Wow, I'm just running across all manner of interesting stuff this weekend. This volume, although likely not a real page turner, certainly relates to our recent class discussions in ART130 regarding the reproducibility of of digital images and archiving issues.

The Digital Print.
Identification and Preservation.
By Martin C. Jürgens.
The Getty Museum, 2009. 304 pp., 227 color and 49 black & white illustrations, 8x10".

Publisher's Description
This invaluable resource demystifies the complex, rapidly changing, and sometimes confusing world of digital print technologies. It describes the major digital printing processes used by photographers and artists over the past forty years, explaining and illustrating materials and their deterioration, methods of identification, and options for acquiring and preserving digital prints. A removable chart provides a ready reference for identifying specific materials.

Anyone involved in identifying and preserving digital prints-from conservators, curators, archivists, and registrars to photographers, artists, and printing studios-will welcome this comprehensive, one-of-a-kind volume.

Above content from photo-eye newsletter

Kim Boske - Mapping

Image Credit: http://www.kimboske.com/

Just came across some pretty interesting work by this artist. This work is useful to consider alongside the next assignment dealing with montage in ART130.

Below is an excerpt from the 1000 Words Photography Magazine Blog about the work.

Boske is fascinated by the system of time and space. In her work she tries to capture this illusive reality by exploring the mutability of things. Her photos incorporate various levels, merging different moments in time together. They reveal phenomena that are impossible to see or witness with the naked eye.

In Mapping, Boske investigates how physical movement in time and space continually changes our perspective on the world. By eschewing individual perspective and instead combining multiple perspectives in a single image, she creates a new, layered reality. Here Boske presents a series of views of trees that she photographed from different angles. She combines the various shots to form a new image that shows each tree in its entirety. All the perspectives of the tree exist simultaneously; they overlap each other and join together to form a single image in a changing world of appearance and disappearance.

Above content from 1000 Words Photography Magazine

Caroline Martel's new installation encompasses archival and classic film footage. Opening @ Dazibao in Montreal this December

Caroline Martel

Cinémas de l'industrie

12.09.09 – 17.10.09

Image Credit: Caroline Martel, 2009

It is believed that several hundred thousand industrial films were produced in the United States between 1920 and the late 1970s. These commissioned films, with their precise goals and within the constraints of an acknowledged rhetoric, were never meant to be or perceived as works of art. Going against the current of received ideas on the topic, the documentary filmmaker Caroline Martel has carried out a close and thoroughly original study of these fringe cinemas to create works of art out of orphan films and film classics alike.

Cinémas de l’industrie is made up of two separate projections, one of industrial films and the other of films from the cinematic canon. In the break between these two practices thereby revealed, the codes they share are made visible, as well as a subtle play of interference and quotation. Using some twenty works covering a century (1896 to 1991), Martel composes a counterpoint that reveals the clichés and commonplaces of film language—all those techniques whose eloquence transcends genre. Frank B. Gilbreth’s one best way studies, films made by Bell Laboratories and other excerpts found in the course of patient research are seen alongside famous films, they sometimes imitate sometimes inspire, such as Modern Times, 2001: A Space Odyssey and Tron.

In La Chimie du temps, Martel examines the effect on the viewing experience of changes to the film stock over time. Even the worst-preserved films are rarely seen in their real state: the job of technicians in audio-visual archives is to make them “legible”, by restoring their colours for example. What then is the original of an archival image: its filmic source as it has been preserved or the corrected—altered—version that is nevertheless closer to how it first appeared? How should an archive be read?

Above content courtesy of Dazibao

Dan Graham's Greatest Hits at the Whitney

This retrospective will close soon at The Whitney - I'll just miss it. Of course. Loads and loads of great information about Graham and his work are available on the Whitney website - you can link to that HERE.

About the Exhibition
On view June 25-October 11, 2009

Dan Graham: Beyond surveys the artist's career from the mid-1960s to the present. As one of contemporary art's most innovative and influential figures, Dan Graham has been at the forefront of many of the most significant developments in art, including conceptual art, video and film installation, performance, site-specific sculpture, and musical collaboration. This exhibition—his first retrospective in the United States—examines each stage of Graham's career through his photographs, projects for magazine pages, films, architectural models and pavilions, performances, video installations, prints, drawings, writings, and his work with musicians Sonic Youth, Glenn Branca, and Japanther.

Graham was born in Urbana, Illinois, in 1942 and grew up in New Jersey, a suburban landscape that would inspire him throughout his career. He began his career as a writer, and founded and directed the short-lived John Daniels Gallery in New York in 1964, exhibiting the work of a new generation of conceptual and Minimalist artists—including Donald Judd, Sol LeWitt, and Robert Smithson. This experience had a deep influence on Graham's subsequent work, particularly the artist's relationship to his peers and to the culture at large as well as his interest in art’s economic and social framework.

