◇ Guggenheim Symposium - Empathy, Affect, and the Photographic Image - YouTube
Learn more at http://www.guggenheim.org/dijkstra
In conjunction with Rineke Dijkstra: A Retrospective, on view at the Guggenheim Museum June 29-October 8, 2012, leading scholars discussed the role that empathy plays in the interactions among photographer, subject, and viewer. Organized by Jennifer Blessing, Senior Curator, Photography, and moderated by George Baker, University of California, Los Angeles.
0:16 - Introduction by Jennifer Blessing, Senior Curator, Photography, Solomon R. Guggenheim Museum
3:57 - Moderator introduction by George Baker, Associate Professor of Art History, University of California, Los Angeles
12:52 - "The Age of Empathy" and Rineke Dijkstra's Photographic Portraits by Jennifer Blessing
37:56 - You've Lost That Loving Feeling by Johanna Burton, Director of the Graduate Program, Center for Curatorial Studies, Bard College
58:00 - For Rineke Dijkstra, a Tiergarten is Not a Tear Garden by Carol Mavor, Professor of Art History and Visual Studies, University of Manchester
The Photographic Universe II brings together a range of leading practitioners, scientists, theoreticians, historians, and philosophers to consider and reflect on current discussions in photography at a pivotal moment in its history. The unique format of the conference will consist of one-on-one conversations between two individuals from disparate professional and research backgrounds. The conference will conclude with a roundtable focusing on photographic education.
◇ George Baker -- "Photography's Expanded Field: The Work of Sharon Lockhart" - YouTube
George Baker is associate professor of art history at UCLA, where he has taught modern and contemporary art and theory since 2003. A New York and Paris-based critic for Artforum magazine throughout the 1990s, he also works as an editor of the journal October and its publishing imprint October Books. Baker received his Ph.D. from Columbia University, and is a graduate of the art history program at Yale University and the Independent Study Program of the Whitney Museum of American Art. He has received, among others, an Andrew Mellon Fellowship in the Humanities, CASVA and Whiting Foundation fellowships, and a postdoctoral fellowship from the Getty Research Institute. Baker is the author of many books and essays on historic and contemporary arts.
◇ Shoair Mavlian: “Shape of Light: 100 Years of Photography and Abstract Art” at Mills College - February 21, 2018 on Vimeo
Shoair Mavlian is the new Director of Photoworks, UK and will take up the post in February 2018. She was formerly assistant curator, photography at Tate Modern, London (2011-2018). She curated the major exhibitions ‘Shape of Light: 100 Years of Photography and Abstract Art’ (Tate Modern 2018), 'The Radical Eye: Modernist Photography from the Sir Elton John Collection' (Tate Modern, 2016), 'Conflict, Time, Photography' (Tate Modern, 2014), 'Project Space: A Chronicle of Interventions' (Tate Modern and TEOR/éTica, Costa Rica, 2014) and 'Harry Callahan' (Tate Modern 2013). Shoair has a background in fine art photography practice and the history of photography focusing on the twentieth century. She has a strong interest in photography relating to conflict and memory, Central and Latin American photography and emerging contemporary practice. Her independent writing is regularly published in magazines and recent publications include 'The Radical Eye: Modernist Photography from the Sir Elton John Collection’.
◇ Concrete Photography Konkrete Fotografie: KERBER PUBLISHER | artbooks, photography, culture
Concrete Photography can be seen as a new subsection within Concrete Art. It therefore appears alongside other respective modes of artistic expression, such as Concrete Painting, Concrete Music or Concrete Poetry. Likewise, however, it is a subsection of photography. Altogether we are looking at a phenomenon or discipline for which to date there exist neither a conclusive theory, nor a comprehensive documentation even though autonomous images of its kind already emerged in the early twentieth century, vividly exerting
influence even today. Concrete Photography is, therefore, a veritable art form in its own right. This publication is the first in book form to present the history, esthetics and technique of the genre, and it introduces approx. 150 works by 80 international artists.
◇ Jeff Wall. Artist Talk [02.06.2018] on Vimeo
David Campany im Gespräch mit Jeff Wall
David Campany in Conversation with Jeff Wall
02.06.2018 in Kunsthalle Mannheim
Für den Katalog zur aktuellen Ausstellung von Jeff Wall hat der britische Autor und Kurator David Campany einen Beitrag über "Das singuläre Bild" verfasst. Mit dem Künstler sprach er über die Werkauswahl und Aspekte des fotografischen Einzelbildes. Es stehen dabei die Schwerpunktthemen der Ausstellung wie Inszenierung, Gesten, Sprache und Rätselhaftigkeit im Vordergrund.
