Πέμπτη 12 Σεπτεμβρίου 2013

Dan Colen, Roe Ethridge, Jeff Koons, and Tom Sachs in "Meanwhile...Suddenly, and Then" at the 12th Biennale de Lyon

on view September 12, 2013–January 5, 2014

The Biennale de Lyon Spans Three Platforms :
-The international exhibition, curated by Gunnar B. Kvaran, presents
works by 70 artists from 21 countries. It is entitled "Meanwhile…
Suddenly, and Then."In 2013, five venues are hosting the international
exhibition: La Sucrière, macLYON, Fondation Bullukian, Saint-Just
Church and La Chaufferie de l’Antiquaille.

-Veduta is the portion of the Biennale dedicated to amateur projects.
Veduta 2013 is creating a network of more than 40 houses, found or
built for the occasion, that will accommodate artist residencies,
macLYON collections, works from the international exhibition, and
narratives from locals, all of which tell multiple stories. In
addition, 60 private residences will host 60 artworks from the
international exhibition.

-Résonance is the platform for an additional 200 affiliated
exhibitions, projects and residencies in the Rhône-Alpes region.
Résonance is coordinated by the Biennale but is organised by artist
collectives, non-profit associations, galleries, art centres and
institutions throughout the area.

La Biennale de Lyon is a non-profit body that devises, produces and
stages two major international events in alternate years: The Dance
Biennale and the Biennale of Contemporary Art. Since the first Lyon
Biennial in 1991, its Artistic Director, Thierry Raspail has invited a
Guest Curator to organize the exhibition in response to a “key word”.
For the 2013 Contemporary Art Edition Guest Curator Gunnar B. Kvaran
has responded to the key word “transmission” with the theme of
“narrative”. Titled “Meanwhile, Suddenly, and Then...”, this edition
will include works by more than 70 international artists, 80% of which
are newly-commissioned. The Biennale takes place from September 12th,
2013 until January 5th, 2014 in several venues throughout the city.Ver
mais

Παρασκευή 19 Ιουλίου 2013

INEZ VAN LAMSWEERDE AND VINOODH MATADIN

INEZ VAN LAMSWEERDE AND VINOODH MATADIN
Inez van Lamsweerde—The Gentlewoman, 2010
Pigment Print on watercolor paper
40 x 32 1/2 inches  (101.6 x 82.6 cm)
Ed. of 5

Basically every picture we take is a self-portrait—a picture of how we
feel at that moment in our lives.
—Inez & Vinoodh
Gagosian Gallery is pleased to present a major exhibition of
photographs by Inez & Vinoodh, following their first exhibition with
the gallery in Paris earlier this year.
Partners in life and work for twenty-five years, Inez & Vinoodh were
among the first photographers to harness the full potential of digital
manipulation in portraying the human condition. Combining the
beautiful with the bizarre, the elegant with the extreme, the
classical with camp, they depict human identity as exquisite corpse,
the spirit of transformation that has fueled the march of art history
and which has become, more than ever, a sustaining aesthetic principle
of our own time. Beginning in the early 1990s, they have embraced and
updated classical genres (nude, portrait, still life), inspired by
hyperrealism and Pop art. Photographs created independent of
commercial commissions and magazine editorials are genre-melding and
boundary-riding in form and representation. Using the digital medium
as the very tool of the uncanny, Inez & Vinoodh suggest the complex
internal dynamics that lie beneath appearances, mapping postmodern
beauty in all its guises from the classical to the utterly extreme.
Embracing a passion for flowers and the iconographically charged
still-life paintings of their Dutch heritage, Inez & Vinoodh have
produced a series of lush yet edgy flower photographs, compositions of
strange beauty more akin to the heightened mannerist genre of Karl
Blossfeldt, Robert Mapplethorpe, and Nobuyoshi Araki than to classical
nature studies. Envisaging these botanical ensembles with an approach
that is both idiosyncratic and exquisitely precise, they imbue mere
flowers with the force of human subjects.

