vrijdag 30 januari 2009

Calve the Unilever factory in Delft Bart Sorgedrager Company Photography

Delftsche - slaolie design by Rinke, Jan

SORGEDRAGER, BART
De Unileverfabriek in Delft. De Unileverfabriek in Vlaardingen. De Unileverfabriek in Loosdrecht.
Rotterdam, Unilever, 2008 orig cloth 3 volumes issued without dustjacket each 70 pp text in Dutch edition of 500 copies 50 copies of this edition are signed and numbered on one of the titlepages 27 x 22 cm and come with the orig specially made slipcase.
See for more Calve ... & also the best book lists from photo-world luminaries such as John Gossage, Martin Parr, Gerry Badger, Alec Soth, Lesley Martin, Chris Pichler, Darius Himes and many more ... See for a slideshow ...




Oliefabriek Delft, Deltfsche Slaolie design by Breitner, G.H

Calve the Unilever factory in Delft Bart Sorgedrager Company Photography

Delftsche - slaolie design by Rinke, Jan

SORGEDRAGER, BART
De Unileverfabriek in Delft. De Unileverfabriek in Vlaardingen. De Unileverfabriek in Loosdrecht.
Rotterdam, Unilever, 2008 orig cloth 3 volumes issued without dustjacket each 70 pp text in Dutch edition of 500 copies 50 copies of this edition are signed and numbered on one of the titlepages 27 x 22 cm and come with the orig specially made slipcase.
See for more Calve ... & also the best book lists from photo-world luminaries such as John Gossage, Martin Parr, Gerry Badger, Alec Soth, Lesley Martin, Chris Pichler, Darius Himes and many more ... See for a slideshow ...




Oliefabriek Delft, Deltfsche Slaolie design by Breitner, G.H

maandag 26 januari 2009

De grond waarop wij staan Linoleum Krommenie Dick Elffers Emmy Andriesse Cas Oorthuys Graphic Design Company Photograhy

De grond waarop wij staan ontwerp: Dick Elffers druk: Meijer NV fotografie: Emmy Andriesse, Cas Oorthuys opdrachtgever: Linoleum Krommenie
Samengesteld door Dick Elffers, tekst van J.J. Vriend, fotografie door Emmy Andriese, Cas Oorthuys en E.C. van Houten. Vloerontwerpen door Clim Meijer, Kees Keus en Dick Elffers De omslag is geplactificeerd

Zie voor Licht, lucht, linoleum! ...



De grond waarop wij staan Linoleum Krommenie Dick Elffers Emmy Andriesse Cas Oorthuys Graphic Design Company Photograhy

De grond waarop wij staan ontwerp: Dick Elffers druk: Meijer NV fotografie: Emmy Andriesse, Cas Oorthuys opdrachtgever: Linoleum Krommenie
Samengesteld door Dick Elffers, tekst van J.J. Vriend, fotografie door Emmy Andriese, Cas Oorthuys en E.C. van Houten. Vloerontwerpen door Clim Meijer, Kees Keus en Dick Elffers De omslag is geplactificeerd

Zie voor Licht, lucht, linoleum! ...



zondag 25 januari 2009

Man Ray Unconcerned, but not indifferent Photography

Lees verder ...

Man Ray Unconcerned, but not indifferent 24 January 2009 - 19 April 2009 see for the slideshow ...

Man Ray (1890-1976) used his camera to turn photography into an art – no mean feat for a man who tried almost all his life to avoid being described as a ‘photographer’. He preferred to be identified with his work in other media: drawings, paintings and Dadaist ready-mades. The exhibition entitled Unconcerned, but not indifferent at the Hague Museum of Photography is a large-scale retrospective of Man Ray’s art and life. It links paintings, drawings and (of course) photographs to personal objects, images and documents drawn from his estate to paint a picture of a passionate artist and – whatever his own feelings about the description – a great photographer.

Unconcerned, but not indifferent is the first exhibition to reveal Man Ray’s complete creative process: from observations, ideas and sketches right through to the final works of art. By establishing the linkage between art and inspiration, it gives a new insight into the work of Man Ray. The three hundred plus items on display are drawn from the estate of the artist, which is managed by the Man Ray Trust. Some of them have never been exhibited since the artist’s death in 1976 while others are on show for the first time ever.

