tag:blogger.com,1999:blog-50281219224416370742024-02-20T21:28:33.953-08:00Bint photoBooks on INTernet...a photoBook is an autonomous art form, comparable with a piece of sculpture, a play or a film. The photographs lose their own photographic character as things 'in themselves' and become parts, translated into printing ink, of a dramatic event called a book...
- Dutch photography critic Ralph PrinsBint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.comBlogger2526125tag:blogger.com,1999:blog-5028121922441637074.post-21520550553332587092019-10-03T07:24:00.000-07:002019-10-03T10:07:01.183-07:00Scanned from the Original Glass Negatives Paris Portraits 1925–30 Berenice Abbott Photography<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWaii0VLZprL06MgGgnVn931ajpF0BD7jgaiQ7xtQdMGmhhJLB62un6fpJRtpTfbNqReJLgq6uBY_wKZvBXYCwSW8h-ADrjPetuM1bVO4Jp7KrukY5XP7xMJ52y0eajJ72JEoXMsEUjuk/s1600/IMG_0539.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1204" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWaii0VLZprL06MgGgnVn931ajpF0BD7jgaiQ7xtQdMGmhhJLB62un6fpJRtpTfbNqReJLgq6uBY_wKZvBXYCwSW8h-ADrjPetuM1bVO4Jp7KrukY5XP7xMJ52y0eajJ72JEoXMsEUjuk/s400/IMG_0539.JPG" width="300" /></a></div>
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This is one in a series of books to be published by Steidl that will explore Berenice Abbott’s exceptional body of work. Abbott began her photographic career in 1925, taking portraits in Paris of some of the most celebrated artists and writers of the day including Marie Laurencin, Jean Cocteau, Peggy Guggenheim and James Joyce. Within a year her pictures were exhibited and acclaimed. Paris Portraits 1925–30 features the clear, honest results of Abbott’s earliest photographic endeavor, which illustrates the philosophy that shaped all of her subsequent work. For this landmark book, 115 portraits of 83 subjects have been scanned from the original glass negatives, which have been printed in full.<br />
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Photography can only represent the present. Once photographed, the subject becomes part of the past. Berenice Abbott<br />
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Co-published with Commerce Graphics, New York<br />
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<blockquote class="embedly-card">
<h4>
<a href="https://issuu.com/classicphotobooks/docs/view">NOT JUST THE PARIS PORTRAITS: PRESERVING BERENICE ABBOTT'S GLASS PLATE NEGATIVES by Elizabeth Larew</a></h4>
NOT JUST THE PARIS PORTRAITS: PRESERVING BERENICE ABBOTT'S GLASS PLATE NEGATIVES by Elizabeth Larew BA Columbia College Chicago, 2011</blockquote>
<script async="" charset="UTF-8" src="//cdn.embedly.com/widgets/platform.js"></script>
<a href="https://howlingpixel.com/i-en/Berenice_Abbott"><span style="color: red; font-size: large;"><b>Berenice Abbott</b></span></a><br />
Berenice Abbott (July 17, 1898 – December 9, 1991),[2] née Bernice Alice Abbott, was an American photographer best known for her portraits of between-the-wars 20th century cultural figures, New York City photographs of architecture and urban design of the 1930s, and science interpretation in the 1940s to 1960s.<br />
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<i>Abbott by Hank O'Neal in New York City, November 18, 1979</i><br />
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Born<span style="white-space: pre;"> </span><br />
Bernice Abbott<br />
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July 17, 1898<br />
Springfield, Ohio, US<br />
Died<span style="white-space: pre;"> </span>December 9, 1991 (aged 93)<br />
Monson, Maine, US<br />
Resting place<span style="white-space: pre;"> </span>New Blanchard Cemetery, Blanchard, Maine, U.S.[1]<br />
Nationality<span style="white-space: pre;"> </span>United States<br />
Known for<span style="white-space: pre;"> </span>Photography<br />
Early years<br />
Abbott was born in Springfield, Ohio[3] and brought up there by her divorced mother, née Lillian Alice Bunn (m. Charles E. Abbott in Chillicothe OH, 1886).<br />
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She attended Ohio State University for two semesters, but left in early 1918 when her professor was dismissed because he was a German teaching an English class.[4] In Paris, she became an assistant to Man Ray, who wanted someone with no previous knowledge of photography.[5]<br />
