woensdag 30 januari 2008

Magnum Photos 60 years at the Stedelijk Museum Amsterdam Photography

Lees de recensie ...
David Seymour / Magnum Photos

Throughout that period MAGNUM never ceased to supply photographs that have become part of the world’s collective memory – pictures of landmark events like the Russian army’s invasion of Prague in 1968 and the Tiananmen Square demonstrations in Beijing in 1989. The exhibition uses photographs, books and texts to illustrate the history of MAGNUM year by year and gives visitors the opportunity to view work by 83 photographers, such as Robert Capa, Henri Cartier-Bresson, Carl de Keyzer, Martin Parr, Susan Meiselas and Leonard Freed.
MAGNUM was established in 1947 by Robert Capa, Henri Cartier-Bresson, George Rodger and David Seymour. They were convinced that photography was the best medium with which to document world events and raise public awareness. And they succeeded – the way MAGNUM photographers have recorded the background to the news has proved vital to the public’s perception of events. From the start, the agency was distinguished by its complete independence: the choice and length of reportage, editing control and intellectual property rights were all kept in the agency’s own hands, guaranteeing photographers the status of auteurs. Attracted by the energy and artistic ethics of its founders, other photographers soon began to join the new agency, eventually making it one of the most original and prestigious creative co-operatives in the world.
MAGNUM photographers were and are to be found on every front line in every continent. They have recorded every major aspect of our times, from armed conflicts and revolutions through to everyday life and outstanding personalities. Their insight and vision have enabled them to create iconic images which have been disseminated through the international press to become part of our society’s collective memory. MAGNUM photographs have proved to be both witnesses and artists working on the basis of personal intuition or a variety of individual concepts. Henri Cartier-Bresson believed in the ‘decisive moment’, while Raymond Depardon looked for ‘moments of weakness’ and Gilles Peress practised ‘documentary archaeology’. Equally, Martin Parr’s work features ‘consumerist clichés’, while Lise Sarfati produces ‘inner landscapes’.
The forthcoming exhibition is in two parts. The first is a 45-metre-long frieze offering a linear account of MAGNUM’s activities over the last six decades, conveyed by way of texts, key images and original books. The second consists of four interactively controlled projection screens which enable visitors to (re)discover the work of all the photographers associated with MAGNUM (past and present) via carefully composed selections of images.
This is the third exhibition about MAGNUM to be held at the Stedelijk. The first, in 1964, stressed the post-war humanist ethics propagated by the founder members and was based on the collection of photographs acquired by the museum since 1958. The second, in 1990, emphasised the vision of the individual photographers. This reflected the growing interest in auteurship at a time when the print media were increasingly losing ground to television. The present exhibition presents these individual views and relates them to current thinking about the visual presentation of history.

The exhibition was originally devised and produced by the Rencontres Internationales d’Arles and Magnum Photos. 08/02/2008 au 12/05/2008

Auteur(s):Martin Parr Raymond Depardon Antoine d'Agata Lise Sarfati Donovan Wylie Joseph Koudelka Martine Franck Eve Arnold Robert Capa Paul Fusco Abbas Raghu Rai Guy Le Querrec Larry Towell Henri Cartier-Bresson Bruno Barbey Harry Gruyaert Marc Riboud Cristina Garcia Rodero Werner Bischof W.Eugene Smith Philip Jones Griffiths Bruce Davidson Cornell Capa Jean Gaumy Jim Goldberg Susan Meiselas Erich Lessing René Burri Inge Morath Elliott Erwitt Leonard Freed Richard Kalvar Alex Majoli Paolo Pellegrin Steve McCurry David Seymour Thomas Hoepker Thomas Dworzak Mark Power John Vink Christopher Anderson Micha Bar-Am Jonas Bendiksen Ian Berry Chien-Chi Chang Carl de Keyzer Nikos Economopoulos Stuart Franklin Bruce Gilden Burt Glinn Maya Goded Philippe Halsman Erich Hartmann David Alan HarveyDavid Hurn Hiroji Kubota Sergio Larrain Herbert List Peter Marlow Wayne Miller Gueorgui Pinkhassov Eli Reed Miguel Rio Branco George Rodger Fernando Scianna Alec Soth Chris Steele-Perkins Dennis Stock Ilkka Uimonen Alex Webb Simon Wheatley Patrick Zachmann Danny Lyon ra Guler Hiroshi Hamaya Costa Manos Lu Nan Marilyn Silverstone Kryn Taconis Nicolas Thikhomiroff Parke Trent