Man Ray’s real name was Emmanuel Radnitzky. He was born in Philadelphia (USA) in 1890. The family soon moved to New York, where his artistic talent became increasingly apparent. Photography was not yet his medium: Man Ray, as he would later call himself, concentrated on painting and became friendly with Dadaist artist Marcel Duchamp, who persuaded him to move to Paris (France). There, Man Ray moved in highly productive artistic circles full of Surrealists and Dadaists. He began taking photographs of his own (and other people’s) works of art and gradually became more interested in the photographic images than in the originals – which he regularly threw away or lost once he had photographed them.

By this time, commercial and art photography had become his main source of income and he was displaying an unbridled curiosity about the potential of the medium. This prompted a great urge to experiment and the discovery or rediscovery of various techniques, such as the famous ‘rayographs’ (photograms made without the use of a camera). Man Ray left Paris to escape the Nazi occupation of France and moved to Los Angeles, where he abandoned commercial photography to concentrate entirely on painting and photographic experimentation. However, his next real surge of creativity occurred only after he returned to Paris with his wife Juliet in 1951. In the last twenty-five years of his life, he regularly harked back to his earlier work and was not afraid to quote himself. In that sense, Man Ray can be seen as a true conceptual artist: the idea behind the work of art always interested him more than its eventual execution. Man Ray died in Paris in 1976 and is buried in Montparnasse. His widow, Juliet, summed up the artist’s life in the epitaph inscribed on his tombstone: Unconcerned, but not indifferent.




The exhibition examines the four separate creative phases in Man Ray’s life. Each is closely connected with the place where he was living (New York, Los Angeles or Paris), his friends at the time and the sources of inspiration around him. Using Man Ray’s artistic legacy and – perhaps more particularly – the everyday objects that were so important to him, Unconcerned, but not indifferent reveals the world as he saw it through the lens of his camera. The exhibition is being held in cooperation with the Man Ray Trust in Long Island, New York, and La Fábrica in Madrid.

Man Ray Unconcerned, but not indifferent Photography

Lees verder ...

Man Ray Unconcerned, but not indifferent 24 January 2009 - 19 April 2009 see for the slideshow ...

Man Ray (1890-1976) used his camera to turn photography into an art – no mean feat for a man who tried almost all his life to avoid being described as a ‘photographer’. He preferred to be identified with his work in other media: drawings, paintings and Dadaist ready-mades. The exhibition entitled Unconcerned, but not indifferent at the Hague Museum of Photography is a large-scale retrospective of Man Ray’s art and life. It links paintings, drawings and (of course) photographs to personal objects, images and documents drawn from his estate to paint a picture of a passionate artist and – whatever his own feelings about the description – a great photographer.

Unconcerned, but not indifferent is the first exhibition to reveal Man Ray’s complete creative process: from observations, ideas and sketches right through to the final works of art. By establishing the linkage between art and inspiration, it gives a new insight into the work of Man Ray. The three hundred plus items on display are drawn from the estate of the artist, which is managed by the Man Ray Trust. Some of them have never been exhibited since the artist’s death in 1976 while others are on show for the first time ever.

Man Ray’s real name was Emmanuel Radnitzky. He was born in Philadelphia (USA) in 1890. The family soon moved to New York, where his artistic talent became increasingly apparent. Photography was not yet his medium: Man Ray, as he would later call himself, concentrated on painting and became friendly with Dadaist artist Marcel Duchamp, who persuaded him to move to Paris (France). There, Man Ray moved in highly productive artistic circles full of Surrealists and Dadaists. He began taking photographs of his own (and other people’s) works of art and gradually became more interested in the photographic images than in the originals – which he regularly threw away or lost once he had photographed them.

