THE ARCHITECTURE of PHOTOGRAPHY Ives Maes
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Another Kind of Life: Photography on the Margins
Another Kind of Life: Photography on the Margins Barbican Art Gallery, Barbican Centre, UK 28 February – 27 May 2018 Media View, Tuesday 27 February, 10am – 1pm The exhibition is supported by The Great Britain Sasakawa Foundation and The Swiss Arts Council Pro Helvetia. Media Partner: AnOther Magazine #AnotherKindofLife Another Kind of Life: Photography on the Margins looks at the continuing fascination of artists with those on the margins of society through the photographic medium. Some of the most powerful images of the 20th and 21st century are the result of a determined and often prolonged engagement with communities seemingly at odds with, or on the fringes of, the mainstream. Another Kind of Life explores photography’s relationship with this compelling subject through the work of 20 exceptional image-makers, including Bruce Davidson, Paz Errázuriz, Casa Susanna, Larry Clark, Mary Ellen Mark, Boris Mikhailov, Daido Moriyama and Dayanita Singh. Part of the Barbican’s 2018 season The Art of Change, which reflects on the dialogue between art, society and politics, the exhibition directly – and at times poetically – addresses difficult questions about what it means to exist in the margins, the role artists have played in portraying subcultures and the complex intermingling between artistic and mainstream depictions of the outsider. Another Kind of Life opens at Barbican Art Gallery on 28 February 2018. Jane Alison, Head of Visual Arts, Barbican, said: ‘Barbican Art Gallery has always championed groundbreaking photography, placing it at the heart of our programme with recent highlights including Constructing Worlds: Photography and Architecture in the Modern Age (2014) and Strange and Familiar: Britain as Revealed by International Photographers(2016). -
The Best of Wedding Photography, 3Rd Edition
The Best of WEDDING PHOTOGRAPHY Third Edition Amherst Media® PUBLISHER OF PHOTOGRAPHY BOOKS BILL HURTER ABOUT THE AUTHOR Bill Hurter started out in photography in 1972 in Washington, DC, where he was a news photographer. He even cov- ered the political scene—including the Watergate hearings. After graduating with a BA in literature from American Uni- versity in 1972, he completed training at the Brooks Institute of Photography in 1975. Going on to work at Petersen’s PhotoGraphic magazine, he held practically every job except art director. He has been the owner of his own creative agency, shot stock, and worked assignments (including a year or so with the L.A. Dodgers). He has been directly in- volved in photography for the last thirty years and has seen the revolution in technology. In 1988, Bill was awarded an honorary Masters of Science degree from the Brooks Institute. He has written more than a dozen instructional books for professional photographers and is currently the editor of Rangefinder magazine. Copyright © 2007 by Bill Hurter. All rights reserved. Front cover photograph by Tibor Imley. Back cover photography by Dennis Orchard. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Senior Editor/Production Manager: Michelle Perkins Assistant Editor: Barbara A. Lynch-Johnt ISBN-13: 978-1-58428-208-2 Library of Congress Control Number: 2006937281 Printed in Korea. 10 9 8 7 6 5 4 3 2 1 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher. -
Vik Muniz N./B. 1961, São Paulo, Brazil Vive E Trabalha/Lives and Works in Rio De Janeiro and New York
vik muniz n./b. 1961, são paulo, brazil vive e trabalha/lives and works in rio de janeiro and new york formação / education B.A. in Advertising from Fundação Armando Álvares Penteado (FAAP), São Paulo, Brazil exposições (seleção) / exhibitions (selection) individuais em negrito / solo exhibitions in bold 2018 Vik Muniz, Chrysler Museum of Art, Norfolk, USA Vik Muniz: Verso, Belvedere Museum Vienna, Vienna, Austria Plastic Entanglements: Ecology, Aesthetics, Materials, Palmer Museum of Art, Philadelphia, USA 2017 Vik Muniz: Handmade, Rena Bransten Gallery, San Francisco, USA Afterglow (Pictures of Ruin), Palazzo Cini, Venice, Italy Vik