donderdag 21 augustus 2008
vrijdag 15 augustus 2008
Click here below for an impression of the exhibition in Stedelijk Museum CS: Windows Mediaplayer Video>>
Doa Aly (Egypt)Lara Baladi (Egypt / Lebanon)Oladélé Bamgboye (Nigeria / UK)Yto Barrada (Marocco)Luis Basto (Mozambique)Zohra Bensemra (Algeria)Zarina Bhimji (Uganda / UK)Mohamed Camara (Mali)Ali Chraibi (Marocco)Omar D. (Daoud) (Algeria)Depth of Field (collective) (Nigeria)Allan deSouza (Kenya / UK / USA)Andrew Dosunmu (Nigeria / USA)Hala Elkoussy (Egypt)Theo Eshetu (Ethiopia / Italy)Mamadou Gomis (Senegal)Kay Hassan (South Africa)Romuald Hazoumé (Benin)Moshekwa Langa (South Africa / the Netherlands)Maha Maamoun (Egypt)Boubacar Touré Mandémory (Senegal)Hentie van der Merwe (South Africa / Belgium)Zwelethu Mthethwa (South Africa)James Muruiki (Kenya)Lamia Naji (Marocco)Otobong Nkanga (Nigeria / the Netherlands)Jo Ractliffe (South Africa)Tracey Rose (South Africa)Fatou Kandé Senghor (Senegal)Randa Shaath (Egypt / Palestine)Mikhael Subotzky (South Africa)Sada Tangara (Mali / Senegal)Guy Tillim (South Africa)Michael Tsegaye (Ethiopia)Nontsikelelo “Lolo” Veleko (South Africa)
Richard Prince (born 1949) is one of the world’s most celebrated artists and artistic innovators.
Prince came to prominence in the 1980s through his celebrated series such as Cowboys, Jokes and Hoods, which appropriate images from magazines, popular culture and pulp fiction to create new photographs, sculptures and paintings that respond to ideas about American identity and consumerism. These works have been critical in challenging ideas of authorship and raising questions about the value of the ‘unique’ artwork.
In the mid-1970s, Prince was an aspiring painter who earned a living by clipping articles from magazines for staff writers at Time-Life Inc. What remained at the end of the day were the advertisements, featuring gleaming luxury goods and impossibly perfect models; both fascinated and repulsed by these ubiquitous images, the artist began rephotographing them, using a repertoire of strategies (such as blurring, cropping, and enlarging) to intensify their original artifice. In so doing, Prince undermined the seeming naturalness and inevitability of the images, revealing them as hallucinatory fictions of society's desires.
Untitled (Cowboy) is a high point of the artist's ongoing deconstruction of an American archetype as old as the first trailblazers and as timely as then-outgoing president Ronald Reagan. Prince's picture is a copy (the photograph) of a copy (the advertisement) of a myth (the cowboy). Perpetually disappearing into the sunset, this lone ranger is also a convincing stand-in for the artist himself, endlessly chasing the meaning behind surfaces. Created in the fade-out of a decade devoted to materialism and illusion, Untitled (Cowboy) is, in the largest sense, a meditation on an entire culture's continuing attraction to spectacle over lived experience.
woensdag 13 augustus 2008
If you are a regular reader on cultcase you must remember X-Ray Photography as Art: Hidden Faces of The Inner Space where we presented a few prominent works from Nick Veasey, Diane Covert, Bert Myers and Steven N. Meyers. Recently we have been honored and privileged to meet another great X-Ray photographer - Dutch artist Ben Kruisdijk. It was around 2004 when Kruisdijk was a student at the academy when he took his first experiments with Röntgen photos and by now his photos can be described as "drawing x-ray photography hybrids" or as he calls them "Röntgen Etchings".
The person who owns the body of his works is always of little or no importance as Kruisdijk is a formalist, interested in the language of the photo more than in the subject. The images are very expressive, sometimes horrible, and include tumors, broken bones and the like, but also fantastic animal hand drawings and always shown in the most aesthetic form.
As a draughtsman, Kruisdijk likes to treat the photos with a technique he describes as "etching" aiming to relocate concepts and images from the medical world to the art world. "The Röntgen etchings are strongly related to my paper drawings", explains Kruisdijk. "Conceptually they are the same and only differ in their material."
According to Kruisdijk's artist statement, his unique visual language allows him "to create an abstract framework" in which he can "think and dream without obstacles". A space in which "all possible steps can be made without having to obey the laws of physics."