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Trip to Europe, photography, and poetry<br />
Her university studies included theater and sculpture.,[6] She spent two years studying sculpture in Paris and Berlin.[2] She studied at the Académie de la Grande Chaumiere in Paris and the Prussian Academy of Arts in Berlin.[7] During this time, she adopted the French spelling of her first name, "Berenice," at the suggestion of Djuna Barnes.[8] In addition to her work in the visual arts, Abbott published poetry in the experimental literary journal transition.[9] Abbott first became involved with photography in 1923, when Man Ray hired her as a darkroom assistant at his portrait studio in Montparnasse. Later, she wrote: "I took to photography like a duck to water. I never wanted to do anything else." Ray was impressed by her darkroom work and allowed her to use his studio to take her own photographs.[10] In 1921 her first major works was in an exhibition in the Parisian gallery Le Sacre du Printemps. After a short time studying photography in Berlin, she returned to Paris in 1927 and started a second studio, on the rue Servandoni.[11]<br />
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<i>Photograph by Abbott of her friend Margarett Sargent taken in Paris in 1928</i><br />
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Abbott's subjects were people in the artistic and literary worlds, including French nationals (Jean Cocteau), expatriates (James Joyce), and others just passing through the city. According to Sylvia Beach, "To be 'done' by Man Ray or Berenice Abbott meant you rated as somebody".[12] Abbott's work was exhibited with that of Man Ray, André Kertész, and others in Paris, in the "Salon de l'Escalier"[13] (more formally, the Premier Salon Indépendant de la Photographie), and on the staircase of the Théâtre des Champs-Élysées. Her portraiture was unusual within exhibitions of modernist photography held in 1928–1929 in Brussels and Germany.[14]<br />
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<i>Abbott's photograph of Janet Flanner in 1925</i><br />
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In 1925, Man Ray introduced her to Eugène Atget's photographs. She became interested in Atget's work,[15] and managed to persuade him to sit for a portrait in 1927.[16] He died shortly thereafter. She acquired the prints and negatives remaining in Eugène Atget's studio at his death in 1927.[17] While the government acquired much of Atget's archive — Atget had sold 2,621 negatives in 1920, and his friend and executor André Calmettes sold 2,000 more immediately after his death[18] — Abbott was able to buy the remainder in June, 1928, and quickly started work on its promotion. An early tangible result was the 1930 book Atget, photographe de Paris[19], in which she is described as photo editor. Due to a lack of funding, Abbott sold a one-half interest in the collection to Julien Levy for $1,000.[20] Abbott's work on Atget's behalf would continue until her sale of the archive to the Museum of Modern Art in 1968. In addition to her book The World of Atget (1964), she provided the photographs for A Vision of Paris (1963), published a portfolio, Twenty Photographs, and wrote essays.[21] Her sustained efforts helped Atget gain international recognition.<br />
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Changing New York<br />
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<i>Bowery restaurant photograph for Changing New York, 1935.</i><br />