For the catalogue of Jeff Wall's current exhibition, the British author and curator David Campany has written an article on "The Singular Picture". He spoke with the artist about the selection of works and aspects of the individual photographic image. The main themes of the exhibition are staging, gestures, language and mysteriousness.
JEFF WALL. APPEARANCE
Kunsthalle Mannheim 2.6.2018-9.9.2018
Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, 5.10.2018-6.1.2019
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◇ Featured Works - Images - Dirk Skreber - Artists - Petzel Gallery
◇ Joanna Zylinska - "Photography after Extinction" - YouTube
Dr. Joanna Zylinska (Goldsmiths, University of London) at the Center for 21st Century Studies "After Extinction" Conference, University of Wisconsin-Milwaukee. May 1, 2015.
“Photography after Extinction”
In this talk I will consider what it would mean to envisage the world ‘after extinction’: not at a time when various species, including the one we are narcissistically most invested in – ourselves – have disappeared, but rather at a time when extinction has entered the conceptual and visual horizon of the majority of global citizens. Specifically, I will take the horizon of extinction as a reference point against which I will think the ontology of photography and its agency: what photography can do with and to the world, what it can cast light on, and what the role of this light (or, more broadly, light as such seen through the photographic lens) is in approaching questions of life and death on a planetary scale. Considering the history of photography as part of the broader nature-cultural history of our planet, I will trace parallels between photography and fossils, and read photography as a light-induced process of fossilisation occurring across different media. Seen from this perspective, photography will be presented as containing an actual material record of life (rather than just its memory trace). But I will also go back to photography’s original embracing of the natural light emanating from the sun to explore the extent to which photographic practice can tell us something about energy sources, and about our relation to the star that nourishes our planet. I will do this via an engagement with photographers who have consciously adopted the horizon of extinction as their workspace – from the nineteenth century geologist-photographer William Jerome Harrison through to contemporary artists such as Hiroshi Sugimoto. I will also look at practices in which the work of the sun has been taken on as both a topic and a medium, including the post-digital practice of Penelope Umbrico. The talk will end with a brief presentation of my own artwork, The Anthropocene: A Local History Project.
◇ Photography Programme | Royal College of Art
◇ Donna Haraway, “Anthropocene, Capitalocene, Chthulucene: Staying with the Trouble”, 5/9/14 on Vimeo
Anthropocene, Capitalocene, Chthulucene:
Staying with the Trouble
Sympoiesis, not autopoiesis, threads the string figure game played by Terran critters. Always many-stranded, SF is spun from science fact, speculative fabulation, science fiction, and, in French, soin de ficelles (care of/for the threads). The sciences of the mid-20th-century “new evolutionary synthesis” shaped approaches to human-induced mass extinctions and reworldings later named the Anthropocene. Rooted in units and relations, especially competitive relations, these sciences have a hard time with three key biological domains: embryology and development, symbiosis and collaborative entanglements, and the vast worlds of microbes. Approaches tuned to “multi-species becoming with” better sustain us in staying with the trouble on Terra. An emerging “new new synthesis” in trans-disciplinary biologies and arts proposes string figures tying together human and nonhuman ecologies, evolution, development, history, technology, and more. Corals, microbes, robotic and fleshly geese, artists, and scientists are the dramatis personae in this talk’s SF game.
◇ Nothing works | Tate
1 January 2011
Tate Etc. issue 21: Spring 2011
Marcel Duchamp’s phial of Paris air, Yves Klein’s The Void exhibition, Martin Creed’s Work No.227: The lights going on and off, Gabriel Orozco’s Empty Shoe Box – for decades, artists have pushed the boundaries of how close to nothing an artwork or exhibition can be. How far can they go?
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◇ Dark Side of the Boom by Georgina Adam — the art market book of 2017 | Financial Times
◇ Kenny Schachter on Zombie Formalism | Monopol – Magazin für Kunst und Leben
◇ Artists | Sadie Coles HQ
◇ Wilhelm Sasnal and the Power of Image | Brilliant Ideas Ep. 47 - YouTube
Polish artist Wilhelm Sasnal is a prolific painter and filmmaker whose vivid images draw on the mass media, the intimate experience of family life and the darkest chapters of Polish history. A child of the punk era and the fall of the Berlin Wall, he's insatiably curious about the modern world and unafraid to confront the powers that be and the most taboo subjects.
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◇ 楊洲周延 - Wikipedia
◎ Kounosuke Kawakami
◇ Kounosuke Kawakami | 川上 幸之介 – Taguchi Art Collection
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◎ Studio Kura | 株式会社Studio Kura —「 糸島から世界に文化発信！」をモットーに事業を行っています
◎ 加藤広太 email@example.com