Muniz, Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico Vik Muniz: a Retrospective, Eskenazi Museum of Art, Bloomington, USA Troposphere – Chinese and Brazilian Contemporary Art, Beijing Minsheng Art Museum, Beijing, China Look at Me!: Portraits and Other Fictions from the ”la Caixa” Contemporary Art Collection, Pera Museum, Istanbul, Turkey Pledges of Allegiance, Spencer Museum of Art, University of Kansas, Lawrence, USA Ways of Seeing, Fondation Boghossian - Villa Empain, Brussels, Belgium This Is Not a Selfie – Photographic Self-Portraits from the Audrey and Sydney Irmas Collection, San Jose Museum of Art, San Jose, USA Glassstrass, Palazzo Franchetti, Venice, Italy A Vastidão dos Mapas, Museu Oscar Niemeyer (MON), Curitiba, Brazil Trazas simultáneas, Embaixada do BrasilArgentina, Espacio Cultural, Argentin 2016 Handmade, Galeria Nara Roesler, São Paulo, Brazil Vik Muniz, High Museum of Art, -
Photographic Documentation and Buildings: Relationships Past and Present
Photographic Documentation and Buildings: Relationships Past and Present by PHYLLIS LAMBERT Each generation has left a visible trail of its passage across the face of the earth - such as religious monuments, public or private - and it is through the study of these monuments that, today, we may form an exact idea of the various civilizations.' Photography is part of a long tradition of visually recording the built environ- ment. These images have been created, collected, reproduced and disseminated for various reasons, ranging from simply historical interest to complex con- temporary efforts to improve the urban environment. Although large numbers of randomly produced and acquired photographs have often served such pur- poses, the capacity of photography for large-scale systematic documentation is increasingly being recognized as an extremely important tool for architects, planners and historical researchers. One such project, documenting the grey stone buildings of Montreal, illustrates this application and will be discussed later. The second project, on the county court house in the United States, is described in the article following this one. The visual recording of buildings as expressions of society has a long Euro- pean traditi~n.~In France from early in the sixteenth century, carefully engrav- ed plates were bound in sumptuous volumes whose essence was secular and political, beginning with Les plus excellents bastiments de France (Paris, 1576-79) by Jacques Androuet du Cerceau, which publicized the sheer power of the king and his domain, and by evolution to the more subtle cultural im- perialism reflected in the superbly detailed works issued in 1878 by architect Charles Garnier showing his new Paris opera house.3 Photographic documen- 1 From an unpublished manuscript by Charles Ntgre, ca.1854, quoted in James Borcoman, Charles Negre, 1820-1880 (Ottawa, 1976), p. -
Glossary Glossary
Glossary Glossary Albedo A measure of an object’s reflectivity. A pure white reflecting surface has an albedo of 1.0 (100%). A pitch-black, nonreflecting surface has an albedo of 0.0. The Moon is a fairly dark object with a combined albedo of 0.07 (reflecting 7% of the sunlight that falls upon it). The albedo range of the lunar maria is between 0.05 and 0.08. The brighter highlands have an albedo range from 0.09 to 0.15. Anorthosite Rocks rich in the mineral feldspar, making up much of the Moon’s bright highland regions. Aperture The diameter of a telescope’s objective lens or primary mirror. Apogee The point in the Moon’s orbit where it is furthest from the Earth. At apogee, the Moon can reach a maximum distance of 406,700 km from the Earth. Apollo The manned lunar program of the United States. Between July 1969 and December 1972, six Apollo missions landed on the Moon, allowing a total of 12 astronauts to explore its surface. Asteroid A minor planet. A large solid body of rock in orbit around the Sun. Banded crater A crater that displays dusky linear tracts on its inner walls and/or floor. 250 Basalt A dark, fine-grained volcanic rock, low in silicon, with a low viscosity. Basaltic material fills many of the Moon’s major basins, especially on the near side. Glossary Basin A very large circular impact structure (usually comprising multiple concentric rings) that usually displays some degree of flooding with lava. The largest and most conspicuous lava- flooded basins on the Moon are found on the near side, and most are filled to their outer edges with mare basalts. -