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In early 1929, Abbott visited New York City, ostensibly to find an American publisher for Atget's photographs. After New York when she was doing portrait photography most of the time, she moved on to documentary photography.[22] Upon seeing the city again, Abbott recognized its photographic potential. She went back to Paris, closed up her studio, and returned to New York in September. She was a central figure that created bridge with photographic hubs in New York City.[23] Her first photographs of the city were taken with a hand-held Kurt-Bentzin camera, but soon she acquired a Century Universal camera which produced 8 × 10 inch negatives.[24] Using this large format camera, Abbott photographed New York City with the diligence and attention to detail she had so admired in Eugène Atget. Atget died in 1927 and she bought all his work which contained over 5000 negatives and glass slides from him and brought it to New York in 1929.[23] Her work has provided a historical chronicle of many now-destroyed buildings and neighborhoods of Manhattan. Her work appeared in an exhibition "Changing New York" at the Museum Of City in 1937. This was a book made to show the transformation of New York City. She focused more on the physical part of the transformation rather than the mental part of it, such as the change of neighborhoods and the replacement of skyscrapers to low rise buildings.[25]<br />
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Abbott worked on her New York project independently for six years, unable to get financial support from organizations (such as the Museum of the City of New York), foundations (such as the Guggenheim Foundation), or individuals. She supported herself with commercial work and teaching at the New School of Social Research beginning in 1933.[26]<br />
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<i>Manhattan Skyline I South Street and Jones Lane Manhattan by Berenice Abbott March 26 1936</i><br />
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In 1935, Abbott was hired by the Federal Art Project (FAP)[2] as a project supervisor for her "Changing New York" project. She continued to take the photographs of the city, but she had assistants to help her both in the field and in the office. This arrangement allowed Abbott to devote all her time to producing, printing, and exhibiting her photographs. By the time she resigned from the FAP in 1939, she had produced 305 photographs that were then deposited at the Museum of the City of New York.[24] Abbott's project was primarily a sociological study embedded within modernist aesthetic practices. She sought to create a broadly inclusive collection of photographs that together suggest a vital interaction between three aspects of urban life: the diverse people of the city; the places they live, work and play; and their daily activities. It was intended to empower people by making them realize that their environment was a consequence of their collective behavior (and vice versa). Moreover, she avoided the merely pretty in favor of what she described as "fantastic" contrasts between the old and the new, and chose her camera angles and lenses to create compositions that either stabilized a subject (if she approved of it), or destabilized it (if she scorned it).[27]<br />
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<i>Huts and unemployed, West Houston and Mercer St., Manhattan (NYPL b13668355-482853)</i><br />
<i>Encampment of the unemployed, New York City, 1935</i><br />
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Abbott's ideas about New York were highly influenced by Lewis Mumford's historical writings from the early 1930s, which divided American history into a series of technological eras. Abbott, like Mumford, was particularly critical of America's "paleotechnic era", which, as he described it, emerged at end of the American Civil War, a development called by other historians the Second Industrial Revolution. Like Mumford, Abbott was hopeful that, through urban planning efforts (aided by her photographs), Americans would be able to wrest control of their cities from paleotechnic forces, and bring about what Mumford described as a more humane and human-scaled, "neotechnic era". Abbott's agreement with Mumford can be seen especially in the ways that she photographed buildings that had been constructed in the paleotechnic era—before the advent of urban planning. Most often, buildings from this era appear in Abbott's photographs in compositions that made them look downright menacing.[27]<br />