By this time, commercial and art photography had become his main source of income and he was displaying an unbridled curiosity about the potential of the medium. This prompted a great urge to experiment and the discovery or rediscovery of various techniques, such as the famous ‘rayographs’ (photograms made without the use of a camera). Man Ray left Paris to escape the Nazi occupation of France and moved to Los Angeles, where he abandoned commercial photography to concentrate entirely on painting and photographic experimentation. However, his next real surge of creativity occurred only after he returned to Paris with his wife Juliet in 1951. In the last twenty-five years of his life, he regularly harked back to his earlier work and was not afraid to quote himself. In that sense, Man Ray can be seen as a true conceptual artist: the idea behind the work of art always interested him more than its eventual execution. Man Ray died in Paris in 1976 and is buried in Montparnasse. His widow, Juliet, summed up the artist’s life in the epitaph inscribed on his tombstone: Unconcerned, but not indifferent.




The exhibition examines the four separate creative phases in Man Ray’s life. Each is closely connected with the place where he was living (New York, Los Angeles or Paris), his friends at the time and the sources of inspiration around him. Using Man Ray’s artistic legacy and – perhaps more particularly – the everyday objects that were so important to him, Unconcerned, but not indifferent reveals the world as he saw it through the lens of his camera. The exhibition is being held in cooperation with the Man Ray Trust in Long Island, New York, and La Fábrica in Madrid.

vrijdag 23 januari 2009

Gerard Fieret (1924 - 2009) Photographer Photography

"Photography in and of itself is, of course, a rather chilly business: camera lenses, power to absorb the image, refractions. Chemistry- strict rules of the game, no? But soon you discover that you really can bend it as you wish, like bamboo, and then it turns out to be supple as water, and you can find and recognize all sorts of graphic gradations in the image. I’m thinking now of Daumier or Rembrandt, for instance - every "ism" can be realized in photography." - Gerard Petrus Fieret

The Netherlands has lost one of the most fascinating artist of our time, Gerard Fieret knew the best how to catch the pure sensual beauty of every women. I am most fortunate to have known him as a kind person,My warmest sympathy to his family and friends.Fieret will never die, and his beautiful images are forever…Eyemazing Susan See for Gerard P. Fieret - 80th birthday ...


Gerard Fieret, 1924 - 2009 door Eddie Marsman NRC

Slechts een jaar of vijftien fotografeerde Gerard Fieret maar het was genoeg om een van de meest oorspronkelijke oeuvres uit de naoorlogse Nederlandse fotografie tot stand te brengen. Wilde zelfportretten, straatbeelden en foto’s van vrouwen maakte hij: bewogen, zelden scherp, bevolkt door schimmen en lichtvlekken, strepen en krassen. En daartussen stempelde hij dan vaak zijn eigen naam, pontificaal in beeld. Ze konden ogen als mislukte foto’s, en toch hadden ze een zelden geëvenaarde vitaliteit.

Behalve fotograaf (in de jaren zestig en vroege jaren zeventig) was Fieret ook dichter en tekenaar. Hij overleed gisteravond, -donderdag 22 januari-, drie dagen na zijn 85ste verjaardag, in een ziekenhuis in Den Haag.

Behalve door zijn werk was Fieret ook bekend door zijn zonderlinge levenswandel. Het grootste deel van zijn leven woonde hij in rommelige souterrains, oude keten of afgedankte depots van gemeentelijke diensten. En tot op hoge leeftijd voerde hij dagelijks de stadsduiven, de emmers met graan bungelend aan het stuur van de fiets waarmee hij zijn rondes deed.

Fieret, die enige tijd een tekenopleiding volgde aan de Koninklijke Academie in Den Haag, kocht eind jaren vijftig een camera voor huis-, tuin- en keukengebruik. Maar die camera bleek ook geschikt voor het vastleggen van wat hij noemde de “caleidoscopische totaliteit van het leven”.
Binnen de kortste keren fotografeerde hij alles wat hem voor de voeten kwam - brommers, eendjes in de vijver, volk op de kermis, een varken aan het spit. En vrouwen, veel vrouwen - kennissen, studentes van de Vrije Academie waar hij enige tijd les gaf, kortstondige vriendinnetjes, wildvreemden die hij aansprak op straat. Hij fotografeerde ze ter plekke of nam ze mee naar de ‘hokken’ waarin hij gewend was te bivakkeren. Het resulteerde in ongedwongen, even sensuele als speelse taferelen vol been, buik, borst en lonkende blikken.