March 2012 Photo Notes
The Newsletter of the Park West Camera Club Photo Notes Our 75th Year March/April 2012 Presidentʼs Letter Flower Power! Spring is in the air. It has actually been in the air for much of this past winter with temperatures in the 40s and 50s many days and abundant sun- shine, but for PWCC it means a time to speak anew of many things such as more field trips, the Club auction on April 9th, return of the Florida contingent, annual election of officers, planning the Otto Litzel Dinner and awards, short pants, sleeveless dresses, sandals, sun block, longer days for shooting pictures, Chuck’s Expanding Visions class, the Manhattan Borough President’s Office In This Issue show and whatever I’ve left out, such as shoes, ships, sealing wax, cabbages and kings1. President’s Letter.................................1 Who’s Who & What’s What........2 & 3 So instead of winding down, the Club is heating Club Info..................................3, 5 & 10 up, invigorated by the warmer weather and an- Rules of Photography..........................4 ticipation of all our upcoming events and activi- B&H Space............................................5 ties, photographic and otherwise. Competition...................................6 & 7 Sitzfleisch..............................................8 I’m particularly looking forward to the Otto Litzel Election Procedures.............................9 Dinner this year. It’s dedicated to the Club’s 75th Inquiries..............................................10 Anniversary and we’re still looking for sugges- Business Meeting Minutes................11 tions for a restaurant roomy enough to display Call for Entries...................................14 Club memorabilia or at least to project a slide- Expanding Visions 18........................15 show. Please give your suggestions to Sid Geor- Auction................................................16 giou. -
A Interbau E a Requalificação Moderna Do Oitocentista Hansaviertel Em Berlim - 1957
A INTERBAU E A REQUALIFICAÇÃO MODERNA DO OITOCENTISTA HANSAVIERTEL EM BERLIM - 1957 Mara Oliveira Eskinazi FORMAÇÃO E FILIAÇÃO ACADÊMICA: Arquiteta e Urbanista, formada em 2003/02 pela Faculdade de Arquitetura da Universidade Federal do Rio Grande do Sul (UFRGS). Mestranda desde 2005/02 do Programa de Pesquisa e Pós-Graduação em Arquitetura (PROPAR) da Universidade Federal do Rio Grande do Sul (UFRGS). ENDEREÇO: Rua Gen. Florêncio Ygartua, 491/23 Bairro Rio Branco CEP: 90.430-010 Porto Alegre – RS – Brasil telefones: (51) 3332-3576/ (51) 9126-7668 fax: (51) 3222-4246 e-mail: [email protected] A INTERBAU E A REQUALIFICAÇÃO MODERNA DO OITOCENTISTA HANSAVIERTEL EM BERLIM – 1957 RESUMO O Hansaviertel, bairro oitocentista cuja formação original era bastante integrada ao tecido urbano tradicional predominante na cidade de Berlim, foi em grande parte destruído com os bombardeios da II Guerra Mundial. De localização extremamente central na cidade, o que de fato é hoje dele conhecido é o resultado de uma requalificação arquitetônica e urbanística realizada na década de 50 em decorrência da Interbau (Internationale Bauausstellung) - primeira Exposição Internacional de Arquitetura ocorrida após a II Guerra Mundial. A exposição, que trouxe para a paisagem do parque Tiergarten projetos de edifícios residenciais que expressam valores políticos como a liberdade e o pluralismo, utilizou-se do lema conhecido como “a cidade do amanhã” (die Stadt von Morgen) entre suas premissas básicas para a criação de uma área habitacional modelo do Movimento Moderno. Em 1953, o Senado de Berlim estabelece que a reconstrução do bairro Hansaviertel seja ligada a uma exposição internacional de arquitetura moderna. -
George Eastman Museum Annual Report 2016
