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 ...

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...

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


Remembering Fulvio Roiter ( 1926 – 2016 )
Venice is the magic place which inspired his most fascinating photos. Venice is the city Fulvio Roiter portrayed highlighting its history with an impressive color vibrancy and writing its most intimate life with a spectacular b&w. And in Venice he died, at 89.

He left Meolo, the small village on the Venetian mainland where he was born in 1926, in order to look for images anybody hadn’t shot yet.

When I interviewed him in the winter charm of the Venice Lido, some years ago, he explained he thought that “shooting photos means creating images, taking them out of context, in order to show a new reality. And, whenever he shots, the photographer has to be surprised, always looking for new insights”.

His father gave him his first camera as a gift for his good results at school. A gift which gave Roiter the idea that photography could become his work besides the passion of his life. “It was 1953 – Roiter remembered – and my father was thinking with less and less tolerance of that idea. He presented me with a difficult choice: either getting back to my job as a chemist or getting seriously involved in photography”. This led him to Sicily: there he traveled by bicycle retracing with his camera the grand tour, with its numberless visual emotions.

Roiter started taking pictures when he was 20; he then joined the photography club La Gondola di Venezia in 1949. In 1954 he published the b&w Venise à fleur d’eau, a book which, as he recalled, “was born of a dream of a summer night, one of those brief and fierce nights of August, when Venice is numb in every pore of his stones from the scorching heat “.

In 1956, he won the second edition of the Prix Nadar with the book Ombrie. Terre de Saint-François, which shows a dreamy and poetic image of the Italian landscape, which will be a constant in his photos and in his more than one hundred books.

Being one of the masters that since the fifties had been marked an era in the Italian photography, Roiter always sought an extreme graphic power, a unique light, the idea of beauty and a keen interest in the design of space in his images.

Especially known for his landscapes in color, he was also a celebrated author of travel and reportage photography. He crossed vast territories as well as an infinite humanity, in a time that now seems centuries away: Persia, Turkey, Mexico, Lebanon in the sixties, Louisiana, Tunisia, Equatorial Africa in the seventies, then Burma, Brazil, Mexico …

Roiter coped to feel the sense of elsewhere even nearby his own house: the lagoon, the flat countryside and a stunning Venice which left him discover its hidden side, the one that nobody had yet disclosed. He managed to redefine the naturally photogenic qualities of Venice in a way that at least a couple of generations of young photographers have tried to reinterpret following in his footsteps.


(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.




Fulvio Roiter Venice Venise à fleur d'eau Photography


Remembering Fulvio Roiter ( 1926 – 2016 )
Venice is the magic place which inspired his most fascinating photos. Venice is the city Fulvio Roiter portrayed highlighting its history with an impressive color vibrancy and writing its most intimate life with a spectacular b&w. And in Venice he died, at 89.

He left Meolo, the small village on the Venetian mainland where he was born in 1926, in order to look for images anybody hadn’t shot yet.

When I interviewed him in the winter charm of the Venice Lido, some years ago, he explained he thought that “shooting photos means creating images, taking them out of context, in order to show a new reality. And, whenever he shots, the photographer has to be surprised, always looking for new insights”.

His father gave him his first camera as a gift for his good results at school. A gift which gave Roiter the idea that photography could become his work besides the passion of his life. “It was 1953 – Roiter remembered – and my father was thinking with less and less tolerance of that idea. He presented me with a difficult choice: either getting back to my job as a chemist or getting seriously involved in photography”. This led him to Sicily: there he traveled by bicycle retracing with his camera the grand tour, with its numberless visual emotions.

Roiter started taking pictures when he was 20; he then joined the photography club La Gondola di Venezia in 1949. In 1954 he published the b&w Venise à fleur d’eau, a book which, as he recalled, “was born of a dream of a summer night, one of those brief and fierce nights of August, when Venice is numb in every pore of his stones from the scorching heat “.

In 1956, he won the second edition of the Prix Nadar with the book Ombrie. Terre de Saint-François, which shows a dreamy and poetic image of the Italian landscape, which will be a constant in his photos and in his more than one hundred books.

Being one of the masters that since the fifties had been marked an era in the Italian photography, Roiter always sought an extreme graphic power, a unique light, the idea of beauty and a keen interest in the design of space in his images.

Especially known for his landscapes in color, he was also a celebrated author of travel and reportage photography. He crossed vast territories as well as an infinite humanity, in a time that now seems centuries away: Persia, Turkey, Mexico, Lebanon in the sixties, Louisiana, Tunisia, Equatorial Africa in the seventies, then Burma, Brazil, Mexico …

Roiter coped to feel the sense of elsewhere even nearby his own house: the lagoon, the flat countryside and a stunning Venice which left him discover its hidden side, the one that nobody had yet disclosed. He managed to redefine the naturally photogenic qualities of Venice in a way that at least a couple of generations of young photographers have tried to reinterpret following in his footsteps.


(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...

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... Read more...



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... Read more...