Graham's rejection of the high-seriousness of modern art emerged at the same moment as Pop art in the early 1960s. "I love magazines because they are like pop songs," he once explained about his early conceptual magazine works, "easily disposable, dealing with momentary pleasures." He infused his approach with a wide range of literary, anthropological, and scientific influences, from cybernetics and topology to the writings of Jean-Paul Sartre, Gregory Bateson, and Margaret Mead. Graham's performances of the 1970s and his architectural pavilions of the 1980s to the present, with their kaleidoscopic refraction of bodily experience, demonstrate his interest in revealing the private self as part of a social, public context.

The fluid, democratic quality of Graham's work continues to exert a powerful influence on younger generations of artists. His desire for a connection to others mirrors our own; yet his work offers a way to critically explore that desire at a moment when interconnectivity and instant feedback are conditioning our collective consciousness to an unprecedented, global degree.

Above content provided by The Whitney Museum of American Art

Robert Frank's Elevator Girl Sees Herself Years Later

Pretty great little story - the link is below:
http://www.npr.org/templates/story/story.php?storyId=112389032&ft=1&f=1001

Image Credit: Robert Frank/Courtesy of the National Gallery of Art

Pat Boas @ Marylhurst's Art Gym in Oregon

I know not many of you will be able to make it out to Portland for this exhibition, but Boas' work is worth having a close look at, especially for those of you in the new Introduction to Digital Media course. You can find out more about her work by reading the press release from Marylhurst and also from the artist's own website - www.patboas.com

Pat Boas — Record Record.
Preview Reception
Sunday, Sept. 13, 3 to 5 PM
Exhibition continues through October 28.
http://www.marylhurst.edu/aboutmarylhurst/pressrelease20090805.php

Gallery Talk
Thursday, Oct. 8 at Noon

Pat Boas is an artist who has intrigued me for a number of years. The artist makes work
that explores and examines language in context— letter by letter, word by word, image
by image. I have long been drawn to the elegance of her ideas and their expression.
The Art Gym exhibition Pat Boas — Record Record includes four series that comment in
very quiet ways on the text and images in The New York Times and a new series of digital
works What Our Homes Can Tell Us that captures language found in the artist’s home and
places of importance to her extended family.



From the series NYT Little People
June 22, 2008 Inside the Interrogation Of a 9/11 Mastermind, 2009 (detail)
Gouache on paper



From the series What Our Homes Can Tell Us, 2008-09, digital prints and projected video

Above content provided by Terri Hopkins, Director and Curator of The Art Gym

Rollins Professor Rachel Simmons Lecture @ CFAM

(Please click on the image to enlarge)

Artist Presentations - Discussion Follow Up

In case any of you are interested in continuing the discussion or posing questions about any of the artists who were presented on today, please feel free to use this blog as a forum. You may post pictures and/or add links in your comments, or you may forward an image on to me if you would like me to post.

Here is a list of the artists who were discussed today and their presenters:

Holt on Axel Hutte
Carly on Bernd and Hilla Becher
Richard on Chan Chao
Lindsey R. on Joan Fontcuberta
Robert on Hiromix
Lindsey S. on Jeff Wall
Sam on Joel Sternfeld
Corinna on John Riddy
Eric on Tatsumi Orimoto, or, Breadman
Walt on James Welling
Stephanie on Fazal Sheikh

Interesting New Photography Publication to Check Out....

Lay Flat 01.
Remain in Light.
Edited by Shane Lavalette. Photographs by various photographers, text by Tim Davis, Darius Himes, Cara Phillips, Shane Lavalette, and others.
Lay Flat, 2009. 40 pp., 20 color illustrations, 5½x7½".

Publisher's Description

Lay Flat is a new print publication devoted to promoting the best in contemporary fine art photography and writing on the medium. Each issue is assembled by Shane Lavalette in close collaboration with a co-curator.

Included in Lay Flat 01: Remain in Light are essays by Tim Davis, Darius Himes, Cara Phillips and Eric William Carroll, an interview with Mike Mandel by Shane Lavalette and a poem by Jason Fulford, all accompanied by 20 unbound photographs from a selection of international photographers: Andreas Weinand, Anne Lass, Coley Brown, Debora Mittelstaedt, Ed Panar, Estelle Hanania, Gustav Almestål, Hiroyo Kaneko, Kamden Vencill, Mark McKnight, Michel Campeau, Nicolai Howalt & Trine Søndergaard, Nicola Kast, Nicholas Haggard, Shawn Records, Raimond Wouda, Richard Barnes, Thobias Fäldt, Whitney Hubbs and Yann Orhan.

You can order this publication for only $25! The link is here: http://www.layflat.org/

Above content from Photo-Eye Newsletter

Upcoming Conference at The University of Plymouth...

...called Framing Time and Place - Repeats and Returns in Photography. I'll be speaking about my series, ...from time to time. The provisional program just came out - looks to be a pretty interesting three days!

(Click on the images below for a larger version to read the text and such)

Mark Klett and Byron Wolfe - New Work at Phoenix Art Museum

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Norton Photography Gallery
March 21, 2009 – July 12, 2009

Arizona's Grand Canyon—natural wonder, national park, tourist attraction, sacred land—is perhaps the world's best “photo op.” The collaborative photographic team of Mark Klett and Byron Wolfe have set out to explore this celebrated place of dramatic beauty, and Phoenix Art Museum is proud to be the first to show a comprehensive look at their powerful, thoughtful, and playful approach to the Grand Canyon.