Het leverde hem enkele exposities op, onder andere in het Van Abbemuseum, maar veel verder kwam het niet. Even plotseling als hij begonnen was, stopte hij ook weer met fotograferen. Omdat hij toch niet werd begrepen, omdat anderen zijn werk ‘jatten’, omdat het te duur was of te veel gedoe met al dat papier en chemische middelen, omdat hij zijn foto’s niet meer mocht spoelen in het badhuis. Helemaal duidelijk werd het nooit. Pogingen om nadien nog tentoonstellingen of boeken met zijn werk liepen lang spaak op zijn onorthodoxe levensstijl en groeiende eenkennigheid.

Hoe groot Fierets fotografische oeuvre precies is, is nauwelijks vast te stellen. Hij heeft zijn werk nooit zorgvuldig bijgehouden. Foto’s propte hij in ordeloze kasten of bewaarde ze tussen het vuilnis op de vloer. Hij gaf ze met stapels tegelijk weg (de laatste jaren overigens vooral aan het Fotomuseum in Den Haag dat in 2004 een groot retrospectief van hem toonde), of verkocht nauwelijks gedocumenteerde dozen aan verzamelaars.

Lang werd gedacht dat Fieret zijn negatieven had weggegooid of vernietigd - tot ze onlangs bij het ontruimen van zijn laatste onderkomen (een Portacabin op een landgoed bij Duindigt; de plek werd ter beschikking gesteld door vrienden) samen met 500 onbekende afdrukken tevoorschijn kwamen. Fieret bleek ze in twee jerrycans gepropt te hebben. Een tamelijk onorthodoxe vorm van ‘archivering’. Maar wel een die past bij een fotograaf die ook als mens iedere gebruiksaanwijzing, gewoonte en regel negeerde. Hij had nu eenmaal zijn eigen wetten, zei hij ooit. En mislukte foto’s bestonden niet, vond hij.

See for more Gerard P. Fieret Boundless Shoreless Unlimited ...

an Alternative (II) for Snelweg Highways in the Netherlands... Wegen naar Morgen Company Photography

Wegen naar morgen: Uitgave onder auspiciën van de Nederlandse Vereniging van Wegenbouwers. [plaats]. [Text Max Dendermonde; H.A.M.C. Dibbits. Photography Carel Blazer. Illustrations Opland. Layout Mart Kempers].

1962 / 128 p. / hb. / 29x24cm / 114 b&w photographs, in opdracht, uit bedrijfsarchief en uit niet-particuliere archieven / historische en eigentijdse documentaire foto's / vervoermiddelen, voertuigen in de moderne samenleving, autoraces, bermrecreatie, spoorwegaanleg, wegenbouw en stadsbeelden. - (12 b&w photographs, 21 color / striptekeningen, reliëf, prenten, landkaarten, grafieken, schematische tekeningen, stadskaarten, plattegrond / historische vervoermiddelen, tunnels, openbaar vervoer). / NN / Firmenschrift, Festschrift / Photographie - Anthologie - Auftragsphotographie, commissioned photography - Nederland, Niederlande - 20. Jahrh. / Printed by Drukkerij Meijer NV, Wormerveer (boekdruk, offset). - Opdrachtgever: Nederlandse Vereniging van Wegenbouwers (25-jarig bestaan). - Woord-beeld-equivalent. In het eerste deel van het boek ligt de nadruk op de cultuurhistorische aspecten van vervoermiddelen. Fotografie raakt ondergeschikt aan de tekst. Bij de uitgave is promotiemateriaal van de drukker verschenen.



Baart, Theo & Markerink, Cary Snelweg. Highways in the Netherlands. [Text Tracy Metz]. Amsterdam / Ideas on Paper publishers / 1996 / 162 p. / sb. / 28x24cm / ill. / NN / Buch / Photographie - Monographie - Verkehr - Nederland, The Netherlands, Niederlande - 20. Jahrh. - Metz, Tracy - uv / Text nerderl., engl.

