◇ SETH PRICE with Will Fenstermaker – The Brooklyn Rail
◇ Consumer Reports: Seth Price -ARTnews
◇ Seth Price at Friedrich Petzel (Contemporary Art Daily)
◇ 'People Often Get Hung Up on the Search for Meaning': Artist Seth Price on Why You Probably Don't Understand His Work | artnet News
◇ Seth Price’s Digital Dissolution - Hyperallergic - Sensitive to Art & its Discontents
◇ On Photography People and Modern Times on Vimeo
A 2-channel video installation on collected photographic documents, now divided between intimate past moments and a present environment that secures their preservation. A subjective story of the Arab Image Foundation, Beirut.
38 minutes, 2010.
Part of Told, Untold, Retold. An exhibition by Till Fellrath and Sam Bardaouil. Mathaf, Arab Museum of Modern Art, Doha.
◇ UCLA Art Department of Art Lectures: Charline von Heyl on Vimeo
5/5/11 --- Charline von Heyl is a painter who lives and works in New York. She has had solo exhibitions at Le Consortium, Dijon; the Dallas Museum of Art; and the Vienna Seccession. She has participated in many group exhibitions, including Oranges and Sardines at the Hammer and Make Your Own Life: Artists In and Out of Cologne at the Institute of Contemporary Art, University of Pennsylvania. (Run time: 1 hour, 27 min.)
◇ Kodak (2006) — Critical Commons
◇ The Great Train Robbery - YouTube
For more information and to download this film, please visit https://www.loc.gov/item/00694220/
Considered the first narrative film, "The Great Train Robbery" was directed and photographed by Edwin S. Porter, a former cameraman for the Thomas Edison Company. Primitive by modern standards, the 10-minute action picture depicts 14 distinct scenes filmed at various locales in New Jersey intended to represent the American West. 'Broncho Billy' Anderson, the screen's first Western star, played several roles in the film, including a bandit and a train passenger. Audiences were thrilled and terrified to watch a gunman in medium close-up fire directly at the screen in the film's final scene ... although Porter suggested to exhibitors it could just as easily be shown at the beginning of the film instead. Named to the National Film Registry in 1990.
◇ Hélio Oiticica: The Body of Colour symposium video recordings | Tate
◇ 世界変革のとき──キュレーションについて：フォーカス｜長谷川新（インディペンデントキュレーター）｜美術館・アート情報 artscape
◇ Who are the most important contemporary painters working today and where is abstract painting headed? : ContemporaryArt
◇ ArtRank: Market Influence Through Symbolic Isolation « Jaclyn Horowitz
◇ Michael Krebber - Greene Naftali Gallery
◇ Rhinegold: Art from Cologne, Michael Krebber | Tate
◇ 3/29/2016 Michael Krebber on Vimeo
‘I asked Tadao Ando to design the house as artwork,’ recalls Obayashi-san. The result is an arch-minimalist space articulated around an interior courtyard, which bristles with thousands of tessellated tiles courtesy of Olafur Eliasson. Every two years, a new site-specific commission adds to the collection of a man who is as passionate about so-called international art, as he is about homegrown talents. In this exclusive profile, Obayashi-san shares insights into his personal journey and passions.
◇ Interview with Okwui Enwezor - YouTube
Okwui Enwezor, Consulting Curator
Nigerian-born curator Okwui Enwezor is the consulting curator of »Making Africa – A Continent of Contemporary Design«. He is the director of Munich’s Haus der Kunst and the director of the 56th International Venice Art Biennale in 2015. Throughout his career, Enwezor has focused on art and design of the 20th and 21st century from all over the globe. He also studies theories of diaspora and migration, post-colonial modernism and the architecture and urbanism of post-colonial African cities. This interview, which was led by the exhibition’s curator Amelie Klein, is the perfect primer to start engaging with the exhibition. Enwezor discusses the influence of design in Africa and why it is important to redefine the traditional design terminology in this new context.
◇ Six questions for Jeff Wall — Objektiv
◇ PART 2: Artist Mariam Ghani, Daughter of Afghan Pres, Addresses Ferguson, Borders and Afghan Women | Democracy Now!
