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.

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.

"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

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.

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.

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3ος Γύρος Drift Cup Greece from racemaniagr on Vimeo.

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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

Lomokino

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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<

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