURTESY © ZANELE MUHOLI. © ZANELE 7.10 NOV 2019 GRAND PALAIS Official Partners With the patronage of the Ministry of Culture Under the High Patronage of Mr Emmanuel MACRON President of the French Republic [email protected] - London: Katie Campbell +44 (0) 7392 871272 - Paris: Pierre-Édouard MOUTIN +33 (0)6 26 25 51 57 Marina DAVID +33 (0)6 86 72 24 21 Andréa AZÉMA +33 (0)7 76 80 75 03 Reed Expositions France 52-54 quai de Dion-Bouton 92806 Puteaux cedex [email protected] / www.parisphoto.com - Tel. +33 (0)1 47 56 64 69 www.parisphoto.com Press information of images available to the press are regularly updated at press.parisphoto.com Press kit – Paris Photo 2019 – 31.10.2019 INTRODUCTION - FAIR DIRECTORS FLORENCE BOURGEOIS, DIRECTOR CHRISTOPH WIESNER, ARTISTIC DIRECTOR - OFFICIAL FAIR IMAGE EXHIBITORS - GALERIES (SECTORS PRINCIPAL/PRISMES/CURIOSA/FILM) - PUBLISHERS/ART BOOK DEALERS (BOOK SECTOR) - KEY FIGURES EXHIBITOR PROJECTS - PRINCIPAL SECTOR - SOLO & DUO SHOWS - GROUP SHOWS - PRISMES SECTOR - CURIOSA SECTOR - FILM SECTEUR - BOOK SECTOR : BOOK SIGNING PROGRAM PUBLIC PROGRAMMING – EXHIBITIONS / AWARDS FONDATION A STICHTING – BRUSSELS – PRIVATE COLLECTION EXHIBITION PARIS PHOTO – APERTURE FOUNDATION PHOTOBOOKS AWARDS CARTE BLANCHE STUDENTS 2019 – A PLATFORM FOR EMERGING PHOTOGRAPHY IN EUROPE ROBERT FRANK TRIBUTE JPMORGAN CHASE ART COLLECTION - COLLECTIVE IDENTITY -
P H O T O N E W S L E T T
The PHOTO REVIEW NEWSLETTER February / March 2018 Alison Rossiter Eastman Kodak Opal G, expired September 1956, processed 2015 From “9 New Jersey Photographers” at Stockton Art Galleries, Galloway, NJ WELCOME TO PHILADELPHIA Dear SPE Conference Attendee, This issue of The Photo Review Newsletter lists the many exhibitions on view at The University of the Arts and in the surrounding Philadelphia area during SPE's 55th Annual Conference. I hope you will take time to see as many of them as possible. The Photo Review is a critical journal of international scope and readership. Publishing since 1976, The Photo Review covers photography events throughout the country and serves as a central resource for photography in the Mid-Atlantic region. The biannual journal contains reviews, portfolios, interviews, book reviews, and news. The Photo Review Newsletter, issued eight times a year, contains complete ex- hibition listings from throughout the Mid-Atlantic region (Pennsylvania, New York, New Jersey, Dela- ware, Maryland, Virginia, and Washington, DC) and California, and exhibition opportunities and news of interest from throughout the world. Subscriptions are $45 for one year, $80 for two years within the United States, a bit more elsewhere. We also have special institutional subscription rates for colleges and universities that will send our newsletter to any number of your faculty and students. Just email info@ photoreview.org for details. We also publish The Photograph Collector, the leading source of information on the photography art market with previews and analysis of auctions and trade fairs among many other features, including list- ings of auctions, trade fairs, limited editions, lectures, and exhibitions of note worldwide. -
Expressions of Coloured Identity in Cape Town-Based Hiphop
In the Mix: Expressions of Coloured Identity in Cape Town-Based Hiphop The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Moses, Warrick. 2019. In the Mix: Expressions of Coloured Identity in Cape Town-Based Hiphop. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42029829 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use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
Tate Report 09–10 Contents
Tate Report 09–10 Tate Tate Report 09–10 Contents / Introduction 02 Art and Ideas / Collection Acquisitions 10 Collection care 12 Research 15 Acquisition highlights 17 Art and Ideas / Programme Tate Britain 31 Tate Modern 32 Tate Liverpool 35 Tate St Ives 36 Calendar 38 Audiences / Learning Families and young people 40 Adult programmes and live events 42 Audiences / Beyond Tate Online and media 45 Tate National 46 Tate International 48 Improving Tate Staff and sustainability 50 Funding and trading 52 Future Developments 54 Financial Review 56 Donations, Gifts, Legacies and This report is also available to download Sponsorships 58 in PDF and large-print versions – visit www.tate.org.uk/tatereport Featured art and artists 64 Introduction We are committed to enriching people’s lives International Art. The acquisition of a large through their encounter with art. And so, this group