posts dedicated to general musings on art: theories, practices, education, exhibition and review.
Fund Your Work: Upcoming Deadlines for Documentary, Fine-Art Grants and Prizes
Posted by Holly Hughes on Tuesday May 1, 2018 for PDN
posts dedicated to general musings on art: theories, practices, education, exhibition and review.
Elisa Wouk Almino
In my experience, it’s hard to come across an analysis of Frida Kahlo that doesn’t obsessively fixate on her biography. But a 1984 movie by the filmmaker and theorist Laura Mulvey intrigues me for its specific angle: Kahlo’s relationship with the political photographer Tina Modotti. You might have caught a very different glimpse of this in the Hollywood movie Frida, but Mulvey’s Frida Kahlo and Tina Modotti is not only more essayistic and thoughtful in tone, but offers actual footage and photographs of the two artists in Mexico City. Like all of Mulvey’s films, this one is staunchly feminist and sets out to show how both artists “provoked and defied neat categorization” about what it meant to be a woman and an artist then.
Both women were also romantically involved with Diego Rivera, and both appear in his 1929 mural at the Ministry of Education in Mexico City. But as the author of “Visual Pleasure and Narrative Cinema” — among the first essays to apply a feminist psychoanalytic reading to movies and to critique Hollywood’s subjugation of women — Mulvey makes sure to not make Rivera a focus.
When: Thursday, May 17, 6:30–8pm
Where: Seward Park Library, Community Room (192 East Broadway, Lower East Side, Manhattan)
More info at the New York Public Library.
Read the full review HERE >>>> Source: Hyperallergic The Art and Friendship of Frida Kahlo and Tina Modotti in a Laura Mulvey Documentary
By Greg Scoblete
Compared to cameras that accept Instax Mini instant film, the number of cameras that use the new Square format is still pretty tiny–but it grows by one today with the launch of Fujifilm’s new SQ6.
There’s also a new Square format film, Instax Square Black, that will feature a black border vs. the traditional white.
Unlike the SQ10, the first camera to accept the 1:1 format instant film, the SQ6 is all analogue.
The SQ6 features a tiny front-facing mirror and a selfie mode to optimize exposure for selfies (because of course). There’s a built-in flash with a slot for color filters.
If you’re feeling creative, there’s a double exposure mode for taking two images on a single piece of Instax Square film. There are three motor driven focus modes: macro mode (for focusing on objects between 1ft. -1.6ft.), normal mode (1.6ft. – 6.6ft.) and landscape mode (6.6ft. to infinity).
Read the full review HERE >>>> Source: PDN The SQ6 Is Fujifilm’s First All-Analogue Camera to Take Instax Square Film
This exhibition of William Eggleston’s color photographs developed from negatives made between 1965 and 1974, reminds me of the tagline from the 1969 film Easy Rider: “A man went looking for America, and couldn’t find it anywhere … ”
Los Alamos, a set of William Eggleston’s color photographs developed from negatives made between 1965 and 1974, reminds me of the tagline from the 1969 film Easy Rider: “A man went looking for America, and couldn’t find it anywhere … ” The Metropolitan Museum of Art’s introductory wall text notes that the exhibition’s images were taken on a series of road trips with the photographer’s friends Walter Hopps and Dennis Hopper. Even without the explicit Dennis Hopper connection, Eggleston’s images evoke a Hopperesque alienation: they pay homage to certain American ideals, like the lone cowboy or the expansiveness of the American west, and yet when touching on themes of consumerism, poverty, and racism they maintain a telling distance.
In his well-known 1976 introduction to William Eggleston’s Guide, MoMA curator John Szarkowski wrote: “Whither the South? or Whither America? … The fact is that Eggleston’s pictures do not seem concerned with large questions of this sort. They seem concerned simply with describing life.” This formalist approach to viewing Eggleston has persisted, and the photographer himself has contributed to keeping any thematically minded readings of his photographs in check. In a 1989 Aperture interview with Charles Hagen, Eggleston said:
I’ve seen many pictures that are about the southernness of the South — the sense that it’s a separate culture with its own history, its own ethos. And I’d rather not be associated with those kinds of images … for me there’s no surprise in photographs of that sort.