Portraits taken over the last fifteen years juxtapose the famous with
the lesser or little known—from legendary actors and actresses Sophia
Loren, Clint Eastwood, Vanessa Redgrave, and Tilda Swinton, to the
anonymous innocence of a picture-perfect baby. All reflect the
complicity established with the photographers, and the decisiveness
with which Inez & Vinoodh capture, distill, and sometimes even
sublimate the individual characters. Lady Gaga is a cyborg in mirrored
shades with amphibian scars; then a slouching punk in a grubby
t-shirt. A strangely inert Natalie Portman sports a black goatee
literally powdered with make-up onto the photographic surface of her
lunar complexion; a male hand tugs at her brow to wrest expression
from her blank beauty as an allusion to the invention and control
required for both acting and photography. Some images—from Stephanie
Seymour's siren gaze to Mickey Rourke's rugged heft—are utterly modern
and candid, while nude studies of topical fashion models form a
taxonomy of postmodern female archetypes.
Inez & Vinoodh’s photographic imaginings, whether one or many steps
removed from reality, frequently involve casting the subject in an
unfamiliar pose or guise, with further manipulations in
post-production.  A bare-chested Ed Ruscha poses in awkward pin-up but
with a knowing smile and Bill Murray sprouts daisies from his beard,
revealing the whimsy beyond the deadpan of his on-screen characters,
while the ideally formed Carmen Kass transforms into a three-headed
beast from an unwritten fable. With their preference for disturbance
and displacement, Inez & Vinoodh work to unsettle the real and make
the familiar ever strange.
Inez & Vinoodh were born in 1963 and 1961, respectively, in Amsterdam,
The Netherlands. They met while studying art and photography. Since
beginning to work together in the late 1980s, they have created images
for many leading international brands in luxury and fashion, as well
as regular editorial features for magazines such as i-D, Interview,
Purple, Pop, Vanity Fair, Vogue USA, Vogue China, Paris Vogue, Vogue
Hommes International, Vogue Italia, Another Magazine, Gentlewoman,
Visionaire, V, V Man, and W. Their retrospective project Pretty Much
Everything is the most comprehensive record of their work to date. The
catalogue published by Taschen is a magnificent limited-edition book
in three volumes, designed by M/M Paris with essays by Glenn O'Brien,
Michael Bracewell, Bruce Sterling, and others. The extensive
travelling exhibition of the same name—which mirrors the book and
juxtaposes images of all genres and formats—is updated with new
material at each new showing. "Pretty Much Everything" opened at FOAM,
Amsterdam in 2010, traveling to Sao Paulo in 2011, and Dallas
Contemporary, Texas in 2012. The trade edition of Pretty Much
Everything is currently in preparation.
Inez & Vinoodh live and work in New York.

Πέμπτη 13 Ιουνίου 2013

Art Basel, Booth B-15

JEFF KOONS
Toy Cannon, 2007–12
Bronze and live flowering plants
72 x 121 3/16 x 59 5/16 inches  (182.9 x 307.8 x 150.7 cm)
Ed. of 3

Τετάρτη 12 Ιουνίου 2013

Mickalene Thomas: Better Days

Mickalene Thomas: Better Days
Art Bar Installation during Art Basel, Switzerland
13-16 June 2013
Volkshaus No.5, The Gallery

As part of Absolut Art Bureau’s ongoing arts initiative, Thomas was
given carte blanche to create a site-specific art bar at Volkshaus No.
5, The Gallery, for the duration of Art Basel, Switzerland. Inspired
in part by house parties hosted by her mother in the late 70s,
Thomas’s Better Days will be a unique and immersive environment, where
visitors can enjoy a curated program of live performances and guests
DJs. The installation will also feature two rugs custom designed by
Thomas and produced by Henzel Rugs specifically for Better Days.