◇ A Brief History Of Collapses - The Guggenheim Museums and Foundation
A Brief History of Collapses
Mariam Ghani’s video traces the parallel histories of two distinguished buildings—the Museum Fridericianum built by Simon Louis du Ry in Kassel, Germany, in 1779, and the Darul Aman Palace built by Walter Harten in Kabul in 1929—examining their discrete ideological associations. In spite of the buildings’ divergent locations and sociopolitical contexts, they remain united by various similarities of structural detail informed by German neoclassicism. The Darul Aman Palace, which was emblematic of King Amanullah Khan’s plans for the country’s modernization and originally earmarked as the seat of its future parliament, is now a ruin. By contrast, its German counterpart, the first public museum in Europe, was restored in the early 1980s and now presents exhibitions of contemporary art.
◇ "Crystal world (After J.G. Ballard)", by Ann Lislegaard (Excerpt) - YouTube
Crystal World (after J.G.Ballard)
2-channel 3D animation, 2 leaning screens, no sound.
Installation view: How to Live Together -- 27th Bienal de São Paulo
Crystal World (after J. G. Ballard) is a double channel projection first shown at the Sao Paulo Biennial 2006. In the 3D animation a universe is constructed with architectural structures and a jungle that slowly crystallize. A text, generated from a letter written by the protagonist in J.G. Ballard's novel The Crystal World (1966), describes a zone of entropy, a process of transformation and crystallization. The animation moves through spaces combining architectural elements of Lina Bo Bardi's Casa de Vidrio and Oscar Niemeyer's Matarazzo Pavillion, both in Sao Paulo. The Dead Tree (1969) by Robert Smithson and Untitled, Rope Piece (1970) by Eva Hesse are also installed and re-activated in the animation between other references.
◇ Crystal World (after J. G. Ballard) - Ann Lislegaard
◇ Lida Abdul – 'A Beautiful Encounter With Chance' | TateShots - YouTube
Afghan artist Lida Abdul describes the chance encounter that became the basis for her elegiac film Dome.
Abdul calls her pieces 'anti-monuments', and in Dome we see a small boy dancing alone in the centre of a bombed-out building in Kabul.
The boy's circling movements trace the shape of the roofless dome as he looks up at the sky, then comes the sinister throbbing of whirling rotor blades as a helicopter passes overhead.
◇ Paul Chan - The Guggenheim Museums and Foundation
◇ Rouse Visiting Artist Lecture: Luisa Lambri, with Mark Lee - YouTube
Luisa Lambri is an artist currently based in Milan.
For nearly two decades, Lambri has examined the relationship between space and the human experience through the medium of photography. Her early work expressed a desire to depict constructed spaces in non-figurative ways and to highlight architectural details that in their form suggest abstraction. As a result, many of her photographs are situated in a place between representation and abstraction and can be understood as a perpetual reconsideration of space and its effects on human life.
For many years an investigation into the history of Modernist architecture, especially private residencies, was of particular interest to the Lambri. The photographs from this early period rarely presented a building with the intent of objective representation but rather tried to subvert and deconstruct the authority of many of the 20th century's most iconic buildings through a process of abstraction. In these photographs, Lambri focused on details such as doors, windows or staircases as conduits between the inside and the outside and as possibilities for movement. The concentration on details like ceilings, floors, windows or wall patterns resulted in abstract images that often make it impossible to say where a photograph was taken, which building the artist worked in or what architect designed it. The artist repeatedly stated that these earlier works could be understood as self-portraits devoid of her physical presence exploring female identity within spaces mostly constructed by men.
Over the last decade, Lambri’s interest in structures and spaces has broken from the confines of architecture as she started to look at other practitioners in the field of the visual arts who were similarly intrigued by space and abstraction. Her photographs of works by artists connected to Minimalism and the Light and Space movement as well as Latin American abstraction, particularly Neo-Concretism, have occupied her practice and taken the work away from only exploring architecture to a wider consideration of form, space and abstraction. While minimal and reductive in style the photographs are highly personal and interrogate, in equal parts, our physical and psychological existence as humans.
For this event, Lambri will present an overview of her work, with particular attention to her investigations of geometric and organic abstraction. Mark Lee, principal of Johnston Marklee & Associates and co-Artistic Director of the 2017 Chicago Architecture Biennial, will introduce Lambri–a participant in the Biennial–and they will engage in a conversation following Lambri's lecture.