Eggleston is rightly hailed as a genius of color photography and pondering the beauty of his images can overwhelm any other interpretation. For example, “En Route to New Orleans” (c. 1971–74) shows a hand stirring a drink resting on a plane’s tray table. Out of the window small white clouds float in a blue sky, and light streams through the glass, creating a shadow refracted in yellow and red. This burnt-hued reflection, filled with sparkle and depth, is exquisite. The image might touch on themes of American luxury (is it Coke in the glass?), the allure of alcohol (whiskey?), or the meaning of a hand’s disembodiment, but all interpretations deflate when confronted with the perfection of the photograph’s aesthetics. The same could be said about “New Mexico” (c. 1971–74), which shows a big western sky, fluffy white clouds set against gorgeous blues.
Read the full story HERE >>>> Source: Hyperallergic Reconsidering the Political Detachment of Eggleston’s Images
Posted by Greg Scoblete on Tuesday May 1, 2018 for PDN
Facebook is a bit embattled these days (maybe you’ve heard) but that didn’t stop Mark Zuckerberg from putting on his game face and introducing a number of new features for Instagram at the company’s annual F8 developer’s conference today.
Here’s what’s new for Instagram:
Share to Instagram Stories from other apps. Several apps, including GoPro and Spotify to start, will send content directly to Instagram’s camera where you can edit and add to your story or send it via Direct. You don’t have to connect your Instagram account to other apps in order to share to Stories.
Third party camera effects. Instagram will let third party developers create camera effects that users can try for themselves. If you see an effect you like in Stories from an account you follow and want to try it yourself, just tap “Try it on” and the tool will be added to your tray.
Video chats. You’ll notice a new camera icon at the top of a Direct thread–tap it, and you’ll be brought into a video chat. You can chat one-on-one or with a small group. This is currently in the testing phase and Instagram promises a global rollout “soon.”
Topic channels in Explore. The Explore tab is being reorganized to focus on content channels.
The company is also rolling out a bullying filter intended to cut down on online harassment.The new filter hides comments “containing attacks on a person’s appearance or character, as well as threats to a person’s well-being or health,” the company said. The filter is on by default but can be disabled in the Comment Controls center in the app.
Posted by Holly Hughes on Tuesday May 1, 2018 for PDN
W. Eugene Smith Grant for Student Photographers
The W. Eugene Smith Memorial Fund, which offers an annual grant of $35,000 and a fellowship of $5,000 to professional photographers, has launched a new grant for student photographers. The $4,000 grant is designed to encourage and support students whose work renews the tradition of W. Eugene Smith’s humanistic and compassionate photography. Applications for both the professional and student grants are due May 31.
Le Prix Bayeux Calvados-Normandie
Le Prix Bayeux Calvado-Normandie honors war correspondents for their documentary work on a conflict or its impact on civilians, or on news concerning the defense of freedom and democracy. Sponsored by Fondation Carmignac, the Prize includes a 7,000 Euro cash award for winners in each category: photography, television, radio and print reporting. The work must have been done between June 1, 2017 and May 31, 2018. Applications are due June 8.
The ICRC Humanitarian Visa D’Or Award
Supported by the International Committee of the Red Cross (ICRC), this juried prize is given to a photographer who has documented urban warfare, displacement and other consequences of conflict in densely populated areas. The work must have been shot within the past two years. The prize comes with an award of 8,000 Euros, and is open to both independent photojournalists and photojournalists working for press agencies or media outlets. Applications must be submitted before June 11.
Pierre & Alexandra Boulat Award
Named for one of the founding members of VII Photo and her photojournalist father, this award promotes the creation of documentary work with a social purpose, and is open to photographers of any age, sex or nationality who plan to produce a story in a journalistic manner. It comes with a prize of 8,000 Euros. Applications are due June 15.
IWMF Howard G. Buffett Fund for Women Journalists
The International Women’s Media Foundation’s Howard G. Buffett Fund for Women Journalists supports the production of “ambitious projects and underreported, globally important stories.” It makes a total of $230,000 worth of grants a year, and has two rounds of funding. The second round is open for applications from June 19 through August 7.
A little more on this new exhibition at Tate Modern from ArtDaily:
LONDON.- A major new exhibition at Tate Modern reveals the intertwined stories of photography and abstract art. Shape of Light: 100 Years of Photography and Abstract Art is the first show of this scale to explore photography in relation to the development of abstraction, from the early experiments of the 1910s to the digital innovations of the 21st century. Featuring over 350 works by more than 100 artists, the exhibition explores the history of abstract photography side-by-side with iconic paintings and sculptures.