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In 1935, Abbott moved into a Greenwich Village loft with the art critic Elizabeth McCausland, with whom she lived until McCausland's death in 1965. McCausland was an ardent supporter of Abbott, writing several articles for the Springfield Daily Republican, as well as for Trend and New Masses (the latter under the pseudonym Elizabeth Noble). In addition, McCausland contributed the captions for the book of Abbott's photographs entitled Changing New York[28] which was published in 1939. In 1949, her photography book Greenwich Village Today and Yesterday was published by Harper & Brothers.[29]<br />
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Ralph Steiner wrote in PM that Abbott's work was "the greatest collection of photographs of New York City ever made."[30]<br />
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Gallery<br />
Media related to Changing New York at Wikimedia Commons<br />
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Pike and Henry Streets, Manhattan (NYPL b13668355-482679)<br />
Pike Street at Henry Street (1936)<br />
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Automat, 977 Eighth Avenue, Manhattan (NYPL b13668355-482752)<br />
Automat in Manhattan (1936)<br />
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Penn Station, Interior, Manhattan (NYPL b13668355-482603)<br />
Pennsylvania Station (1936)<br />
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Manhattan Bridge, From Bowery and Canal Street, Manhattan to Warren and Bridge Street, Brooklyn, Manhattan (NYPL b13668355-482814)<br />
Detail of Manhattan Bridge (1936)<br />
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John Wanamakers's, Fourth Avenue and 9th Street, Manhattan (NYPL b13668355-482861)<br />
Wanamaker's department store, Fourth Avenue and Ninth Street (1936)<br />
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Financial district rooftops III in Manhattan in 1938<br />
Financial District rooftops (1938)<br />
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Seventh Avenue looking south from 35th Street, Manhattan (NYPL b13668355-482802)<br />
Seventh Avenue, looking south from 35th Street (1935)<br />
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Flatiron building, 23rd Street and Fifth Avenue, Manhattan (NYPL b13668355-482724)<br />
Flatiron Building (1938)<br />
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Doorway- Tredwell House, 29 East 4th Street, Manhattan (NYPL b13668355-1219143)<br />
House doorway on East 4th Street, Manhattan (1937)<br />
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Hot Dog Stand, West St. and North Moore, Manhattan (NYPL b13668355-1219152)<br />
Hot dog stand, North Moore Street, Manhattan (1936)<br />
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HARDWARE STORE 316-318 Bowery at Bleeker Street in New York City by Berenice Abbott in 1938<br />
Hardware store on the Bowery in Manhattan (1938)<br />
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Radio Row-Berenice Abbott<br />
Radio Row at Cortlandt Street (1936)<br />
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<br />
Beyond New York City<br />
Berenice Abbott<br />
Abbott, date unknown<br />
In 1934 Henry-Russell Hitchcock asked Abbott to photograph two subjects: antebellum architecture and the architecture of H. H. Richardson. Two decades later, Abbott and McCausland traveled US 1 from Florida to Maine, and Abbott photographed the small towns and growing automobile-related architecture.[2] The project resulted in more than 2,500 negatives.<br />
<br />
Shortly after the trip, Abbott underwent a lung operation. She was told she should move from New York City due to air pollution. She bought a rundown home in Blanchard, Maine, along the banks of the Piscataquis River for US$1,000. Later, she moved to nearby Monson and remained in Maine until her death in 1991. Most of her work is shown in the United States, but a couple photographs are shown in Europe.<br />
<br />
Abbott's work in continued in Maine. Her last book was A Portrait of Maine (1968).<br />
<br />
Approach to photography<br />
Abbott was part of the straight photography movement, which stressed the importance of photographs being unmanipulated in both subject matter and developing processes.[31] She also disliked the work of pictorialists who had gained much popularity during a substantial span of her own career and, therefore, left her work without support from this particular school of photographers. Most of Abbott's work was influenced by her unhappy and lonely childhood. This gave her the strength and determination to follow her dreams.[32]<br />
