Joan Fontcuberta (Barcelona, 1955)

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Joan Fontcuberta (Barcelona, 1955) 2004 Galeria Vanguardia, Bilbao. Galería Senda, Barcelona Galería Xavier Fiol, Palma de Mallorca Zabriskie Gallery, Nueva York Galería Forum, Tarragona Centro Cultural Español, Miami Centro Cultural Español, Mexico DF Institut Français, Barcelona Galerie Synopsis, Lausanne 2003 Artium, Vitoria Museo Naval, San Sebastián Bastión de Saint Florent, Córcega (Francia) Dalí Museum, St.Petersburg, Florida Château de Salses (Francia) Zabriskie Gallery, Nueva York Etelä-Karjalan Taidemuseo, Lappenranta, Finlandia Museo Picasso, Málaga Galería T20, Murcia 2002 Zabriskie Gallery, Nueva York Galerie Nathalie Pariente, Paris Fondazione Italiana per la Fotografia, Turín Forum Cultural, Blanc-Mesnil (Francia) Galería Vanguardia, Bilbao Galería Xavier Fiol, Palma de Mallorca Sala Caballerizas, Murcia Galería Filomena Soares, Lisboa Transforma, Vitoria Fundación Telefónica, Madrid 2001 Galería Senda, Barcelona Espai 292, Barcelona Palazzo delle Esposizioni, Roma Yeni Tzami (Museo de Arqueología), Salónica Bell Gallery, List Art Center, Providence (EE.UU.) Fundación Telefónica, Madrid Centre d'Art Santa Mónica, Barcelona Dunlop Gallery, Regina (Canadá) Adriana-Schmidt Gallerie, Stuttgart Galería La Fábrica, Madrid 000 Museo de la Ciencia y el Cosmos, La Laguna, Tenerife Sala Millares (antiguo MEAC), Madrid Zabriskie Gallery, Nueva York Galería Visor, Valencia Adriana Schmidt Gallerie, Colonia Galería Cesar, Lisboa Museu Salvador Vilaseca, Reus (Tarragona) Musée du Séminaire, Sherbrooke (Canadá) Galerie du Cairn / Musée Promenade, Digne (Francia) Presentation House, Vancouver L'Oeil de Poisson, Quebec TPW Gallery, Toronto Obra en museos (selección) Metropolitan Museum of Art, Nueva York Museum of Modern Art, Nueva York George Eastman House, Rochester Museum of Fine Arts, Houston The Art Institute, Chicago Fogg Museum of Art, Cambridge Los Angeles County Museum of Art, Los Angeles Santa Barbara Museum of Art, Santa Barbara San Francisco Museum of Modern Art, San Francisco Center for Creative Photography, Tucson National Gallery of Art, Ottawa Musée d'Art Moderne / Centre Georges Pompidou, París Maison Européene de la Photographie, París Musée Cantini, Marsella National Museum of Photography, Bradford (Inglaterra) Musée de l'Elisée, Lausana Folkwang Museum, Essen Museum für Kunst and Gewerge, Hamburgo Stedelijk Museum, Amsterdam MACBA, Barcelona MNAC, Barcelona IVAM, Valencia ARTIUM, Vitoria MNCARS, Madrid Bastión de Saint Florent, Córcega (Francia) Dalí Museum, St.Petersburg, Florida Château de Salses (Francia) Zabriskie Gallery, Nueva York Etelä-Karjalan Taidemuseo, Lappenranta, Finlandia Museo Picasso, Málaga Galería T20, Murcia 2002 Zabriskie Gallery, Nueva York Galerie Nathalie Pariente, Paris Fondazione Italiana per la Fotografia, Turín Forum Cultural, Blanc-Mesnil (Francia) Galería Vanguardia, Bilbao Galería Xavier Fiol, Palma de Mallorca Sala Caballerizas, Murcia Galería Filomena Soares, Lisboa Transforma, Vitoria Fundación Telefónica, Madrid ..

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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.
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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.).
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AVT 253: DIGITAL PHOTOGRAPHY I • T&Th 10:30 AM – 1:10 PM • ROOM L016 SYLLABUS – SPRING 2015
AVT 253: DIGITAL PHOTOGRAPHY I • T&Th 10:30 AM – 1:10 PM • ROOM L016 SYLLABUS – SPRING 2015 Professor: Jay Seawell [email protected] Office hours: By appointment either before or after class NOTE: THIS SYLLABUS IS SUBJECT TO CHANGE This class fulfills a General Education Core requirement for Arts. Core requirements help ensure that students become acquainted with the broad range of intellectual domains that contribute to a liberal education. By experiencing the subject matter and ways of knowing in a variety of fields, students will be better able to synthesize new knowledge, respond to fresh challenges, and meet the demands of a complex world. Arts goal: Courses aim to achieve a majority of the following learning outcomes: students will be able to identify and analyze the formal elements of a particular art form using vocabulary appropriate to that form; demonstrate an understanding of the relationship between artistic technique and the expression of a work’s underlying concept; analyze cultural productions using standards appropriate to the form and cultural context; analyze and interpret material or performance culture in its social, historical, and personal contexts; and engage in the artistic process, including conception, creation, and ongoing critical analysis. COURSE DESCRIPTION This class explores photography in a fine arts context. This class will introduce you to the artistic process, which involves learning technical skills, using problem solving and critical thinking while making images, and discussing and analyzing images, all of which are key components of making art. Each time an assignment is due, we will have a critique as a class so that you can receive constructive feedback from your peers and me.