Mrs Deane's list of Best Photobooks of 2008 Photography

Now that the excitement about the end of year 'best photo books of 2008' enumerations has died down in an ultimate culmination at photoeye, I can safely launch my own retrospective of books which excited or inspired us last year. Since our means are too limited to buy many books - let alone newly published ones - , our selection will differ in many aspects from the usual lists. Let's start with this odd publication kindly loaned to us by a local colleague, who shares our love for books where the images are glued in by hand. "Fair play with Fina - soccer rules in word and image" is the rather unexciting title (especially unexciting if you are no soccer fan) of this strangely long and narrow (33 x 11cm) publication dating from the seventies. Read for more ...




first catalog from the Otto mail order company - source

Actually, this is not a book we own, it's not even a proper book and it certainly wasn't freshly published last year, yet I wanted it to have a place on my list of best photo books of 2008, as this is the year we first encountered it. The Otto mail order company, established in 1949, is a typical example of the famed Wirtschaftswunder, the rebuilding of the German economy upon the ruins of the second World War. This first catalog had an edition of merely 300 pieces and consisted of 14 hand bound pages with 28 pasted in photographs of shoes. Hard to believe today that this modest publication was the basis and beginning of the success of what grew out to be a giant industry - and that in the following year the company already had a turnover of 1 million german Marks. Read for more ...

Mrs Deane's list of Best Photobooks of 2008 Photography

Now that the excitement about the end of year 'best photo books of 2008' enumerations has died down in an ultimate culmination at photoeye, I can safely launch my own retrospective of books which excited or inspired us last year. Since our means are too limited to buy many books - let alone newly published ones - , our selection will differ in many aspects from the usual lists. Let's start with this odd publication kindly loaned to us by a local colleague, who shares our love for books where the images are glued in by hand. "Fair play with Fina - soccer rules in word and image" is the rather unexciting title (especially unexciting if you are no soccer fan) of this strangely long and narrow (33 x 11cm) publication dating from the seventies. Read for more ...




first catalog from the Otto mail order company - source

Actually, this is not a book we own, it's not even a proper book and it certainly wasn't freshly published last year, yet I wanted it to have a place on my list of best photo books of 2008, as this is the year we first encountered it. The Otto mail order company, established in 1949, is a typical example of the famed Wirtschaftswunder, the rebuilding of the German economy upon the ruins of the second World War. This first catalog had an edition of merely 300 pieces and consisted of 14 hand bound pages with 28 pasted in photographs of shoes. Hard to believe today that this modest publication was the basis and beginning of the success of what grew out to be a giant industry - and that in the following year the company already had a turnover of 1 million german Marks. Read for more ...

woensdag 21 januari 2009

an Alternative (I) for 50 jaar Bruynzeel 1897-1947 ... De Kof gaet voor de baet uit Company Photography

De Kof gaet voor de baet uit: Een verhaal over hout. [Text J. Luger (firm's history), H. Halbertsma (foreword). Photography Willem van de Poll. Illustrations, layout J.F. Doeve].

Grouw / 1941 / 59 p. / hb. / 33x24cm / 40 b&w photographs, in opdracht, uit bedrijfsarchief en uit niet-particuliere archieven / fotomontages, portretten en documentaire foto's / arbeiders aan houtbewerkingsmachines, doorkijkjes in kantoren, vestigingen, van directeuren. - Ill. 27 color, in opdracht en uit bedrijfsarchief / pentekeningen en kleine pictogrammen. / NN / Firmenschrift / Wirtschaft, Firmengeschichte - Photographie - Anthologie - Auftragsphotographie, commissioned photography - Nederland, Niederlande - 20. Jahrh. / Printed by Ervaco, Den Haag (boekdruk). - Opdrachtgever: NV Halbertsma fabrieken (50-jarig bestaan). - Voorloper van bedrijfsfotoboek met kenmerken van beeldverhaal. Het boek bevat aflopende foto's en fotomontages en slaat een brug tussen de stijlprincipes van de Nieuwe Fotografie en de eerste golf naoorlogse bedrijfsfotoboeken. De uitgave is didactisch en instructief van opzet.






See for 50 jaar Bruynzeel 1897-1947 ...