<br />
Throughout her career, Abbott's photography was very much a display of the rise in development of technology and society. Her works documented and praised the New York landscape. This was all guided by her belief that a modern-day invention such as the camera deserved to document the 20th century.[33]<br />
<br />
Scientific work<br />
Abbott was not only a photographer, but also founded the corporation, "House of Photography," from 1947 to 1959, to develop, promote and sell some of her inventions. She stayed with scientific pictures for twenty years until she died.[22] She has a famous quote saying "the world is made my science".[34] Her works were displayed the rise of development of technology when she created scientific photographs her scientific photos became a hit within two weeks of her releasing them. These included a distortion enlarging easel, which created unusual effects on images developed in a darkroom, and the telescopic lighting pole, known today by many studio photographers as an "autopole," to which lights can be attached at any level. Owing to poor marketing, the House of Photography quickly lost money, and with the deaths of two designers, the company closed.<br />
<br />
Abbott's style of straight photography helped her make important contributions to scientific photography. From 1958 to 1960, she produced a series of photographs for a high-school physics textbook, developed by the Physical Science Study Committee project based at MIT to improve secondary school physics teaching. Her work included images of wave patterns in water and stroboscopic images of moving objects, such as Bouncing ball in diminishing arcs, which was featured on the cover of the textbook.[35] She contributed to the understanding of physical laws and properties of solids and liquids though her studies of light and motion.[36] Between 1958 and 1961 she made a series of photographs for Educational Services Inc. was circulated by them and the Smithsonian Institution as an exhibition titled Image of Physics.[36] In 2012, some of her work from this era was displayed at the MIT Museum in Cambridge, Massachusetts.[37]<br />
<br />
Personal life<br />
The film Berenice Abbott: A View of the 20th Century, which showed 200 of her black and white photographs, suggests that she was a "proud proto-feminist"; someone who was ahead of her time in feminist theory. Before the film was completed she questioned, "The world doesn't like independent women, why, I don't know, but I don't care." She identified publicly as a lesbian.[38]<br />
<br />
She lived with her partner, art critic Elizabeth McCausland, for 30 years.[31]<br />
<br />
Abbott's life and work are the subject of the 2017 novel The Realist: A Novel of Berenice Abbott, by Sarah Coleman.[39]<br />
<br />
Notable photographs<br />
Under the El at the Battery, 1932.[40]<br />
New York at Night, 1932.[41]<br />
Tempo of the City I, 1938.[42]<br />
James Joyce, 1928.[43]<br />
Jay Street #115, New York, c.1936.[44]<br />
Automat, 977 Eighth Avenue, New York, 1936.[45]<br />
Radio Row, Cortland Street, Manhattan, c. 1936.[46]<br />
Marie Laurencin, Paris, c.1925.[47]<br />
Triboro Barber School, New York, 1935.[48]<br />
The Hands of Jean Cocteau, 1927.[49]<br />
Fifth Avenue Coach Company, New York, 1932.[50]<br />
Edward Hopper in His Studio, 1949.[51]<br />
Fifth Avenue, Nos. 4,6,8, 1936.[52]<br />
Flatiron Building, Broadway and Fifth Avenue, New York City, 1938.[53]<br />
Father Duffy, Times Square, 1937.[54]<br />
Gunsmith and Police Department Headquarters, 1937.[55]<br />
Church of God, 1936.[56]<br />
Eugene Atget, 1927.[57]<br />
Bibliography<br />
Books of photographs by Abbott:<br />
<br />
1939 Changing New York. New York: Dutton, 1939. With text by Elizabeth McCausland.[2]<br />
Reprint: New York in the Thirties, as Photographed by Berenice Abbott (New York: Dover, 1973).[2]<br />
Catalog raisonné edition: augmented, annotated by Bonnie Yochelson, ed., Berenice Abbott: Changing New York (New York: New Press and the Museum of the City of New York, 1997) ISBN 1-56584-377-0 /.<br />