Luisa Lambri was born in 1969 in Como, Italy, and currently lives in Milan. Her solo exhibitions include presentations at the Metropolitan Museum of Art, New York; the Isabella Stewart Gardner Museum, Boston; the Hammer Museum, Los Angeles; the Baltimore Museum of Art, Baltimore; the Menil Collection, Houston and the Carnegie Museum of Art, Pittsburgh among many others. In 1999 she was awarded the Golden Lion at the 48th Venice Art Biennial for her presentation in the Italian Pavilion.
Mark Lee (MArch '95) is a principal and founding partner of the Los Angeles-based architecture firm Johnston Marklee. Since its establishment in 1998, Johnston Marklee has been recognized nationally and internationally with over 30 major awards. A book on the work of the firm, entitled HOUSE IS A HOUSE IS A HOUSE IS A HOUSE IS A HOUSE, was published by Birkhauser in 2016. This followed a monograph on the firm’s work, published in 2014 by 2G. Mark has taught at the Harvard Graduate School of Design, Princeton University, the University of California, Los Angeles, the Technical University of Berlin, and ETH Zurich. He has held the Cullinan Chair at Rice University and the Frank Gehry International Chair at the University of Toronto. The firm’s work is in the permanent collections of the Museum of Modern Art in New York, the Art Institute of Chicago, the Menil Collection, the San Francisco Museum of Modern Art, the Carnegie Museum of Art, and the Architecture Museum of TU Munich. Together with partner Sharon Johnston (MArch '95), Mark Lee is the Artistic Director of the 2017 Chicago Architecture Biennial.
◇ Rodney Graham discusses Central Questions of Philosophy at Lisson Gallery - YouTube
The artist Rodney Graham talks with Art Review's editor, Mark Rappolt, about notions of the ‘performative self’ in his series of photographic stage sets, related paintings and objects.
Filmed at Lisson Gallery London during his exhibition, 'Central Question of Philosophy' 3 October - 3 November 2018.
Film by Laura Bushell
◇ Joyce Pensato | Artists | Lisson Gallery
◇ What is a Photograph? @ICP - Collector Daily
Matthew Brandt: 1 chromogenic print soaked in Gray’s Lake water, 2013
Marco Breuer: 1 chromogenic paper, embossed and scraped, 2008, 3 gelatin silver papers, burned, 1996, 1998, 2000, 1 chromogenic paper, burned, 2012, 1 gelatin silver paper, brushed, 1998
Liz Deschenes: 1 set of 13 gelatin silver photograms, 2013
Adam Fuss: 2 gelatin silver photograms, 1988, 1 cibachrome photogram, 2001
Owen Kydd: 2 videos, 2011, 2012
Floris Neusüss: 1 gelatin silver photogram, 1991, 1 gelatin silver photogram and broom, 1983
Marlo Pascual: 1 chromogenic print with wood stool, 2013, 1 chromogenic print with fluorescent light, 2010
Sigmar Polke: 1 collage of gelatin silver prints, 1977, 2 gelatin silver prints with applied color, early 1970s, 1 gelatin silver print, 1964-68
Eileen Quinlan: 1 chromogenic print, 2011, 2 gelatin silver prints, 2008, 2011-2013
Jon Rafman: 2 mixed media prints, 2013, 1 photopolymer resin and acrylic paint, 2013
Gerhard Richter: 4 color photographs with enamel/oil, 1998, 2003, 2008, 1 gelatin silver print with oil, 1986
Mariah Robertson: 1 unique color print on metallic paper, 2010
Alison Rossiter: 12 works on various expired photographic papers, 2007-2013
Lucas Samaras: 1 Polacolor instant print with hand applied ink, 1969, 6 manipulated Polaroid SX70 prints, 1973-1976
Travess Smalley: 3 pigment prints, 2011
David Benjamin Sherry: 2 chromogenic prints, 2012, 2013, 1 chromogenic print with adhesive and sand, 2012
Kate Steciw: 1 chromogenic print with custom frame and mixed media, 2012, 1 chromogenic print diptych with custom frame and mixed media, 2013