of work by Keith Arnatt, a film by David year Tate again reached out across the country Lamelas, and a significant photographic and to the world beyond – through our galleries, collection, generously given to Tate through partnerships and online – to invite people to the Acceptance in Lieu scheme by the late look again at the familiar, and to think about Barbara Lloyd, are examples of ways in which the new experiences offered by the art of our our representation of this important area of own time. art practice is being strengthened. Broadening global and artistic perspectives / Other notable works entering the Collection Our environment is characterised by rapid this year included a performance by Tania technological, social and economic change. -
K51652-Prelims 1..18
Basic Critical Theory for Photographers Basic Critical Theory for Photographers Ashley la Grange AMSTERDAM BOSTON HEIDELBERG LONDON NEW YORK OXFORD PARIS SAN DIEGO SAN FRANCISCO SINGAPORE SYDNEY TOKYO Focal Press is an imprint of Elsevier Focal Press An imprint of Elsevier Linacre House, Jordan Hill, Oxford OX2 8DP 30 Corporate Drive, Burlington, MA 01803 First published 2005 Copyright ß 2005, Ashley la Grange. All rights reserved The right of Ashley la Grange to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publisher Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (þ44) 1865 843830, fax (þ44) 1865 853333, e-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://www.elsevier.com), by selecting ‘Customer Support’ and then ‘Obtaining -
ROGER BALLEN Born in 1950 in New York City, USA. He Lives and Works in Johannesburg, South Africa. Education 2018 Honorary Doct
ROGER BALLEN Born in 1950 in New York City, USA. He lives and works in Johannesburg, South Africa. Education 2018 Honorary Doctor of Art and Design, Kingston University, UK 1982 MS, Geology, University of Colorado, USA PhD, Mineral Economics, University of Colorado, USA 1972 BA, Psychology, University of California, Berkeley Exhibitions Solo exhibitions (selection) 2021 Fotomuseum Den Haag, Den Haag, The Netherlands National Museum of Contemporary Art, Athens, Greece Jakopič Gallery, Ljubljana, Slovenia 2020 Roger Ballen in Color, Apertura Madrid Gallery Weekend, camara oscura galeria de arte, Madrid, Spain Roger Ballen in Color, ARCO, camara oscura galeria de arte, Madrid, Spain Roger Ballen: In Retrospect, Florida Museum of Photographic Arts, USA No Joke, Plato, Czech Republic Double Vision, Artb Gallery, Cape Town, South Africa Exibart Eterno, Studio Silvio Pasqualini, Italy Luminic Photography Festival, Catalonia, Spain Roger Ballen. Shadow of the mind, Thessaloniki Museum Of Photography, Greece 2019 Roger Ballen Bilder & Bretter, Berlin, Germany Center of Photography, Montevideo, Uruguay CentralE for Contemporary Art, Brussels, Belgium Galleria Carla Sozzani, Milan, Italy Halle St Pierre, Paris, France Karsten Greve, Paris, France Latvian Museum of Photography, Latvia 2018 ARTCO Gallery, Aachen – Alter Ego Box Gallery, Brussels, Belgium Center of Photography, Montevideo, Uruguay Centro Cultural Kavlin, Uruguay City Art Gallery, Plovdiv, Bulgaria El Centro de Extension Alfonso Lagos (CECAL UdeC), Chile Fahey/Klein Gallery, Los Angeles, -
ANTENNAE ISSUE 8 Volume 1.Doc
Edinburgh Research Explorer Eight Minutes in Wonderland Citation for published version: Patrizio, A 2008, 'Eight Minutes in Wonderland: Reflections on The Battle at Kruger', Antennae: the Journal of Nature in Visual Culture, vol. 8, no. 1, pp. 31-37. <http://www.academia.edu/2999808/Predatory_Intelligence> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: Antennae: the Journal of Nature in Visual Culture Publisher Rights Statement: Patrizio, A. (2008). Eight Minutes in Wonderland: Reflections on The Battle at Kruger. Antennae: the Journal of Nature in Visual Culture, 8(1), 31-37. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 11. Oct. 2021 IssueA 8 Volumen 1 Winter 2008t ennaISSN 1756-9575e Pretty Ugly Volume 1 Snæbjörnsdóttir/Wilson Uncertainty in the City Sonja Britz Beautiful Animals in Hunting Wonderland Anne Katrine Gjerløff Fair and Square Andrew Patrizio Eight Minutes in Wonderland Robin Thomson Zebronkey: Grazing in the Photographic Field Roger Ballen Uncanny Animals Richard Billingham Zoo 1 EDITORIAL ANTENNAE ISSUE 8 Volume 1 he Dandelion, a perennial herbaceous plant with its bright yellow flowers and its globular seed-head is one of the most recognisable plants that virtually grows world-wide and continues to charm young and T old alike.