Witnesses to the world Brigitte Lardinois brings together the best work from a great photographic agency in Magnum Magnum, says Andrew Motion. Read more...

maandag 28 januari 2008

Robert Capa Lost Negatives by the New York Times Photography

Robert Capa - Lost Negatives - Art - New York Times ,

See for Susan Meiselas ... & lees meer ...

Wasteland landscape from now on Photography

Wasteland, Landscape from Now On, is the theme of the third Fotografie Biënnale Rotterdam.It refers to the bankruptcy of two traditions in Western post-industrial society: our traditional way of dealing with nature and the earth, and our tradition of representing the landscape, which has led increasing numbers of artists and photographers to seek new forms and techniques by which to visualise the landscape to today and tomorrow.Wasteland challenges us to develop new esthetic values, which have become necessary in a world full of parking lots, high-tension piles, industrial areas, garbage dumps, airports and computer landscapes.

Read more ...

See for Theo Baart & Cary Markerink Nagele N.O.P. ... & for the changing Dutch landscape...

Fulvio Roiter Venice Venise à fleur d'eau Photography

Fulvio Roiter

(b Meolo, nr Venice, 1 Nov 1926). Italian photographer. A self-taught photographer, he began taking pictures as an amateur in 1947. From 1948 he was a member of La Gondola photographic club, founded in Venice by Paolo Monti with the aim of promoting more penetrating research into photographic aesthetics. In 1953 he became professional and produced his first photographic book on Venice, Venise à fleur d'eau, establishing his international reputation. In 1956 he was awarded the Prix Nadar for his book Ombrie, terre de Saint-François (Lausanne, 1955). Also around this time he began travelling throughout the world, producing a large number of photographic books of great iconographic potency. In 1977 his work Essere Venezia (Udine, 1977) became one of the major best-sellers of its kind. Roiter used photography to render visible an intangible, archaic reality, thus revealing a kind of beauty unpolluted by the contemporary world.

donderdag 24 januari 2008

Witness Martin Parr Three ways to make a book Rob Hornstra Mark Neville Bart Sorgedrager Photography

Witness, is published three times per year. Each issue is guest-edited by a different contemporary artist, whose photographs and writings are featured in that particular issue. Witness is distributed internationally by Nazraeli Press.

Current Issue:3 - Martin Parr
Martin Parr is the subject and guest-editor of Witness Number 3. For his contribution to the series – in which one artist is selected for each volume to present their own work as well as work by other artists – Parr unleashes his scorching humor in the series “Art World,” photographs made at art gallery and museum openings which reveal more about the art world than some may be comfortable with. This highly entertaining body of work is tempered by the somewhat gentler look at Sri Lanka, made in collaboration with Susie Parr, called “Little England.” Together, Martin Parr’s photographs and Susie Parr’s text create a verbal and visual snapshot of Nuwara Eliya, a hill town lying some 6,000 feet above sea level in the heart of Sri Lanka. Parr rounds out his volume of Witness with a section called “Three Ways to Make a Book,” which documents how photographers

and Bart Sorgedrager were able to self-publish and distribute their own books; a presentation of portfolios by Japanese photographers Keizo Kitajima, Kohei Yoshiyuki, and Osamu Kanemura; and an interview with Parr conducted by Gerry Badger.