Artie Vierkant: 1 UV print on sintra, 2012, 1 UV print on Dibond, 2013
James Welling: 3 inkjet prints, 2006/2008, 3 inkjet prints, 2001
Christopher Williams: 1 set of 45 offset prints and tape on paper, 2013
Letha Wilson: 1 gelatin silver photogram/chromogenic print, 2012, 1 chromogenic print, concrete, and wood frame, 2012, 1 chromogenic print and concrete, 2012
◇ Amazon | What is a Photograph? | Carol Squiers, Geoffrey Batchen, George Baker, Hito Steyerl | Collections, Catalogues & Exhibitions
Bringing together a group of stylistically diverse but similarly adventurous and innovative artists, this book explores the intense creative experimentation in photography that has occurred since the 1970s. Few people ask, "What is a painting? A drawing? A sculpture?" But the medium of photography, especially since the 1970s, has been constantly changing as technological developments allow for endless experimentation—until the very definition of a photograph becomes ripe for debate. Beginning with the waning days of conceptual art, this book presents a wide variety of artists—among them James Welling, Christopher Williams, Marco Breuer, Alison Rossiter, Sigmar Polke, and Gerhard Richter—who have reconsidered and reinvented the role of light, color, composition, materiality, and subject in the art of photography. Brought together for the first time in book form, these individuals have found new ways of implementing both analog and digital technology, in many cases creating hybrid works that open up new possibilities for today’s artists. Filled with brilliant color reproductions, this volume not only traces the many strands of experimentation that have developed out of conceptual art, but also encourages dialogue on the continuing experimentation that is occurring as photography continues to evolve within the analog and digital worlds.
"The essays pique readers to look anew at the brilliant creativity made possible by the 'willful mistakes' and 'radical experimentation' employed, whereby the photograph itself becomes the artwork. . . Highly recommended."
—C. Dubon, The University of Toledo, Choice
"These works expand and recontextualize our perception of what we call photography: contemplating the banality in everyday objects, commenting on the increasing ubiquity of the image, using alternative processes to transform the medium, and sometimes blurring the boundary between the image and other media to manipulate the picture plane."
◇ ジェイ・ジョプリングとホワイト・キューブ - HODGE'S PARROT
◇ 芸術の取引か、取引の芸術か インターネット・オークションの覇者をめざしてPaddle8が賭けに出る | Forbes JAPAN（フォーブス ジャパン）
◇ 太郎千恵藏の絵画読本ver.21世紀 TARO CHIEZO PAINTING ver.21: 2006年4月
◇ 生きること、その不可避な売春性に対する抵抗──マーク・フィッシャー『資本主義リアリズム』 | UNLEASH
◇ 山城むつみ氏による実験配置「ベンヤミンのメキシコ学――運命的暴力と翻訳」の凄まじさ: PuP（ペー・ウー・ぺー）
◇ 写真のニュー・セオリー：批判的吟味と応答（その1） - #EBF6F7
◇ 写真のニュー・セオリー：批判的吟味と応答（その2） - #EBF6F7
◇ 視覚 知覚 思考 境界 やがて光 - Togetter
◇ あざみ野フォト・アニュアル 長島有里枝展 « 横浜市民ギャラリーあざみ野
◇ No418 映画運動の戦略論について 足立正生 赤軍―ＰＦＬＰ世界戦争宣言マニフェスト ( 映画監督 ) - 野次馬雑記 - Yahoo!ブログ
◇ 本人を特定できない安全なネットアクセスを提供するTorに記録的な額の寄付が集まる | TechCrunch Japan
◇ 匿名性と個人情報保護を意識するならTor Browser＆DuckDuckGoが最強の組み合わせ！今スグ導入すべきだと思うけどね？ - 藤井聡太七段を応援しているGeckoのブログ。
◇ 草葉の読書記 |乾敏郎『感情とはそもそも何なのか』
◇ 予期 - 種村剛（TANEMURA Takeshi）
1933, silent, black and white. Directed by Ozu Yasujiro. Starring Tanaka Kinuyo, Oka Joji, and Mizukubo Sumiko. Subtitles available in English. Subtitulos en español. 1933年。小津安二郎監督。無音映画。
◇ Piper Spray | Discography & Songs | Discogs
◇ 音楽 | Room40 - Bandcamp
◇ ECOLOGY WITHOUT NATURE: OOOIII: Ian Bogost, "Seeing Things"
◇ American mutilation of Japanese war dead - Wikipedia