 Mickalene Thomas at Lehmann Maupin, Booth J09
Art Basel, Switzerland
13-16 June 2013
Lehmann Maupin has dedicated a portion of its booth to new paintings
and mixed-media works by Mickalene Thomas, presented in a setting that
evokes her 1970s tableaux installations. Among the works on view will
be a painting of supermodel Naomi Campbell and a salon-style hanging
of collaged black and white photographs that Thomas uses as source
material for her paintings. The fair is open to the public from
Thursday, 13 June through Sunday, 16 June, 11 AM to 7 PM each day.

 Happy Birthday to a Beautiful Woman
Screenings in 2013-2014
Lehmann Maupin is thrilled to announce that Mickalene Thomas's
documentary, Happy Birthday to a Beautiful Woman, will be presented in
the following venues in the coming year: The Poetics of Unforgetting
at the Hackney Picturehouse, London, on 6 June 2013; 2nd Annual Black
Star Film Festival in Philadelphia from 1- 4 August 2013; and on HBO,
airing in 2014.
Thomas's thirty-minute documentary takes as its theme the artist's
mother and muse, Sandra Bush. The film is an emotionally raw and
loving portrait of Bush as she reflects on her life experiences,
including her personal struggles and battle with chronic illness.
Happy Birthday to a Beautiful Woman debuted at the Brooklyn Museum of
Art on 28 September 2012, as part of Thomas's first solo museum
exhibition in New York.

 ART CAPSUL for Net-A-Porter
Mickalene Thomas has been commissioned to conceive of a garment
inspired by haute couture for ART CAPSUL, curated by Stacy Engman.
Part art project, part capsule collection, ART CAPSUL by Stacy Engman
showcases elements found in the works of some of today's most
celebrated contemporary artists. "ART CAPSUL celebrates originality,
vision, and uniqueness inherent in the forms and traditions of haute
couture and art. Artists give life to their artwork through their own
distinct vision, and this special series celebrates this as an
extension of their existing vision and practice, " Engman has said.
ART CAPSUL will be unveiled on Net-A-Porter in July 2013.

 Curatorial Project: Tete-a-Tete at QF Gallery
24 August - 15 September 2013
98 Newtown Lane, East Hampton, NY 11937
Mickalene Thomas will present the second iteration of "Tete-a-Tete,"
on view from 24 August to 15 September at QF Gallery in East Hampton,
New York. First presented last summer at Yancey Richardson, New York,
Thomas conceived of the idea for this group exhibition after
participating in MoMA's "Conversations: Among Friends." Through this
exhibition, Thomas aims to facilitate a visual conversation among
artists.

Σάββατο 8 Ιουνίου 2013

Philip Taaffe Recent Work


  
 Philip Taaffe 
Recent Work
extended through June 22 
  

Installation view of Philip Taaffe: Recent Work 
  
 Luhring Augustine is pleased to extend our exhibition Philip Taaffe: Recent Work through Saturday, June 22. The exhibition, the artist’s first solo show of paintings in New York in six years, continues to reveal Taaffe as a philosopher of painting, offering compelling meditations on art and culture, both contemporary and historical, and visual ruminations on the interrelated families of forms and images in art, architecture, and archaeology

 Luhring Augustine
 531 West 24th Street, New York, NY 10011 
-------------------------------------------------------

Taryn Simon: Works from the George Economou Collection

Taryn Simon: Works from the George Economou Collection
 
The George Economou Collection, Athens June 04, 2013 — September 27, 2013
TARYN SIMON, Chapter X, A Living Man Declared Dead and Other Chapters I–XVIII, 2011, archival inkjet prints comprised of 6 components, overall: 84 x 304 3/16 inches (213.4 x 772.7 cm), ed. of 4
 
With contributing text by Nicholas Cullinan, curator in the department of Modern and Contemporary Art at the Metropolitan Museum of Art, New York, and in collaboration with Skarlet Smatana, director of the George Economou Collection, this exhibition features a selection of works from Taryn Simon’s major projects such as The Picture Collection, A Living Man Declared Dead and Other Chapters I–XVIII, Contraband, and An American Index of the Hidden and Unfamiliar.