Zie ook Vuistregels voor fotoboeken door Pim Milo...

donderdag 17 januari 2008

Benno Wissing (1923 - 2008) Graphic Design Company Photobooks Photography

Benno Wissing, painter, graphic designer, architect, industrial designer and one of the founders of Total Design in 1963, died on 7 January 2008. Read more ...

Some Company Photobooks of Benno Wissing :
- 4 gaten in de grond. [Text Eugene Eberle. Photography Carel Blazer. Layout Benno Wissing].
- 100 jaar Grasso. [Text Eugene Eberle (firm's history). Photography Violette Cornelius, Carel Blazer. Illustrations, layout Benno Wissing]
- EN NEN: Eerste Nederlandsche Verzekering-Maatschappij op het Leven en tegen Invaliditeit N.V. Photography Ad Windig. Layout Benno Wissing].
- Getting off to a good start in European trade Blazer, Carel & Henk Blansjaar (fotografie). Jack Bax (tekst) Ontwerp: Benno Wissing (Total Design).
See for more graphic design of Benno Wissink...

Mooi Beautiful Java Dutch Eyes in the Dutch East Indies Photography

bintphotobooks - the photoBooks of the Dutch East Indies

Lees meer over Hub. Leufkens...
See for the Colonial Dutch-Indies (1938-39 in colour) [Part 1 of 4] ...
See for a Single ticket Surabaya Amsterdam Johan Oldenbarnevelt 1953 ...

maandag 14 januari 2008

Photojournalist Ben van Meerendonk died Photography

Jayne Mansfield joining the De Telegraaf 0ctober 10 1957

On 13 January 2008 the former photojournalist Ben van Meerendonk (born 20 July 1913) died in Amsterdam. See also for Ed Sullivan & the Beatles on visit in Amsterdam...
Read more... & Holland aan de afwas...

zaterdag 12 januari 2008

Dutch Eyes Krijn Taconis & Magnum Photo Agency

Kryn Taconis (Rotterdam, 1918) was the only Dutchman who was member of the legendary Magnum photo agency.

He made his first photographs during the Second World War, in the course of producing false documents for the resistance. He also worked for the Underground Camera, a group of Dutch photographers who secretly recorded the German occupation.

After the war Taconis became a freelance photographer and correspondent for Time-Life in the Benelux. After joining Magnum in 1950, he want to Algeria in 1957 to photograph the activities of the FLN (Front de Liberation National) there. For two weeks the recorded the guerrilla war that the Algerian resistance movement conducted from the woods against the French colonialists.

The FLN fought with weapons captured from the French. Good contacts in the countryside provided for sufficient food and clothing. During the time he was with them, the resistance group attacked a French convoy. According to the French radio eight guerrillas were killed in the action, while in reality no one was even wounded.

Taconis continued as a member of Magnum until 1960. The year before that he had emigrated to Canada, where he remained a freelance photographer for Canadian magazines. In the 1960s he also produced and directed a number of films for the Canadian government.

For fear of French reprisals, Kryn Taconis's trip to Algeria was clandestine. For the same reason the photographs he made there were only published after his death in 1979.

vrijdag 11 januari 2008

Empty Bottles WassinkLundgren winner of the 2007 Arles Contemporary Book Award Photography

'Empty Bottles', 2005, WassinkLundgren, winner of the 2007 Arles Contemporary Book Award

The Arles Contemporary Book Award is one of the undisputed highlights of the festival. The sum of 8,000 euros is awarded to a book that involves a specific creative project chosen from a number of entrants by five notables in the photographic industry, together with Francois Barre the President of Rencontres d'Arles. This year, Dutch duo WassinkLundgren won the coveted prize, for their book 'Empty Bottles'.

