Fall/Winter 2015/2016 “When Printing Photographs I Think the Hybrid Method, Combining Analogue and Digital Technologies, Creates the Best Quality
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Eduardo Del Valle & Mirta Gómez
EDUARDO DEL VALLE Professor Department of Art & Art History [email protected] CURRICULUM VITAE PERSONAL INFORMATION Eduardo del Valle, American, born Havana, Cuba 1951. EDUCATION Master of Fine Arts in Art, Brooklyn College of the City University of New York, Brooklyn, NY, 1981. Bachelor of Fine Arts in Art, Florida International University, Miami, FL, 1976. Associate of Arts, Miami-Dade Community College, South Campus, Miami, FL, 1974. MONOGRAPHS ON VIEW, Photographs by Eduardo del Valle & Mirta Gómez. The Nazraeli Press, 2012. ISBN 978-1-59005-342-7 EN VISTA, Photographs by Eduardo del Valle & Mirta Gómez. The Nazraeli Press, 2009. ISBN 978-1-59005-262-4 WITNESS NUMBER FOUR, Artists and Guest Editors, Eduardo del Valle & Mirta Gómez. JGS, Inc. 2008. ISBN 978-1-59005-220-4 BETWEEN RUNS, Photographs by Eduardo del Valle & Mirta Gómez. Essay by Chris Pichler, Director of Nazraeli Press, Portland, OR. The Nazraeli Press, 2006. ISBN 1-59005-168-8 FRIED WATERS, Photographs by Eduardo del Valle and Mirta Gómez. Essay by Mark Haworth-Booth, Senior Curator of Photography, The Victoria and Albert Museum, London. The Nazraeli Press, 2005. ISBN 1-59005-090-8 FOUR SECTIONS OF TIME, Photographs by Eduardo del Valle & Mirta Gómez, The Nazraeli Press, 2004. ISBN 1-59005-077-0 FROM THE GROUND UP, Photographs by Eduardo del Valle & Mirta Gómez. Essays by Sandra S. Phillips, Senior Curator of Photography, San Francisco Museum of Modern Art and Richard Rodriguez, author and essayist on the NewsHour with Jim Lehrer on PBS. The Nazraeli Press, 2003. ISBN 1-59005-054-1 FELLOWSHIPS & GRANTS (selected) John Simon Guggenheim Memorial Foundation, Two Individual Artists Fellowships for Photography, New York City, NY, 1997-98. -
Milwaukee Art Museum – Restored. Reinstalled. Reimagined
Milwaukee Art Museum – Restored. Reinstalled. Reimagined. The Milwaukee Art Museum, the largest visual art institution in Wisconsin and one of the oldest art museums in the nation, will reopen its Collection Galleries to the public November 24. The reopening is the culmination of a 6-year, $34 million project to transform the visitor experience through dramatically enhanced exhibition and public spaces and bright, flowing galleries. “The new Milwaukee Art Museum is poised to set the standard for a twenty-first-century museum at the heart of a great city,” said Museum Director Daniel Keegan. “What began as a desire to preserve the space and Collection grew into a significant expansion that rejuvenates and sets the future course for the entire institution.” Lewis Wickes Hine American, 1874?1940 A Carolina Spinner 1908 Gelatin silver print 4 11/16 x 6 5/8 in. (11.91 x 16.83 cm) Milwaukee Art Museum, Gift of the Sheldon M. Barnett Family M1973.83 Photo by John R. Glembin Herzfeld Center for Photography and Media Arts Makes Milwaukee Hub for Growing Art Field As part of its November 24, 2015, grand reopening, the Milwaukee Art Museum will debut the new Herzfeld Center for Photography and Media Arts, a 10,000-square-foot space devoted to a global array of photography, film, video installation, and media art. Unparalleled in size and scope for the region, the Center will present the Museum’s rarely seen photography collection of 3,800 works, and will host exhibitions by world- renowned artists working in photography, film, video and digital media. -
Titolo Anno Paese
compensi "copia privata" per l'anno 2018 (*) Per i film esteri usciti in Italia l’anno corrisponde all’anno di importazione titolo anno paese #SCRIVIMI ANCORA (LOVE, ROSIE) 2014 GERMANIA '71 2015 GRAN BRETAGNA (S) EX LIST ((S) LISTA PRECEDENTE) (WHAT'S YOUR NUMBER?) 2011 USA 002 OPERAZIONE LUNA 1965 ITALIA/SPAGNA 007 - IL MONDO NON BASTA (THE WORLD IS NOT ENOUGH) 2000 GRAN BRETAGNA 007 BERSAGLIO MOBILE (A VIEW TO A KILL) 1985 GRAN BRETAGNA 007 DOMANI NON MUORE MAI (IL) (TOMORROW NEVER DIES) 1997 GRAN BRETAGNA 007 SOLO PER I TUOI OCCHI (FOR YOUR EYES ONLY) 1981 GRAN BRETAGNA 007 VENDETTA PRIVATA (LICENCE TO KILL) 1989 USA 007 ZONA PERICOLO (THE LIVING DAYLIGHTS) 1987 GRAN BRETAGNA 10 CLOVERFIELD LANE 2016 USA 10 REGOLE PER FARE INNAMORARE 2012 ITALIA 10 YEARS - (DI JAMIE LINDEN) 2011 USA 10.000 A.C. (10.000 B.C.) 2008 USA 10.000 DAYS - 10,000 DAYS (DI ERIC SMALL) 2014 USA 100 DEGREES BELOW ZERO - 100 GRADI SOTTO ZERO 2013 USA 100 METRI DAL PARADISO 2012 ITALIA 100 MILLION BC 2012 USA 100 STREETS (DI JIM O'HANLON) 2016 GRAN BRETAGNA 1000 DOLLARI SUL NERO 1966 ITALIA/GERMANIA OCC. 11 DONNE A PARIGI (SOUS LES JUPES DES FILLES) 2015 FRANCIA 11 SETTEMBRE: SENZA SCAMPO - 9/11 (DI MARTIN GUIGUI) 2017 CANADA 11.6 - THE FRENCH JOB (DI PHILIPPE GODEAU) 2013 FRANCIA 110 E FRODE (STEALING HARVARD) 2003 USA 12 ANNI SCHIAVO (12 YEARS A SLAVE) 2014 USA 12 ROUND (12 ROUNDS) 2009 USA 12 ROUND: LOCKDOWN - (DI STEPHEN REYNOLDS) 2015 USA 120 BATTITI AL MINUTO (120 BETTEMENTS PAR MINUTE) 2017 FRANCIA 127 ORE (127 HOURS) 2011 USA 13 2012 USA 13 HOURS (13 HOURS: -