Drawn from two seasons of fieldwork, Charting the Canyon will include about 30 photographs ranging from a modest 20 by 20–inch print to a panorama nearly 10 feet wide. Mark Klett, a Regents Professor at Arizona State University, and Byron Wolfe, a former student of Klett’s who is now a Lantis’ University Professor teaches at California State University at Chico, have been interested in rephotographing historic images since their collaboration began in 1997.

Now the pair combines their own color photographs with imagery by 19th-century photographer J. K. Hillers and artist William Holmes and by Ansel Adams and Edward Weston, who worked at the Canyon in the early 20th century. Klett and Wolfe respond to the historic images and the Canyon itself, yielding artworks that reconsider an icon, challenge how we perceive the land, and bring a new perspective to its portrayals.

Charting the Canyon offers visual delights: the humorous layering of a 19th-century drawing with contemporary photographic details, the extension of an Ansel Adams view into a serene panorama, and the illusion of three-dimensions with a stereopticon viewer built for the twenty-first century, among others to be discovered in this unique exhibition.

Above content from Phoenix Art Museum

Invisible Dragon - Revised and Expanded

...a great book to check out, new version - whoop!


The Invisible Dragon.
Essays on Beauty, Revised and Expanded.
By Dave Hickey.
University Of Chicago Press, Chicago, 2009. 152 pp., 6x7¼".

Publisher's Description

The Invisible Dragon made a lot of noise for a little book When it was originally published in 1993 it was championed by artists for its forceful call for a reconsideration of beauty—and savaged by more theoretically oriented critics who dismissed the very concept of beauty as naive, igniting a debate that has shown no sign of flagging.

With this revised and expanded edition, Hickey is back to fan the flames. More manifesto than polite discussion, more call to action than criticism, The Invisible Dragon aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his “intellectual temper tantrums.” A new essay, “American Beauty,” concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty.

Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of The Invisible Dragon will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism.

Above content from Photo-eye Newsletter

Photographer's Showcase Series @ Photo-Eye

This is a great new(ish) series to keep your eyes on - lots of new and interesting work to see. Photo-eye Magazine, Bookstore and Gallery are all GREAT resources. Use them!

	photo-eye Gallery Opening
	©Carlos Tarrats, Jeffris Elliott, Hiroyasu Matsui
	photo-eye Gallery, 376 Garcia Street, Santa Fe, New Mexico, is pleased to announce THE PHOTOGRAPHER'S SHOWCASE SERIES KICKOFF, an exhibition of work by photographer's represented by The Photographer's Showcase at photoeye.com. Nearly ten years ago, photo-eye conceived of an online gallery to show the work of talented emerging photographers. Over that time, photo-eye's juried online exhibition space has inspired imitators, but none can boast such a well-rounded and ever-expanding collection of fine art photography. Growing to include outstanding work from photographers across the globe, the Photographer's Showcase has established itself as a resource for curators and galleries, collectors, critics and photography enthusiasts, allowing our audience to discover and purchase exceptional photography. While photo-eye Gallery has at times included work from Showcase artists in exhibitions, the Photographer's Showcase Series marks a new and exciting collaboration between the Photographer's Showcase and photo-eye Gallery. Over the coming year, photo-eye Gallery and the Photographer's Showcase are pleased to announce an on-going series of exhibitions featuring work from the Photographer's Showcase. THE PHOTOGRAPER'S SHOWCASE SERIES KICK OFF will feature work by seven Photographer's Showcase Artists, Erik Boker Jessica Bruah Jeffris Elliott Mihai Mangiulea Hiroyasu Matsui Eric Percher Carlos Tarrats

Above content from Photo-Eye Newsletter

New Website for 35th Anniversary of SF Camerawork

SF Camerawork has a wonderful new website - I highly suggest you add it to your bookmarks and check in with them often (and obviously visit the gallery if you find yourself in San Francisco). They also put out a twice yearly journal, Camerawork - highly recommended, worth the subscription. Info on their 2008 issues is below:

2008

Fall/Winter 2008, Vol. 35 No. 2
Past is an image we form in the present

Spring/Summer 2008, Vol. 35 No. 1
There is always a machine between us

Local, Winter Park Gallery - You Should All Visit!

Bold Hype is a new(ish) store/gallery space right next to Stardust Coffee and Video in Winter Park. It is absolutely worth running up there every now and again to see what they've got on the walls that month (not to mention the wonderful hand-made items for sale)...

Give it a visit!

Bold Hype: Mythology Mural Show

Bold Hype has a new showing called "Mythology Mural Show" running March 7-31. Ten contemporary artists take on ancient mythology. The opening night party is March 7, 8pm-12am at Bold Hype. 1844 East Winter Park Road, Orlando, Florida. More info: 407-629-2965. Artists: Charles Marklin, Andrew Spear, Dres13, Dustin Orlando, Decoy, Morgan Steele, Dolla, Robin Van Arsdal, Feff Riggan, David Hoskins.

(Above post reprinted from The Daily City Orlando)