In 2005, conceptual documentary photographer Thijs Groot Wassink and artist Ruben Lundgren spent time in China, the product of which is 'Empty Bottles'. The photographs chart the daily rituals of 24 refuse collectors as they go about their business. Each picture captures the extraordinary combination of roles played out by the men and women - part scavenger, part collector and part cleaner. What is especially striking about the images is the clinical tidiness of the landscapes; it's as if the refuse collectors have picked up the last piece of rubbish each time with a furtive urgency to keep public spaces immaculate at all times.

Set against the backdrops of Beijing and Shanghai there's a significant lack of deprivation to the characters and a profound sense of purpose to their business. As a collection the book offers an insight into China's rudimentary social services, which otherwise don't exist or go unchronicled.
Click here to see pages from the 'Empty Bottles'.

donderdag 10 januari 2008

De Familie van Bennekom Family Photography

Bennekom, Kors van (1933)
Kors van Bennekom's first photo book, De Familie van Bennekom, appeared in 1990, followed by Twee planken en een hartstocht. 35 Jaar theaterfotografie (Two boards and a passion: 35 years of theatre photography) in 1993; Kors van Bennekom. Amsterdam van restauratie naar revolte 1956-1966 appeared in November, 2002. These publications reflect the three components which comprise Van Bennekom's work: the family, theatre and journalistic photography.

The first book tells the unembellished story of his family growing up, a process that the photographer followed with his camera for almost fifty years. He has an apparently guileless manner of photographing that results in relaxed photographs, with no taboos.

His second book provides an image of Amsterdam's changing artistic life between 1956 and 1991. In those years Van Bennekom worked for the communist daily De Waarheid (1956-1965), was a co-founder of the Uitkrant voor Amsterdammers (a culture and entertainment periodical) for which he would photograph until 1992, and also served as house photographer for various theatre companies, orchestras and museums.The standpoint from which he regards theatre is innovative. He feels himself at one with the actors on the stage and depicts the play through their eyes, so that in his photographs the public can see what it is in essence all about.

The third book gives a picture of Van Bennekom's street photography. The images afford a good insight into the other side of the postwar Reconstruction and the consequences of the Cold War. Together with Freek Aal, Dolf Kruger and others, Kors van Bennekom photographed the actions of the Dutch Communist Party for adequate housing, against nuclear weapons, against evictions and against the release of Nazi war criminals, but also recorded Dutch soldiers embarking for New Guinea and meetings of the Dutch Women's Movement and the General Dutch Youth Association, both allied to the Dutch Communist Party. He repeatedly did portraits of a number of prominent leaders such as Paul de Groot and Marcus Bakker, or photographed them in the company of other Party elite.

In addition, for De Waarheid and the cultural periodical Uilenspiegel (also allied to the Party) Van Bennekom photographed performances of Ella Fitzgerald, Edith Piaf and Louis Armstrong, for instance, and Dutch artists such as Max Tailleur, Johan Kaart and Wim Sonneveld.

Kors van Bennekom developed his own unique, dynamic visual vocabulary in which movement plays an important role. His idealistic view of the world led to an accessible, 'open' sort of photography. He goes to work purposefully, and in photographing takes into account the readers of the paper, whether that be De Waarheid or the Uitkrant. In his family photographs too he strives for a clear and well-defined image through which the subject comes across unambiguously. Van Bennekom is able to extract the maximum from people and situations with a minimum of means. Mutual respect is the key. His passion for photography is great. He always has one or more cameras at hand.Kors van Bennekom renders his love for Amsterdam and its residents without beating around the bush. In his theatre photographs he testifies to his respect for everyone who creates a three-dimensional presentation from a script. And at home he finds the serenity to express his ideas about family life in romantic photographs. With the private photographs Van Bennekom perhaps creates the security that he earlier lacked. This work represents a unique value by international standards. Year in and year out, in an inimitable way he represented the cycle of human life. His photographs bear witness to a sincere, engaged vision of humankind, and of his wife Ine in particular.