© 2016 Mary Kate Scott ALL RIGHTS RESERVED
© 2016 Mary Kate Scott ALL RIGHTS RESERVED THE PHOTOGRAPHY OF ABSENCE: DEATH IN POSTMODERN AMERICA By MARY KATE SCOTT A dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Andrés Zervigón And approved by ________________________________________ ________________________________________ ________________________________________ ________________________________________ New Brunswick, New Jersey January 2016 ABSTRACT OF THE DISSERTATION The Photography of Absence: Death in Postmodern America By MARY KATE SCOTT Dissertation Director: Dr. Andrés Zervigón It is a paradox that postmodern photographic theory—so thoroughly obsessed with death—rarely addresses intimate scenes of explicit death or mortality. Rather, it applies these themes to photographs of living subjects or empty spaces, laying upon each image a blanket of pain, loss, or critical dissatisfaction. Postmodern theorists such as Rosalind Krauss and Geoffrey Batchen root their work in the writings of Roland Barthes, which privilege a photograph’s viewer over its subject or maker. To Barthes’ followers in the 1980s and 1990s, the experiences depicted within the photograph were not as important as our own relationships with it, in the present. The photographers of the Pictures Generation produced groundbreaking imagery that encouraged the viewer to question authority, and even originality itself. Little was said, though, about intimacy, beauty, the actual fact of death, or the author’s individual experience. However, a significant group of American art photographers at the end of the twentieth century began making works directly featuring their own personal experiences with mortality. -
Jan Feb Mar 2018
JAN FEB MAR 2018 FROM THE DIRECTOR A collaborative effort between Findley Elementary School students, their teacher Lisa Hesse, and artist Dave Eppley, whose major site-specific installation is included in the In late September, The Links, Drawing in Space exhibition, resulted in Mile-a-Minute Rainbow Incorporated, a not-for-profit corporation Ivy, 2017, being installed on the Richard Meier building during of African-American women leaders, held the month of November. their 60th anniversary celebration at the Art Center. The evening also showcased the many works by African-American artists in our permanent collections. It was an especially rewarding collaboration for everyone involved. The Links is now continuing this special partnership with a gift of $1,000 to support an education- based internship at the Art Center in 2018 for African-American students. The Art Center, like many museums across the country, is striving to introduce young persons of color to employment in the field in an attempt to increase their numbers in the museum career pipeline. This project will help do so. Another exciting partnership occurred in October with the Iowa Civil Rights Commission. The group held a board meeting at the Art Center where the members toured our recent exhibition, I, too, am America, with Assistant Curator Jared Ledesma. Later in October, the Iowa Civil Rights Commission organized a public symposium, which featured a break-out session entitled, I, too, am America, inspired by the show. This is a wonderful example of the power of art to inspire, illuminate understanding, and engage broad audiences. In early November, the Art Center celebrated the creation of a temporary, large-scale mural on the exterior of the Richard Meier building with a public reception. -
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Mark Parascandola ONCE UPON A TIME IN SHANGHAI Cofounders: Taj Forer and Michael Itkoff Creative Director: Ursula Damm Copy Editors: Nancy Hubbard, Barbara Richard © 2019 Daylight Community Arts Foundation Photographs and text © 2019 by Mark Parascandola Once Upon a Time in Shanghai and Notes on the Locations © 2019 by Mark Parascandola Once Upon a Time in Shanghai: Images of a Film Industry in Transition © 2019 by Michael Berry All rights reserved. ISBN 978-1-942084-74-7 Printed by OFSET YAPIMEVI, Istanbul No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without the prior permission in writing of copyright holders and of the publisher. Daylight Books E-mail: [email protected] Web: www.daylightbooks.org 4 5 ONCE UPON A TIME IN SHANGHAI: IMAGES OF A FILM INDUSTRY IN TRANSITION Michael Berry THE SOCIALIST PERIOD Once upon a time, the Chinese film industry was a state-run affair. From the late centers, even more screenings took place in auditoriums of various “work units,” 1940s well into the 1980s, Chinese cinema represented the epitome of “national as well as open air screenings in many rural areas. Admission was often free and cinema.” Films were produced by one of a handful of state-owned film studios— tickets were distributed to employees of various hospitals, factories, schools, and Changchun Film Studio, Beijing Film Studio, Shanghai Film Studio, Xi’an Film other work units. While these films were an important part of popular culture Studio, etc.