1949 Greenwich Village: Yesterday and Today. New York: Harper, 1949. With text by Henry Wysham Lanier.<br />
1968 A Portrait of Maine. New York: Macmillan, 1968. With text by Chenoweth Hall.<br />
Other books by, or with major contributions from, Abbott:<br />
<br />
1930 Atget, photographe de Paris. Paris: Henri Jonquières; New York: E. Weyhe, 1930. (As photograph editor.)[58]<br />
1941 A Guide to Better Photography. New York: Crown, 1941[59] Revised edition: New Guide to Better Photography (New York: Crown, 1953)[60]<br />
1948 The View Camera Made Simple. Chicago: Ziff-Davis, 1948[61]<br />
1956 Twenty Photographs by Eugène Atget 1856–1927 (portfolio of silver prints by Abbott from original Atget negatives in her possession)[62]<br />
1963 A Vision of Paris: The Photographs of Eugène Atget, the Words of Marcel Proust. New York: Macmillan, 1963. Edited by Arthur D. Trottenberg[63]<br />
1964 The World of Atget. New York: Horizon, 1964.[64] (And later editions.)<br />
1964 Magnet. Cleveland: World, 1964. With text by Evans G. Valens.[65]<br />
1965 Motion. London: Longman Young, 1965. With text by Evans G. Valens[66]<br />
1968 A Portrait of Maine. NY: Macmillan, 1968. With text by Chenoweth Hall[67]<br />
1969 The Attractive Universe: Gravity and the Shape of Space. Cleveland: World, 1969. With text by Evans G. Valens[68]<br />
2008 Berenice Abbott. Germany/New York: Steidl, 2008. 2v. Edited by Hank O'Neal and Ron Kurtz.[69] ISBN 3-86521-592-0<br />
2010 Berenice Abbott". London: Thames & Hudson, 2010,[70] Introduction by Hank O'Neal<br />
2012 Berenice Abbott: Documenting Science. Göttingen: Steidl, 2012.[71] Edited by Ron Kurtz, with introduction by Julia Van Haaften.<br />
2014 The Unknown Berenice Abbott. Göttingen: Steidl, 2014. 5v. Edited by Ron Kurtz and Hank O'Neal[72]<br />
2015 Berenice Abbott: Paris Portraits. Göttingen, Germany: Steidl; New York: Commerce Graphics, 2016. Edited by Hank O'Neal[73]<br />
Anthologies of and/or about Abbott's works:<br />
<br />
1970 Berenice Abbott: Photographs. New York: Horizon, 1970; reprinted, Washington, D.C.: Smithsonian Institution Press, 1990[74]<br />
1982 O'Neal, Hank. Berenice Abbott: American Photographer. New York: McGraw-Hill, 1982.[75] British title: Berenice Abbott: Sixty Years of Photography. London: Thames & Hudson, 1982[76]<br />
1986 Berenice Abbott, fotografie / Berenice Abbott: Photographs. Venice: Ikona, 1986[77]<br />
1989 Van Haaften, Julia, ed. Berenice Abbott, Photographer: A Modern Vision. New York: New York Public Library, 1989. [Winner, American Association of Museums' exhibition catalog design award][78] ISBN 0-87104-420-X<br />
2009 Shimizu, Meredith Ann TeGrotenhuis. "Photography in Urban Disclosure: Berenice Abbott's Changing New York and the 1930s," Ph.D. dissertation, Northwestern University, 2009[79]<br />
2012 Morel, Gaëlle. Berenice Abbott. Paris: Éditions Hazan, 2012[80]<br />
2015 Berenice Abbott. Aperture Masters of Photography 9, by Julia Van Haaften. New York: Aperture, 1988; trilingual edition, 1997;[81] completely revised edition, with new photos and text, 2015.[82] [Chinese translation 2015[83]<br />
Solo exhibitions<br />
Weyhe Gallery, New York, NY, November 1930[84]<br />
Photographs by Berenice Abbott at Julien Levy Gallery, New York, NY, September 26 – October 15, 1932<br />
New York Photographs by Berenice Abbott at Museum of the City of New York, New York, NY, October 1934 – January 1935<br />
New York Photographs by Berenice Abbott at Museum of Fine Arts, Springfield, MA, March 1935<br />
New York Photographs by Berenice Abbott at Jerome Stavola Gallery, Hartford, CT, April 1935<br />
New York Photographs by Berenice Abbott at Fine Arts Guild, Cambridge, MA, April 10–15, 1935<br />
Changing New York, Washington Circuit, Federal Art Project, traveling exhibition, 1936<br />
Changing New York at Museum of the City of New York, New York, NY, October 20, 1937 – January 3, 1938<br />
Changing New York at Teachers College Library, New York, NY, November 1937<br />
Solo exhibition at Hudson D. Walker Gallery, New York, NY, April 1938<br />
Changing New York at New York State Museum, Albany, NY, July 1938<br />