Read more Snapshot & family Photography...

maandag 7 januari 2008

Claudio Hils Belfast Archive Photography

Claudio Hils: Police Service of Northern Ireland, CCTV surveillance system, Musgrave Street Police Station, Evidential video tape archive; courtesy Belfast Exposed

Belfast: Claudio Hils at Belfast Exposed

The photographs within this exhibition explore the very ways in which we perceive, compile and represent social identities and the inevitable entropic nature of human intervention upon systems of information. The show highlights the often-subconscious selective processes which determine, within historical and social perspectives, what gets discarded or kept. It is ironic that some of the archives depicted in these images, which try and place order on chaotic situations, have themselves fallen into disarray, thus bringing to the fore the impermanence and fragility of any type of stored information. The presentation and development of information technology itself is also an underlying theme within the work, bringing into focus the levels and amount of information that surround contemporary life.

As the artists states himself,

One example would be of the picture of the server cables at the police station, which for me stands out as a symbol for the invisible quantity of information that grows by using modern technologies. It is really a jungle of information that you have to go through. On the other side of the room you see a portrait of a family in Belfast that looks very old. Indeed it is a picture made in the 1950s but through using modern technology, it seems to be made in the 1890s. The closer you go to this picture, the less information the picture contains because it vanishes through technology. This is something very absurd for me, which I like. It should produce a nostalgic moment but it doesn't make any sense, it was made from a low-resolution scan, using a bad printer, which someone worked on Photoshop with. Bringing their interpretation of the picture into it, nothing remained from the original image and this is quite funny.

Hils stresses that if we scrutinise an image to such extremes, its origin will become unrecognisable; its value within historical frameworks will be in a constant flux from the point when it is first acquired. However advanced systems of information are, the fundamental outcome and effect essentially depend on who is in control of them. Similarly, if we compare the scenery within the images of the Irish Republican Socialist Party office and that of the Grande Orange Lodge of Ireland office, it creates an almost comical situation of two completely opposite organisations that have extremely similar ways of presenting and functionalising their information and intentions.

The work largely draws upon official and semi-official spaces, but it also focuses on domestic environments, which clearly stand out - such as a republican prisoner's hand-crafted thatched cottage perched on top of a kitchen microwave, representing a desire for naïve ideals. There is another image of a stairwell within a private house that has a frame for a security grill, to prevent violent intrusion; which literally brings home the reality of personal dangers and of people functioning within extreme circumstances. A lot of the images can be taken on a superficial level, such as the Irish Times archive in Fernhill House, which acts as a kind of symbol of the weight of history being stored. You can actually see the shelf breaking, with the books being too heavy for it.
Claudio Hils: Police Service of Northern Ireland, CCTV surveillance system, Musgrave Street Police Station, Memorial poster to RUC dead, video surveillance monitor bank; courtesy Belfast Exposed

The images have a strong sense of a place which is in transition, a place looking back upon itself in a nonjudgemental manner through all the things that have been left behind. There is even a photograph of a neatly crated exhibition stored in a library basement, with the boxes marked Troubled images on tour, representing the ready-made image of Northern Ireland, set to go out into the world at a moment's notice; illustrating the way in which people choose to perceive themselves and in turn are seen from outside but also suggesting a hope that these images will remain firmly in the past.

Many of the archives also deal with public records, which have restricted access, such as police surveillance and X-ray departments. Both look as if they have become consumed by the amount of their own information, through a lack of storage, and as though they cease to be functioning spaces. A room of evidential videotapes in a police station is inaccessible because of the number of chairs being stored there. Is this information used or even cared about in terms of evidence, or is it used purely as reassurance? The absence of actual human presence within the photographs strengthens a feeling of the land that time forgot, as well as revealing the hidden aspects of a place that functions without our knowledge. The importance of these archives becomes apparent through the duality of forgetting and remembering all these sublayers of activity and the cult of the object that surrounds them. Historical documents and artefacts operating beyond the role of information but through the power of suggestion, they intrinsically map a place. They become potent symbols of identity and values, transcending their origin to become crucial memories in the country of last things.
John Mathews