"At War with the Obvious: Photographs by William Eggleston" at The Metropolitan Museum of Art, New York

William Eggleston
At War with the Obvious: Photographs by William Eggleston

February 26th 2013
"At War with the Obvious: Photographs by William Eggleston" at The Metropolitan Museum of Art, New York
on view February 26–July 28, 2013
William Eggleston (American, born 1939) emerged in the early 1960s as a pioneer of modern color photography. Now, fifty years later, he is its most prolific and influential exemplar. Through a profound appreciation of the American vernacular (especially near his home in the Mississippi Delta) and confidence in the dye transfer printmaking process to reveal the region's characteristic qualities of light and saturated chromatics, Eggleston almost single-handedly validated color photography as a legitimate artistic medium. This exhibition celebrates the artist's iconic photographs of commonplace subjects that have become touchstones for generations of artists, musicians, and filmmakers from Nan Goldin to David Byrne, the Coen Brothers, and David Lynch.
........................................................................................

WILLIAM EGGLESTON
Tricycle, Memphis, 1968
Dye transfer print
11 7/8 x 17 3/8 inches  (30.2 x 44.1 cm)
Ed. of 6

Δευτέρα 20 Μαΐου 2013

Renowned American photographer William Eggleston is announced as the recipient of the 2013 Sony World Photography Awards’ Outstanding Contribution to Photography award.
Eggleston was honoured at the Sony World Photography Awards Gala Ceremony in London on Thursday, April 25, 2013.  A special display of his work will be shown at Somerset House as part of the 2013 Sony World Photography Awards Exhibition and rarely seen images will be published in the 2013 edition of the Sony World Photography Awards winners’ book.
Recognized today as the pioneer of colour photography and the personal documentary style, William Eggleston has been producing cutting-edge work for over fifty years.  Since first picking up a camera in 1957, Eggleston’s work is said to find ‘beauty in the everyday’.  His images capture the ordinary world around him, creating interest through sharp observation, dynamic composition and great wit.
His ground-breaking 1976 show at the Museum of Modern Art, New York moved colour photography from the field of advertising to being recognised as an artform unto itself. His influence on contemporary photography and photographers is far-reaching and has inspired the likes of Martin Parr, Sofia Coppola, Andreas Gurksy and Juergen Teller.
Talking about the award Eggleston comments: “The world is in color. To paraphrase my friend John Szarkowski, my attempt has been to see simultaneously, both the blue and the sky as one thing.”
Astrid Merget, Creative Director of the World Photography Organisation comments: “William Eggleston is a without a doubt, one of the great pioneers of our time.  His influence on colour photography and subsequently on many of todays most revered working photographers, is one to be admired, respected and awarded.  We are honoured to have the opportunity to present the Outstanding Contribution to Photography award to William this year.”
Williams Eggleston will received the award on Thursday, April 25 at the 2013 Sony World Photography Awards Gala Ceremony.  On the same night, the winners of the awards’ professional categories and the overall L’Iris d’Or / Sony World Photography Awards Photographer of the Year were announced.
A selection of Eggleston’s prints loaned by The Wilson Centre for Photography will be on display at Somerset House as part of the 2013 Sony World Photography Awards Exhibition from April 26–May 12, 2013.
The exhibition images were taken by Eggleston between 1965 and 1980.  The majority of the prints are from his iconic Los Alamos and Dust Bells series and the 10.D.70.V1 portfolio.  The exhibition opens the same week as a display of Eggleston’s dye transfers at the Tate Modern.

Τετάρτη 12 Σεπτεμβρίου 2012

Richard Phillips at Gagosian Gallery West 24th Street

When we can't determine what art is-when we get to that point where we're not sure, that's the strongest likelihood that we're actually experiencing something great. That's what the art world is most afraid of, because we don't know how to assign value, whether it's cultural or otherwise. In a way the films were meant to be a destabilizing artwork. They exist in another area, a zone where we were free to work.
--Richard Phillips

Gagosian Gallery is pleased to present an exhibition of new work by Richard Phillips.

For Phillips, critique is as much an intrinsic material in the conception and staging of his work as the materials of their making. His conflating of subject and genre continues to provide challenging comment on the condition and reach of contemporary art.