—and the resulting films were dubbed in pitch-perfect Mandarin during the height of the socialist period, film was also a powerful tool for education Chinese, shot entirely on location in China by a local cast and crew, and produced and propaganda—in fact, one could argue that from 1949 (the founding of the almost exclusively for mainland Chinese film audiences. -
Press Release
PRESS RELEASE PHILLIPS de PURY & COMPANY ANNOUCES AN EXHIBITION AND BOOK LAUNCH FOR PHOTOGRAPHER GUY BOURDIN IN NEW YORK MARCH 11-25, 2006 New York, February 22, 2006 -- Phillips de Pury & Company is pleased to announce a unique collaboration with Samuel Bourdin, the sole owner of the Guy Bourdin Estate, to represent and exclusively sell photographic prints. Guy Bourdin is considered to be one of the most daring and innovative artists in the world of 20th Century visual culture. A singular artist with the eye of a painter, Bourdin’s compelling and unique body of work has become an inspiration across many creative fields. His groundbreaking legacy represents a turning point in the history of fashion imagery. Simon de Pury, joined by Gerhard Steidl and Pascal Dangin of Steidldangin, is honored to host the launch of the newly published book, Guy Bourdin, A MESSAGE FOR YOU, published by Steidldangin. This two-volume edition was curated and written by Nicolle Meyer, edited by Shelly Verthime and introduced by Alber Elbaz. It focuses on Guy Bourdin's unique collaboration with Nicolle, one of his "mannequins fétiche". All of Volume I images will be exhibited as a series of 75 beautiful color prints, printed and produced by Pascal Dangin. In addition, Volume II images will be presented in the form of a slide projection. The exhibition will open with a book launch and private viewing on March 11th and will be open to the public through March 25th. These works will be shown in the second floor gallery at Phillips de Pury and Company in New York. -
Art and Technology Between the Usa and the Ussr, 1926 to 1933
THE AMERIKA MACHINE: ART AND TECHNOLOGY BETWEEN THE USA AND THE USSR, 1926 TO 1933. BARNABY EMMETT HARAN PHD THESIS 2008 DEPARTMENT OF HISTORY OF ART UNIVERSITY COLLEGE LONDON SUPERVISOR: PROFESSOR ANDREW HEMINGWAY UMI Number: U591491 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591491 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 I, Bamaby Emmett Haran, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 3 ABSTRACT This thesis concerns the meeting of art and technology in the cultural arena of the American avant-garde during the late 1920s and early 1930s. It assesses the impact of Russian technological Modernism, especially Constructivism, in the United States, chiefly in New York where it was disseminated, mimicked, and redefined. It is based on the paradox that Americans travelling to Europe and Russia on cultural pilgrimages to escape America were greeted with ‘Amerikanismus’ and ‘Amerikanizm’, where America represented the vanguard of technological modernity. -
Cecil Beaton (1904–80) Was One of the Great Creative Figures of the British Twentieth Century
Access Guide Please return at the end of your visit We hope this guide supports your visit. Please speak to any member of staff for more information. VERSION 2 Map Entrance Contents TBC Introduction Cecil Beaton (1904–80) was one of the great creative figures of the British twentieth century. Chiefly known as a photographer of portraits and fashion, through his work for Vogue magazine from 1924 to 1979, he was also recognised as a significant war photographer. An illustrator and caricaturist, a writer and commentator on taste and manners, Beaton was a theatre designer and art director of world renown and an influential stylist of his own homes. This exhibition focuses on Beaton’s early years. Born in Hampstead to a then prosperous timber merchant, Ernest Beaton and his wife Esther (‘Etty’), Cecil was first given a camera in 1914, aged ten. His first subjects were his mother and his willing sisters, Nancy and Barbara (‘Baba’). His transformation from middle-class suburban schoolboy to dazzling society figure against the backdrop of the Roaring Twenties and the Age of Jazz revealed a social mobility barely thinkable before the First World War. Here, then, are the Bright Young Things who brought an extraordinary era vividly to life and in so doing, nurtured and refined a remarkable photographic talent. The strength of his singular vision is such that, when we think of the Bright Young Things, we think of them in Beaton’s costumes, through Beaton’s lens and as Beaton’s friends. For full details of all events please see the What’s On guide or npg.org.uk/events Friday 20 March, 19.00 Lecture ‘When I die I want to go to Vogue’: Cecil Beaton’s Most Enduring Patron with Robin Muir Curator Robin Muir looks at the Cecil Beaton’s long working relationship with Vogue. -