For more art from Ben Kruisdijk ...
dinsdag 12 augustus 2008
Amsterdam: Bezige Bij [published date: 1966] Hardcover Square quarto, 182 pages and 154 gravure plates. (PBC 75; Parr 254, 255) First edition. ‘Sweet life was the report of a world tour through Africa, Asia and America. Van der Elsken took charge of the design of the book himself. Similar to Jurriaan Schrofer’s book Bagara, most of the photographs crossed the gutter on a double page. Van der Elsken made deliberate use of the fact that the gutter in the page cuts the picture in two. In a photograph of Japanese Sumo wrestlers two men are standing facing each other in a fighting pose, surrounded by other wrestlers. The idea of a fight is strengthened in the picture by the fact that the gutter comes precisely between the two men, dividing the spectators also into two groups. A photograph that crosses the gutter like this is often experienced as disturbing because the picture is split in two. The advantage is that a photograph can be blown up to enormous proportions - in Sweet Life even to a size of 60 x 30 cm. There is a close-up, for example, in the book of Kasahara, one of the directors of Sony, displaying two transistor radios. His head and hands are reproduced larger than life, which gives the viewer the feeling of a direct confrontation. Sweet Life was Van der Elsken’s last photobook for the Bezige Bij.’(PBC 75).
maandag 11 augustus 2008
Final station of the travelling exhibition, organized by the Stedelijk Museum, of work by the Dutch photographer Rineke Dijkstra (b. Sittard 1959). See for more Rineke Dijkstra ...
zondag 10 augustus 2008
Alfred A. Knopf, New York, 1986. 204 pp., 221 duotone and six color photographs, 11x14½".
Bruce Weber's first book since 1983, O Rio de Janeiro is a collection of languid, sensual photographs of the lives of models in Rio, nicely reproduced in duotone and in six colors. On the beach, in restaurants, at nightclubs, in their rooms, Weber's subjects exude a beauty which is at the same time casual and self-possessed. Many of these photographs were shown in a major exhibition at the Robert Miller Gallery, New York, in September of 1986.
By BOYWAY (new york city)
This is by far my favorite among Bruce weber's books. it is a beautifully edited collection of images from many different decades all involving some sensually stunning man or woman living a life of passion, be it sport or narcissitic pleasure. What makes this "bruce weber book "so special is that not all the photographs were shot by mr. weber, however all of them have caught his eye for more than obvious reasons. So it's really in his editing is where the fun lies. A big change is in the variety of males presented, not all are the usual silky-smooth northern european weber cliches. If you are at all intrigued by mr. weber's male and female ideals, you are sure to be delighted at this wonderfuly light hearted and super sexy homage to the state of mind that is Rio ...and Brazil. The sepia tones further heighten the feeling of heat and sun-bleaching where the only way to escape the sun is to give into an erotic adventure. An intoxicating fantasy created with the chicest taste. Lees meer ...
zaterdag 9 augustus 2008
donderdag 7 augustus 2008
woensdag 6 augustus 2008
Rundvee. Medewerkers: Prof. Dr. D.L., Bakker, Ir. W. Bakker (e.a.). Photography : Cas Oorthuys. Amsterdam, Contact. 1948, 196 pp.
maandag 4 augustus 2008
TERM IN OXFORD,Bruno Cassirer, publisher, Oxford, UK - first edition 1963 hardcover, 10�" x 12" 144 pages Dark-blue cloth bound boards with gold type to spine and embossed oxen to front, over 200 black & white photographic plates, and index.
Meet again the architectural granduer of Oxford's buildings - the tower and spire of St Mary-the-Virgin, the great quadrangle of New College, Magdalen Tower, Tom Quad in Christ Church, Hawksmoor's designs for Queen's College and All Souls, Gibbs' Radcliff Camera and the central group of university buildings - the late Gothic Divinity School, the Bodleian Library, and Wren's Sheldonian Theatre - an unbroken series of every period and style.
zaterdag 2 augustus 2008
Curated by Rob Moorees and published by mediapartner NRC Handelsblad, this show is an example of the vast possibilities of the Spaarnestad Photo archives. Every photo in its original archive has text and stamps on the backside. The text tells a story about the origin and the whereabouts of the photograph and functions as an provenance of the original print. By scanning both sides it becomes possible to read the photo in more ways then intended by the original maker of the image. Lux Photo Gallery ...