Shape of Light places moments of radical innovation in photography, such as Alvin Langdon Coburn’s pioneering ‘vortographs’ from 1917, within the wider context of abstract art. This relationship between media is explored through the juxtaposition of works by painters and photographers, such as cubist works by George Braque and photographs by Pierre Dubreuil, or the abstract expressionism of Jackson Pollock and Otto Steinert’s ‘luminograms’. Abstractions from the human body associated with surrealism including André Kertesz’s Distorsions, Imogen Cunningham’s Triangles and Bill Brandt’s Baie des Anges, Frances 1958, are exhibited together with a major painting by Joan Miró. Elsewhere the focus is on artists whose practice spans diverse media including photography, such as László Moholy-Nagy and Man Ray.
The exhibition also acknowledges the impact of MoMA’s landmark photography exhibition of 1960, The Sense of Abstraction. Installation photographs of this pioneering show are displayed with some of the works originally featured in the exhibition, including important works by Edward Weston, Aaron Siskind and a series by Man Ray that has not been exhibited since the MoMA show, 58 years ago.
Read the full story HERE >>> Source: ArtDailyNews http://artdaily.com/news/104304/100-years-of-photography-and-Abstract-art-explored-in-new-exhibition-at-Tate-Modern
2 May – 14 October 2018
The birth of abstract art and the invention of photography were both defining moments in modern visual culture, but these two stories are often told separately.
Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction.
Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.
Read more on the story HERE >>>> Source: Tate Modern Shape of Light: 100 Years of Photography and Abstract Art – Exhibition at Tate Modern | Tate
Images surround us daily—from art to advertising and social media. But how do these images relate to reality? Chicago-based photographer Kenneth Josephson (American, b. 1932) changed the way we think about pictures. His so-called conceptual photography pushes the boundaries of the medium, demonstrating that photographs are not neutral; on the contrary, they convey an idea in addition to a picture. Josephson’s work focuses on the unique qualities of a photograph, specifically how it is cropped, reproduced, circulated, or archived. Using visual techniques such as taking photographs of photographs, his images often comment on themselves with a wry sense of humor.
Josephson has spent his career carefully examining the building blocks of photography and has influenced artists of all kinds. He was exposed to the experimental pedagogy of László Moholy-Nagy as a student at Illinois Institute of Technology’s Institute of Design, where he also studied with pioneers of photography Harry Callahan and Aaron Siskind. Josephson later went on to teach at the School of the Art Institute of Chicago for nearly 40 years. The title, Picture Fiction, which comes from a work in the exhibition by Robert Cumming, distills Josephson’s skill at bending the truth in order to expose the inner workings of photographic images.
Drawn largely from the MCA’s permanent collection, Picture Fiction: Kenneth Josephson and Contemporary Photography considers the artist’s work in the larger context of conceptual art. Core to the exhibition are four major series made roughly between 1960 and 1980: Images within Images, Marks and Evidence, History of Photography Series, and Archaeological Series. The exhibition also highlights links between Josephson and other contemporary artists working in photography, film, and sculpture—including Roe Ethridge, Jessica Labatte, Marlo Pascual, Jimmy Robert, and Xaviera Simmons. Together, their work illuminates the ways images make meaning today.
The exhibition is organized by Michael Darling, James W. Alsdorf Chief Curator, and Lauren Fulton, former Curatorial Research Fellow at the Museum of Contemporary Art Chicago.
It is presented in the Sylvia Neil and Daniel Fischel Galleries on the museum’s second floor.
See the Show HERE >>> Source: MCA Chicago Picture Fiction: Kenneth Josephson and Contemporary Photography
The human eye can physically perceive millions of colours. But we don’t all recognise these colours in the same way.
Some people can’t see differences in colours – so called colour blindness – due to a defect or absence of the cells in the retina that are sensitive to high levels of light: the cones. But the distribution and density of these cells also varies across people with “normal vision” causing us all to experience the same colour in slightly different ways.
Besides our individual biological make up, colour perception is less about seeing what is actually out there and more about how our brain interprets colours to create something meaningful. The perception of colour mainly occurs inside our heads and so is subjective – and prone to personal experience.
Take for instance people with synaesthesia, who are able to experience the perception of colour with letters and numbers. Synaesthesia is often described as a joining of the senses – where a person can see sounds or hear colours. But the colours they hear also differ from case to case.
Another example is the classic Alderson’s checker-shadow illusion. Here, although two marked squares are exactly the same colour, our brains don’t perceive them this way.
Aina Casaponsa: Lecturer in Language, Cognition and Neuroscience, Lancaster University
Panos Athanasopoulos: Professor of Linguistics and English Language, Lancaster University
Read the full story HERE >>>> Source: The Conversation The way you see colour depends on what language you speak