Phillips has embarked on a new phase of work that hinges on the self-awareness of real-life subjects. Lindsay Lohan (2011) and Sasha Grey (2011), his first two films, made their debut at the "Commercial Break" film project at the 2011 Biennale di Venezia. In these "motion portraits," the notorious actresses pose erotically--Grey in a modernist John Lautner home, and Lohan in an aquamarine infinity pool. Both actresses project self-conscious recognition in their performances and in turn point toward the transformative potential of narrative action, framed by their compelling beauty. Phillips's third film, First Point (2012) marks his second collaboration with Lohan and third collaboration with legendary surf filmmaker Taylor Steele. A contemporary film noir, First Point juxtaposes haunting nocturnal imagery with surf sequences in which female pro-surfer Kassia Meador (Lohan's acknowledged stunt double) and Lohan herself appear.

Phillips uses collaborative forms of image production to reorder the relationship of Pop art to its subjects. The staging and format of his films presage the return of their subjects as paintings; eventually, they form the foundation for lush, large-scale works such as Sasha (2012), Lindsay II (2012), and Lindsay III (2012), realist portraits of the place-holders of their own mediated existence. In addition to working with Lohan and Grey, Phillips has collaborated with Brazilian supermodel Adriana Lima to create a new series of paintings that depict her against backdrops of iconic Brazilian landmarks, such as Oscar Niemeyer's Cathédral de Brasília, the patterned sidewalks of Copa Cabana, and the favelas of Rio. In these scenes, such as Adriana I (2012), in which Lima poses seductively across the roof of the cathedral, the impact of her preternatural beauty and the aura she commands as a supermodel is conflated, and thus equated with, national icons of economic, political, and religious culture.

Born in Massachusetts in 1962, Richard Phillips lives and works in New York. He has exhibited his work in many individual and group exhibitions in the U.S. and Europe. Recent solo exhibitions include "Richard Phillips: Paintings and Drawings," Le Consortium, Dijon, 2004; "Richard Phillips," Kunstverein Hamburg, 2002, and "Richard Phillips," Kunsthalle Zurich, 2000. He is represented in important public and private collections worldwide including the Albright-Knox Art Gallery, Buffalo, New York; the Denver Museum, Colorado; the Modern Art Museum of Fort Worth, Texas; the Museum of Modern Art, New York; the Museum of Contemporary Art, Miami; UBS Paine Webber Art Collection, New York; San Francisco Museum of Modern Art; Tate Modern, London; Van Abbe museum, Eindhoven, The Netherlands; and the Whitney Museum of American Art, New York. His films, Lindsay Lohan and Sasha Grey, premiered at the Venice Biennale in 2011 as well as in an exhibition at the Institute of Modern Art, Brisbane in February 2012. First Point premiered at Art Unlimited at Art Basel, Switzerland in June 2012.

Δευτέρα 9 Ιουλίου 2012

"Taryn Simon: A Living Man Declared Dead and Other Chapters" at the Museum of Modern Art, New York

on view May 2–September 3, 2012
The Museum of Modern Art presents the first U.S. exhibition of Taryn Simon’s (American, b. 1975) photographic project A Living Man Declared Dead and Other Chapters. This powerful, elaborately constructed photographic work was produced over a four-year period (2008–11), during which the artist travelled around the world researching and recording “bloodlines” and their related stories. In each of the “chapters” that make up the work, the external forces of territory, power, circumstance, or religion collide with the internal forces of psychological and physical inheritance. The subjects Simon documents include victims of genocide in Bosnia, test rabbits infected with a lethal disease in Australia, the first woman to hijack an aircraft, and the living dead in India. The exhibition is organized by Roxana Marcoci, Curator, Department of Photography, The Museum of Modern Art.

