Vinepeek discussed on Hyperallergic

I'm admittedly perplexed and intrigued.  Could be habit forming, to be sure.  Click HERE to read some thoughts as expressed on Hyperallergic, and/or go directly to Vinepeek.

Photographs in the (Real) World

I came across a couple of interesting posts that related nicely to our conversation in Photo II yesterday - particularly regarding the indexical nature of the photograph as related to authenticity, as well as the nature of being an attendant observer of the world.

Click HERE to read the most recent contribution to Still Searching by Martin Jaeggi, where he interestingly discusses the complicated relationship between the still and moving image, "Despite their more or less identical technical basis, photography in the 20th century was a medium that was considered to have an elevated claim to veracity and authenticity, whereas film was the very epitome of artifice and glorious lies."

And click HERE to read a brief excerpt from The Incoherent Light on the work of British photographer Raymond Moore along with a few clips from a film made about his work.

Raymond Moore, Image from Every so often monograph, 1984

SLOW @ Museum of Contemporary Art Jacksonville

Very sadly, this exhibition does not open until next weekend (I'll be there today for a lecture I'm giving at the library across the street - go figure).  It looks to be a really nicely curated show though, so I'll be heading back to be sure.  Here are some details from the museum website:

"SLOW: Marking Time in Photography and Film focuses on artists and works that engage photography, film and video to explore questions of time and duration. A combination of still photographs, films, and video works, the exhibition explores multiple approaches to the topic: some works animate and extend the temporal boundaries of painting; others open the sealed confines of photography to the flow of time. In addition, photographic works capture an ever-expanding series of gestures and moments — ones that physically and conceptually transform the boundaries of the medium. In most cases, the temporal elements at play invite the viewer to slow down the process of looking and engage with the works over an expanded period of time in order to observe their unfolding." 

David Claerbout
Ruurlo, Boculorscheweg, 1910, 1997
single channel video projection, black & white, silent, 10 min loop
Courtesy to the artist and Yvon Lambert, Hauser & Wirth, Micheline Szwajcer

Janelle Lynch @ Southeast Museum of Photography in Daytona

Janelle Lynch, Untitled 9, from the series, La Fosa Común

Excellent opportunity to see photographic work in person.  Daytona is but a hop, skip and jump from here.  This exhibition (and artist talk, later in the semester) is highly recommended.  Click HERE to visit the museum's website.  An excerpt about the work from the museum's website below -

JANELLE LYNCH
Los Jardines de México

January 25 - April 14, 2013
Exhibition Opening Reception: Friday, January 25, 6:00-8:00pm
Artist's Talk, Book Signing and Reception: March 29, 6:00-8:00pm

ABOUT THE EXHIBITION

Los Jardines de México presents three related bodies of work, La Fosa Común, Akna and El Jardín de Juegos. Images of overlooked or obscure urban and rural landscapes, they explore aspects of the life cycle—loss, death, regeneration—while simultaneously celebrating life and its intricate beauty.

La Fosa Común is a series of photographs made with an 8x10 camera in Mexico City’s common grave. The site is a burial place for the indigent and unidentified. Also made with an 8x10 camera, Akna is a series of portraits of tree stumps in a nature reserve that explores the theme of rebirth. “Akna,” in Mayan, means “mother” and is the goddess of birth and fertility. Made with a 4x5 camera, El Jardín de Juegos depicts the relics of a children’s recreation area, void of people and eclipsed by nature and neglect.

“Lynch manages to create pictorial order and locate the sites of subtle drama within these Mexican gardens. Her approach has an exquisite lightness of touch, which ensures that the meaning of her photographs is neither too literal nor over-prescribed.” —Charlotte Cotton, Curator and Writer, London

Interview with Kate Durbin

I found this particularly interesting in light of our discussion in Digital Media the other day about New Aesthetics.  Durbin takes this on in really interesting ways and delves into Tumblr culture in particular.  Click HERE to read the interview on Hyperallergic.

Image from Kate Durbin’s “iPrincess”

Some Thoughts on the 2013 Deutsche Borse Photography Prize

As always, this award generates some interesting opinions.  I've grown rather tired of the photographer/artist debate, but aside from beginning on that note, 1000 Words published a thoughtful essay on the nominees.  Click HERE to read the article.

© Cristina De Middel