George Eastman Museum Annual Report 2016 Contents Exhibitions 2 Traveling Exhibitions 3 Film Series at the Dryden Theatre 4 Programs & Events 5 Online 7 Education 8 The L. Jeffrey Selznick School of Film Preservation 8 Photographic Preservation & Collections Management 9 Photography Workshops 10 Loans 11 Objects Loaned for Exhibitions 11 Film Screenings 15 Acquisitions 17 Gifts to the Collections 17 Photography 17 Moving Image 22 Technology 23 George Eastman Legacy 24 Purchases for the Collections 29 Photography 29 Technology 30 Conservation & Preservation 31 Conservation 31 Photography 31 Moving Image 36 Technology 36 George Eastman Legacy 36 Richard & Ronay Menschel Library 36 Preservation 37 Moving Image 37 Financial 38 Treasurer’s Report 38 Fundraising 40 Members 40 Corporate Members 43 Matching Gift Companies 43 Annual Campaign 43 Designated Giving 45 Honor & Memorial Gifts 46 Planned Giving 46 Trustees, Advisors & Staff 47 Board of Trustees 47 George Eastman Museum Staff 48 George Eastman Museum, 900 East Avenue, Rochester, NY 14607 Exhibitions Exhibitions on view in the museum’s galleries during 2016. Alvin Langdon Coburn Sight Reading: ONGOING Curated by Pamela G. Roberts and organized for Photography and the Legible World From the Camera Obscura to the the George Eastman Museum by Lisa Hostetler, Curated by Lisa Hostetler, Curator in Charge, Revolutionary Kodak Curator in Charge, Department of Photography Department of Photography, and Joel Smith, Curated by Todd Gustavson, Curator, Technology Main Galleries Richard L. Menschel -
Die Architekturausstellung Als Kritische Form 2018
Die Architekturausstellung als kritische Form 1 Lehrstuhl für Architekturgeschichte und kuratorische Praxis EXTRACT “Die Architekturausstellung als kritische Form von Hermann Muthesius zu Rem Koolhaas” Wintersemester 2018/19 LECTURE 1 / 18 October 2018 Die Architekturausstellung als kritische Form. Vorgeschichte, Themen und Konzepte. Basic questions: - What is an architecture exhibition? - How can we exhibit architecture? - What does the architecture exhibition contribute to? Statements: - Exhibitions of architecture are part of a socio-political discourse. (See Toyo Ito’s curatorial take on the Architecture Biennale in Venice in 2012 http://www.domusweb.it/en/interviews/2012/09/03/toyo-ito-home-for-all.html) - Exhibitions of architecture are model-like presentations / They should present the new directions of the discipline. (“Critical” in this context of this lecture class means: exhibitions introducing a new theoretical and / or practical concept in contrast to existing traditions) PREHISTORY I. - Model Cabinets (Modellkammer), originally established as work tools for communication purposes and as educational tools for upcoming architects / engineers. Further aspect: building up an archive of technological inventions. - Example: The medieval collection of models for towers, gates, roof structures etc. in Augsburg, hosted by the Maximilianmuseum. - Originally these cabinets were only accessible for experts, professionals, not for public view. Sources of architecture exhibitions: - Technical and constructive materials (drawings, models). They tend to be private or just semi- public collections built up with education purposes. - The first public exhibitions of these models in the arts context didn’t happen until the end of the 18th century. Occasion: Charles de Wailly exhibited a model of a staircase in an arts exhibition in 1771. -
Oral History Interview with Beaumont Newhall, 1965 Jan. 23
Oral history interview with Beaumont Newhall, 1965 Jan. 23 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Beaumont Newhall on January 23, 1965. The interview was conducted at the George Eastman House in Rochester, New York by Joseph Trovato for the Archives of American Art, Smithsonian Institution. Interview JOSEPH TROVATO: This interview with Mr. Beaumont Newhall is taking place at George Eastman House, Rochester, New York, January 23, 1965. Mr. Newhall, your name has been associated with the best in the field of photography for many years, or just about as long as I can remember, from the early days of the Museum of Modern Art, your writings on photography, such as The History of Photography, which has gone through several editions, I think, and