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Nota Prensa FEITO FOTOGR Ing.Pdf
PRESS RELEASE “THE PHOTOGRAPHIC FACT. Photographic collection of the City Council of Vigo 1984-2000” DATES: 23rd of January- 21st of March 2004 VENUE: First floor exhibition rooms of the MARCO OPENING TIMES: Tuesday to Sunday (holidays included): from 11:00 to 21:00. CURATORS: Manuel Sendón and Xosé Luís Suárez Canal COORDINATOR: Iñaki Martínez Antelo PRODUCED BY: MARCO - Museo de Arte Contemporánea de Vigo ARTISTS EXHIBITED: 107 Xosé Abad (Galicia) Pere Formiguera (Spain) Roberto Ribao (Galicia) Xosé Luis Abalo (Galicia) Anna Fox (U.K.) Mar R. Caldas (Galicia) Michael Ackerman (USA) J. François Joly (France) Wojcieh Prazmowski Delmi Álvarez (Galicia) Xosé Gago (Galicia) (Poland) Manuel Álvarez Bravo (Mexico) Pepe Galovart (Galicia) Lalo R. Villar (Galicia) Arquivo Llanos (Galicia) Isabel García (Galicia) Pierre Radisic (Belgium) Arquivo Panateca (El Salvador) Antonio García Pereira (Galicia) Cristina Rodríguez (Galicia) Aziz+Cucher (USA) Flor Garduño (Mexico) Rubén Rguez. Torres Olivo Barbieri (Italy) Julian Germain (UK) (Galicia) Adolfo Barcia (Galicia) Mario Giacomelli (Italy) Arthur Rothstein (USA) José Ramón Bas (Spain) Claudia Gordillo (Nicaragua) America Sánchez (Spain) Gabriele Basilico (Italy) Rob Grierson (U.K.) Pablo Sánchez Corral John Benton-Harris (U.K.) Luis González Palma (Galicia) Nancy Burson (USA) (Guatemala) Schmid/Fricke (Germany) Ramón Caamaño (Galicia) Guido Guidi (Italy) Dagmar Sippel (Germany) Daniel Canogar (Spain) Amanda Harman (U.K.) Manuel Sonseca (Spain) Vari Caramés (Galicia) Iavicoli (Italy) Javier Teniente
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Introduction//012 Origins and Definitions//022 Conventions
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Le Photographe Commissaire : Stratégies De Construction Et De Déconstruction Chez Joan Fontcuberta
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Serveur académique lausannois Year : 2016 Le photographe commissaire : stratégies de construction et de déconstruction chez Joan Fontcuberta Ariadna Lorenzo Sunyer Lorenzo Sunyer, Ariadna, 2016, Le photographe commissaire : stratégies de construction et de déconstruction chez Joan Fontcuberta Originally published at : Mémoire de maîtrise, Université de Lausanne Posted at the University of Lausanne Open Archive. http://serval.unil.ch Droits d’auteur L'Université de Lausanne attire expressément l'attention des utilisateurs sur le fait que tous les documents publiés dans l'Archive SERVAL sont protégés par le droit d'auteur, conformément à la loi fédérale sur le droit d'auteur et les droits voisins (LDA). A ce titre, il est indispensable d'obtenir le consentement préalable de l'auteur et/ou de l’éditeur avant toute utilisation d'une oeuvre ou d'une partie d'une oeuvre ne relevant pas d'une utilisation à des fins personnelles au sens de la LDA (art. 19, al. 1 lettre a). A défaut, tout contrevenant s'expose aux sanctions prévues par cette loi. Nous déclinons toute responsabilité en la matière. Copyright The University of Lausanne expressly draws the attention of users to the fact that all documents published in the SERVAL Archive are protected by copyright in accordance with federal law on copyright and similar rights (LDA). Accordingly it is indispensable to obtain prior consent from the author and/or publisher before any use of a work or part of a work for purposes other than personal use within the meaning of LDA (art.
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Based on a True Story: a Critical Approach to Ambiguous Veracity in Literature
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„To Document Something Which Does Not Exist.“ Vilém Flusser and Joan Fontcuberta: a Collaboration1
FLUSSER STUDIES 13 Andrea Soto Calderon – Rainer Guldin „To document something which does not exist.“ Vilém Flusser and Joan Fontcuberta: A Collaboration1 „Ever since the fifteenth century, Occidental civilisation has suf- fered from the divorce into two cultures: science and its techniques – the ‘true’ and the ‘good for something’ – on the one hand; the arts – beauty –on the other. This is a pernicious distinction. Every scientific proposition and every technical gadget has an aesthetic quality, just as every work of art has an epistemological and political quality. More signif- icantly, there is no basic distinction between scientific and artistic re- search: both are fictions in the quest of truth (scientific hypotheses being fictions). Electromagnetized images do away with this divorce because they are the result of science and are at the service of the imagina- tion. They are what Leonardo da Vinci used to call ‘fantasia essata’. A synthetic image of a fractal equation both a work of art and a model for knowledge.” Vilém Flusser, The Photograph as Postindustrial Object: An Essay on the Ontological Standing of Photographs In this paper we would like to focus on the friendship and intense collaboration between Vilém Flusser and Joan Fontcuberta. The Flusser-Archive in Berlin possesses a short epistolary ex- change that we would like to analyze and discuss in detail. It contains, in fact, valuable infor- mation about common projects, theoretical exchanges and personal matters. To clarify a few important points we have asked Joan Fontcuberta for a short interview which we have included in this paper. After this first more general introductory part we want to discuss the reciprocal theoretical and creative interest that brought Flusser and Fontcuberta together and the different texts resulting from this.
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