A Living Man Declared Dead is divided into 18 chapters, nine of which will be featured at MoMA. Each chapter is comprised of three segments. The first segment is a large portrait series systematically presenting individuals directly related by blood. The sequence of portraits is structured to include the living ascendants and descendants of a single individual. Simon also shows empty portraits, representing living members of a bloodline who could not be photographed. The portraits are followed by a text panel, in which the artist constructs narratives and collects details about the distinct bloodlines. She also notes the reasons for the absences in the portrait panel, which include imprisonment, military service, dengue fever, and women not being granted permission to be photographed. The last segment is Simon’s “footnote” panel, comprising images that expand and locate the stories in each of Simon’s chapters.

Ms. Marcoci says, “Simon’s major project locates photography’s capacity to at once probe complex narratives in contemporary societies and to organize the material in classification processes characteristic of an archive, a system that connects identity, genealogy, history, and memory.” Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. In contrast to the methodical ordering of a bloodline, the central elements of the stories—violence, resilience, corruption, and survival—disorient the highly structured appearance of the work.  A Living Man Declared Dead and Other Chapters highlights the space between text and image, absence and presence, and order and anarchy.

ABOUT THE ARTIST:
Taryn Simon was born in 1975 in New York, where she lives and works. Her previous work includes Contraband (2010), an archive of images of items that were detained or seized from passengers and mail entering the United States from abroad; An American Index of the Hidden and Unfamiliar (2007), which reveals objects, sites, and spaces that are integral to America’s foundation, mythology, or daily functioning but remain inaccessible or unknown to a public audience;  and The Innocents (2003), which documents cases of wrongful conviction in the United States, calling into question photography’s function as a credible witness and arbiter of justice. Simon's work has been the subject of monographic exhibitions at Tate Modern, London; Neue Nationalgalerie, Berlin; Whitney Museum of American Art, New York; Museum für Moderne Kunst, Frankfurt; Kunst-Werke Institute for Contemporary Art, Berlin; and MoMA PS1, New York. A Living Man Declared Dead and Other Chapters was shown in its entirety at Tate Modern, London (May 25, 2011–January 2, 2012), and Neue Nationalgalerie, Berlin (September 21, 2011–January 1, 2012).

VISITOR INFORMATION
Museum of Modern Art
11 West 53rd STreet
New York, NY  10019
U.S.A.
T. +1.212.708.9400
Website: MoMA | Simon

Κυριακή 11 Δεκεμβρίου 2011

ArtReview December


In this issue

Alexandre Singh
ʽThe larger thrust of Singhʼs gaming with time and space is an absolute, though not negative, refutation of the idea of human progressʼ, writes Martin Herbert in ArtReviewʼs December cover story. From The Marque of the Third Stripe, Singhʼs breakthrough work from 2008, to an alternative creation myth the artist is currently writing as a play featuring the Nesquik chocolate bunny and a character named Charles Ray, ArtReview looks at a difficult-to-categorise body of work.

Hidden Intentions
J.J. Charlesworth examines the lengths to which artists have been assimilating art with reality in recent years - community centres, corporate hospitality suites, real estate developments, chat shows - and muses on where this postmedium, postgallery, postartworld (postart!?) gambit might take us.

Sofia Coppola on Robert Mapplethorpe
The director of Somewhere, Lost in Translation and The Virgin Suicides - each thick with atmosphere and almost photographic studies of individuals - curates a show of the iconic photographerʼs work in Paris. Laura McLean-Ferris admires the overlapping sensibilities.

Plus
Sigurdur Gudmundsson, Charles Burns and a 10-page artist project by Heidi Specker called Ultimatum alla Terra, Kodak memories of ArtReviewʼs October party and Gallery Girlʼs valiant attempt to introduce a bit of self-examination into the magazineʼs pages.