TPG Exhibition List
Exhibition History 1971 - present The following list is a record of exhibitions held at The Photographers' Gallery, London since its opening in January 1971. Exhibitions and a selection of other activities and events organised by the Print Sales, the Education Department and the Digital Programme (including the Media Wall) are listed. Please note: The archive collection is continually being catalogued and new material is discovered. This list will be updated intermittently to reflect this. It is for this reason that some exhibitions have more detail than others. Exhibitions listed as archival may contain uncredited worKs and artists. With this in mind, please be aware of the following when using the list for research purposes: – Foyer exhibitions were usually mounted last minute, and therefore there are no complete records of these brief exhibitions, where records exist they have been included in this list – The Bookstall Gallery was a small space in the bookshop, it went on to become the Print Room, and is also listed as Print Room Sales – VideoSpin was a brief series of worKs by video artists exhibited in the bookshop beginning in December 1999 – Gaps in exhibitions coincide with building and development worKs – Where beginning and end dates are the same, the exact dates have yet to be confirmed as the information is not currently available For complete accuracy, information should be verified against primary source documents in the Archive at the Photographers' Gallery. For more information, please contact the Archive at [email protected] -
Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Nancy Cunard: Collector, Cosmopolitan by Jenny Greenshields Dissertation submitted for the degree of Doctor of Philosophy in English Literature University of Sussex February 2015 2 I hereby declare that this thesis has not been and will not be submitted in whole or in part to another university for the award of any other degree. Signed ....................................................... 3 Nancy Cunard: Collector, Cosmopolitan Jenny Greenshields Dissertation submitted for the degree of Doctor of Philosophy in English Literature, University of Sussex, February 2015 Summary of Thesis Part One of my thesis reads Nancy Cunard (1896-1965) as a modernist collector, situating her material and literary collections in relation to the vogue nègre of the 1920s and 30s, when European fascination with black expressive culture reached unprecedented heights. It also looks at how Cunard’s collecting practices translate into an ‘aesthetic of assemblage’ in her work as an anthologist, and shows how the African sculpture section of her Negro anthology (1934) reflects the collecting cultures of early twentieth-century Europe. -
On Being a Photographer, 3Rd Edition
Photography/Photojournalism $12.95 USD Revised – Third Edition! “A photographer might forget his camera and live to tell the ON BEING A PHOTOGRAPHER tale. But no photographer who survives has ever forgotten the lessons in this book. It is not just essential reading, it’s compulsory.” DAVID HURN/Magnum Daniel Meadows Head of Photojournalism, Center for Journalism Studies, in conversation with University of Wales “A very useful book. It discusses issues which will benefit all BILL JAY photographers irrespective of type, age or experience – and it does so in a clear and interesting manner. I recommend it.” Van Deren Coke past Director of the International Museum of Photography and author of The Painter and the Photograph “I read On Being a Photographer in one sitting. This is an invaluable book for its historical and aesthetic references as well as David’s words, which go to the heart of every committed David Hurn/ on being photographer – from the heart of a great photographer. It is inspiring.” Frank Hoy Associate Professor, Visual Journalism, The Walter Cronkite School Magnum a of Journalism and Telecommunication, Arizona State University “We all take photographs but few of us are photographers. On Being a Photographer talks clearly and cogently about the difference … and Bill Jay photog- the book is rich in practical detail about how to practice as a photographer and to create worthwhile pictures.” Barry Lane past-Director of Photography at the Arts Council of Great Britain and presently Secretary-General rapher of The Royal Photographic