on through to your present directorship here at Eastman House. How long have you held your present post here? BEAUMONT NEWHALL: Actually my present post as director I assumed the first of Sept. 1958. Previous to that I held the title of curator and worked as the associate and assistant to the first director, General Oscar N. Solbert. I came to Rochester for the specific purpose of setting up Eastman House as a museum, bringing to it my knowledge of museum practice, as well as photography. We opened as a museum to the public on the 7th of November, 1949. JOSEPH TROVATO: Well I was about to ask you in addition to my question regarding your career and while we’re on the subject of your career – I think you have already begun to touch upon – we would like to have you give us a sort of resume of your background, education, various positions that you have held, and so forth. -
Douglass Crockwell Collection, 1897-1976, Bulk 1934-1968
Douglass Crockwell collection, 1897-1976, bulk 1934-1968 Finding aid prepared by Ken Fox, Project Archivist, George Eastman Museum, Moving Image Department, April 2015 Descriptive Summary Creator: Crockwell, Spencer Douglass, 1904-1968 Title: Douglass Crockwell collection Dates: 1897-1976, bulk 1934-1968 Physical Extent: 30.1 cubic feet Repository: Moving Image Department George Eastman Museum 900 East Avenue Rochester, NY 14607 Phone: 585-271-3361 Email: [email protected] Content Abstract: Spencer Douglass Crockwell was a commercial illustrator, experimental filmmaker, inventor, Mutoscope collector, amateur scientist, and Glens Falls, New York, resident. The Douglass Crockwell Collection contains Mr. Crockwell's personal papers, professional documents, films, Mutoscope reels, flip books, drawings, and photographs documenting his professional, civic, and personal life. Language: Collection materials are in English Location: Collection materials are located onsite. Access Restrictions: Collection is open to research upon request. Copyright: George Eastman Museum holds the rights to the physical materials but not intellectual property rights. Acquisition Information: The earliest acquisition of collection materials occurred on August 20, 1973, when one table Mutoscope and three Mutoscope reels were received by the George Eastman Museum as an unrestricted gift from Mr. Crockwell's widow. On March 22, 1974, Mrs. Crockwell transferred most of the Douglass Crockwell Collection to the Museum with the 1 understanding that one third of the collection would be received as an immediate gift. The remaining balance of the collection -- which included the films -- would be received as a loan for study purposes with the understanding it would be accessioned into the permanent collection as a gift within the next two years. -
Facts & Features Lunar Surface Elevations Six Apollo Lunar
Greek Mythology Quadrants Maria & Related Features Lunar Surface Elevations Facts & Features Selene is the Moon and 12 234 the goddess of the Moon, 32 Diameter: 2,160 miles which is 27.3% of Earth’s equatorial diameter of 7,926 miles 260 Lacus daughter of the titans 71 13 113 Mare Frigoris Mare Humboldtianum Volume: 2.03% of Earth’s volume; 49 Moons would fit inside Earth 51 103 Mortis Hyperion and Theia. Her 282 44 II I Sinus Iridum 167 125 321 Lacus Somniorum Near Side Mass: 1.62 x 1023 pounds; 1.23% of Earth’s mass sister Eos is the goddess 329 18 299 Sinus Roris Surface Area: 7.4% of Earth’s surface area of dawn and her brother 173 Mare Imbrium Mare Serenitatis 85 279 133 3 3 3 Helios is the Sun. Selene 291 Palus Mare Crisium Average Density: 3.34 gm/cm (water is 1.00 gm/cm ). Earth’s density is 5.52 gm/cm 55 270 112 is often pictured with a 156 Putredinis Color-coded elevation maps Gravity: 0.165 times the gravity of Earth 224 22 237 III IV cresent Moon on her head. 126 Mare Marginis of the Moon. The difference in 41 Mare Undarum Escape Velocity: 1.5 miles/sec; 5,369 miles/hour Selenology, the modern-day 229 Oceanus elevation from the lowest to 62 162 25 Procellarum Mare Smythii Distances from Earth (measured from the centers of both bodies): Average: 238,856 term used for the study 310 116 223 the highest point is 11 miles.