Τρίτη 29 Νοεμβρίου 2011

Rey Akdogan, Nancy Arlen, Ana Cardoso, Robert Grosvenor, Martin Parr November 11 to December 4, 2011


It is with great pleasure that Simone Subal Gallery announces the opening of zoom, shift, abstract on November 11, 2011. The exhibition features the work of Rey Akdogan, Nancy Arlen, Ana Cardoso, Robert Grosvenor, and Martin Parr and runs through December 4, 2011. Please join us for the opening reception on Friday November 11, from 6–8 pm.
zoom, shift, abstract brings together works of diverse media and content. In their variety of form, which includes painting, sculpture, drawing, and photography, the pieces on view isolate or emphasize real, tangible things in order to evoke a broad spectrum of narrative and interpretive possibilities. That is, the work zooms in on a specific situation, whether an actual material or something represented, shifts its context and therewith abstracting the work’s relation to its original referent.
This process is seen, for example, in Rey Akdogan’s sculptural use of lighting gels, the standard devices for altering the atmosphere in photographs and films, as things in and of themselves such that they play out subtle narratives conveyed by their formal juxtapositions. These re-arrangements of prefabricated materials are developed on the basis of fictional narratives and often result in an amplification of the materials’ temporal and spatial qualities. In a similar approach, Nancy Arlen sourced synthetic materials such as plastics and polyurethanes for her wall-based sculptures from the early 1980s in stores located on Canal Street. Arlen, who was active in the No Wave music scene and played drums for the band Mars translated her punk aesthetic into peculiar forms that grow from the wall. Martin Parr’s deeply color saturated photographs from the late 1990s focus on a specific detail in such an intense manner that the captured subject matter — a foot, a doughnut, the back of a chair — seems strange, even unfamiliar. Parr’s unusual photographic perspective of consumption, leisure, and communication plays with the viewer’s subconscious and enables one to see things that have seemed familiar in a completely new way. It is this sense of awkwardness, of being caught slightly off balance, that fills Ana Cardoso’s abstract paintings. Composed from sewn together fabric that create a canvas of sorts, Cardoso paints atop these irregular surfaces two triangles that indicate the painting’s center, an observation that belies the internal logic of the conjoined cloths. The repetition of these canvases (5 in total) turns the work into a modular composition and enhances the dialectic between the layers of paint and the pictorial ground. Robert Grosvenor’s collages feature found images with pen and ink drawings isolated in a wide expanse of white background. Grosvenor puts in relation heterogeneous but ordinary elements, creating a formal vocabulary that is both recognizable and alien, humble yet thoroughly refined.

Τετάρτη 9 Νοεμβρίου 2011

racemania.gr

3ος Γύρος Drift Cup Greece from racemaniagr on Vimeo.


n
Τα παιδιά απο το racemania χρησιμοποιούν εξοπλισμό απο την Rentphotovideo.gr , GoPro , Canon DSLR μηχανές , Slider Glidetrack και γερανό Kessler.

Παρασκευή 4 Νοεμβρίου 2011

Canon Cinema EOS C300

Canon EF Cinema lenses



zoom lenses : Canon CN-E 14.5-60mm T2.6 L
Canon CN-E 30-300mm T2.95-3. 7 L
οι δύο αυτοί ζουμ φακοί θα βγούν σε EF και PL mounts και θα είναι συμβατοί με Super 35mm και APS-C αισθητήρες.

prime lenses : CN-E 24mm T1.5L
CN-E 50mm T1.3L
CN-E 85mm T1.3L
Οι σταθεροί θα είναι με μοντούρα EF mount και θα είναι συμβατοί με όλους τους αισθητήρες μέχρι 35mm full frame

Πέμπτη 3 Νοεμβρίου 2011

Lomokino


The 35mm Movie Camera From Lomography. Shoot a movie of 144 frames on any 35mm film

Δευτέρα 31 Οκτωβρίου 2011

Collier Schorr in The 12th Istanbul Biennial


September 17 - November 13, 2011

Collier Schorr will contribute a selection of works to The 12th Istanbul Biennial. Curated by Jens Hoffman and Adriano Pedrosa, this year's Biennial will explore the relationship between art and politics, focusing on works that are both formally innovative and politically outspoken.

Collier Schorr, The Pupil, 1995<

Σάββατο 29 Οκτωβρίου 2011

Lensbaby Unveils Composer with Tilt TransformerTM: Two New Products in One for Micro Four Thirds and Sony α NEX cameras




New creative effects lens for Micro Four Thirds and Sony α NEX cameras features the Tilt Transformer, letting photographers shoot tilt photography with Nikon mount lenses with an unprecedented amount of tilt
Portland, OR – Booth #760 – Lensbaby announces the newest addition to the Lensbaby Creative Effects camera products line-up, the Composer® with Tilt TransformerTM available immediately for Panasonic LumixTM G Micro System and Olympus PEN® digital cameras and Sony® α NEX cameras.
The Tilt Transformer allows photographers to mount any Nikon® mount lens onto their Micro Four Thirds or Sony α NEX camera and tilt up to twice the amount of standard tilt-shift lenses, delivering photos that have a slice of focus through the image, bordered by a soft blur.
“The more creative tools available, the better a photographer can express her or his unique vision.” said Craig Strong, Lensbaby Co-Founder and President. “We got excited when we realized that the Lensbaby Optic Swap system could be extended to include Nikon mount camera lenses, including primes, fisheyes, zooms and macro lenses. This unique design for Micro Four Thirds and Sony α NEX cameras gives photographers more freedom to capture images they see in their mind’s eye by opening up unprecedented new creative opportunities. I'm looking forward to seeing the unique and compelling photographs that photographic artists make with these new creative tools.”
The Tilt Transformer also serves as the foundation for the Composer Focus Front. When used together, they become the Composer with Tilt Transformer, for use on Micro Four Thirds or Sony α NEX cameras. This provides photographers with access to the limitless creativity offered by the Lensbaby Optic SwapTM system.

NEW RED. NOVEMBER 3RD. ANNOUNCING SCARLET.


On November 3rd at 6pm PST, details surrounding our third camera SCARLET will be announced on REDUSER.net and RED.com.

Technical specifications, shipping, and purchasing information will be revealed, putting to rest all of the lingering speculation and anticipation.

Join the discussion November 3rd at 6pm on REDUSER.net.

2η διοργάνωση Contrast / Αντίθεση: Φεστιβάλ Φωτογραφίας Θεσσαλονίκης

Το φεστιβάλ ξεκινάει δυναμικά τον Νοέμβριο παρουσιάζοντας τρεις μεγάλες ομαδικές εκθέσεις / παραγωγές, ενώ άλλες τέσσερις ακολουθούν.


«Ίχνη - σκιές - υπαινιγμοί»

Εγκαίνια: Τρίτη 1 Νοεμβρίου στις 20:00

Διάρκεια: 1 – 30 Νοεμβρίου

Βαφοπούλειο Πνευματικό Κέντρο

Γ. Βαφόπουλου 3

τηλ: 2310 424-132, 2310 424-133

Τρ. – Παρ. 10:00 - 14:00 και 18:00-21:00

Σαβ. 18:00 - 21:00

Κυρ. 10:00 - 14:00

Δευτ. κλειστά

«Σχεδιάζοντας με το φως»

Εγκαίνια: Πέμπτη 3 Νοεμβρίου στις 20:00

Διάρκεια: 3 Νοεμβρίου – 7 Δεκεμβρίου

Πολυχώρος Εικόνας Κούνιο

Κομνηνών 24, Λουλουδάδικα

τηλ. 2310 271003

Δευτ. – Τετ. 9:00 – 18:00

Τρ. – Πεμ. 9:00 – 21:00

Παρ. 9:00 – 16:00

Σαβ. 9:00 – 11:30 και 14:30 – 16:00

Κυρ. κλειστά

«Transformations / Μετασχηματισμοί»

Εγκαίνια: Δευτέρα 7 Νοεμβρίου στις 20:00

Διάρκεια: 7 – 30 Νοεμβρίου

Tettix art gallery

Διαλέττη 3 έναντι ΧΑΝΘ

τηλ. 2310 243304

Δευτ. - Παρ. 18:00 - 21:00

Σαβ. 11:00 - 14:00

Κυρ. κλειστά

Contrast / Αντίθεση: Φεστιβάλ Φωτογραφίας Θεσσαλονίκης