Changing New York at Federal Art Gallery, New York, NY, April 11–22, 1939<br />
Solo exhibition at Architectural League, New York, NY, April 1939<br />
Changing New York at Lawrenceville School, Lawrence Township, NJ, May 1939<br />
Changing New York at Photo League Gallery, New York, NY, July 1939<br />
Changing New York at New York State Employment Service, New York, NY, November–December 1939<br />
Changing New York at Walton High School, New York, NY, December 1939<br />
Photographs of New York by Berenice Abbott at The Cooper Union Library, New York, NY, November–December 1940<br />
Berenice Abbott, The Museum of Modern Art, New York, NY, December 1970 – February 1971<br />
Berenice Abbott: The Red River Photographs at Hudson D. Walker Gallery at the Fine Arts Work Center, Provincetown, Massachusetts, August–September 1979[85]<br />
Berenice Abbott: The 20s and the 30s, International Center of Photography, New York City, November 22, 1981 – January 10, 1982<br />
Beauty of Physics at New York Academy of Sciences, New York, NY, January–April 1987[86]<br />
Berenice Abbott, Photographer: A Modern Vision, The New York Public Library, New York NY, October 1989 – January 1990 (Traveled to Metropolitan Museum of Photography [Tokyo, Japan], Toledo [Ohio] Museum of Art, Corcoran Gallery of Art [Washington DC], and Portland [ME] Museum of Art, 1990–1992)<br />
Documenting New York: Photographs by Berenice Abbott, Dallas Museum of Art, Dallas, Texas,1992<br />
Berenice Abbott: Portraits, New York Views, and Science Photographs from the Permanent Collection, International Center of Photography, New York, NY, 1996<br />
Berenice Abbott's Changing New York, National Museum of Women in the Arts, Washington D.C.,1935–1939, 1998–99<br />
Berenice Abbott: Vintage Photographs of New York from the 1930s, Lee Gallery, Winchester, MA, September 1999<br />
Berenice Abbott: Science Photographs, The New York Public Library, New York NY, October 1999 – January 2000<br />
Berenice Abbott: All About Abbott, Howard Greenberg Gallery, New York, NY, September–November 2006<br />
Making Science Visible: The Photography of Berenice Abbott, The Fralin Museum of Art, Virginia, 2012<br />
Berenice Abbott (1898–1991), Photographs, Jeu de Paume, Paris, France, February–April 2012<br />
Berenice Abbott: Photography and Science: An Essential Unity, MIT Museum, Cambridge, Massachusetts, May–December 2012<br />
Berenice Abbott, Beetles & Huxley Gallery, London, England, October–November 2015<br />
Berenice Abbott – Photographs, Martin-Gropius-Bau, Berlin, Germany, January–March 2016<br />
Collections<br />
Abbott's work is held in the following permanent collections:<br />
<br />
New York Public Library[87][88][89]<br />
Museum of the City of New York[90]<br />
The Jewish Museum of New York)[91]<br />
Smithsonian American Art Museum[92]<br />
The Phillips Collection, Washington, D.C.[93]<br />
New Mexico Museum of Art, Santa Fe, NM[94]<br />
Minneapolis Institute of Art[95]<br />
Cleveland Museum of Art[96]<br />
Walker Art Center[97]<br />
References<br />
^ Donald V. Brown, Christine Brown (comp.). Blanchard Cemetery, Abbot, Piscataquis, Maine, 1829 – 1990.<br />
^ a b c d e f "Abbott, Berenice". Encyclopædia Britannica. I: A-Ak – Bayes (15th ed.). Chicago, Illinois: Encyclopædia Britannica, Inc. 2010. pp. 12–13. ISBN 978-1-59339-837-8.<br />
^ "Abbott, Berenice". Who Was Who in America, with World Notables, v. 10: 1989–1993. New Providence, NJ: Marquis Who's Who. 1993. p. 1. ISBN 0837902207.<br />
^ Yochelson, pp. 9–10.<br />
^ "Berenice Abbott". Biography. Retrieved April 4, 2018.<br />
^ Sculpture, Ray, Hartmann: Julia Van Haaften, "Portraits", Berenice Abbott, Photographer: A Modern Vision (New York: New York Public Library, 1989), p. 11.<br />
^ Marter, Joan M. (2011). The Grove Encyclopedia of American Art, Volume I. Oxford University Press. pp. 9–10.<br />
^ Herring, Phillip (1995). Djuna: The Life and Work of Djuna Barnes. New York: Penguin Books. ISBN 0-14-017842-2.<br />
^ Benstock, Shari (1986). Women of the Left Bank: Paris, 1900–1940. Texas: University of Texas Press. ISBN 0-292-79040-6.<br />
^ Yochelson, p. 10. Abbott quotation: Abbott, untitled text dated December 1975, Berenice Abbott, Photographer: A Modern Vision, p. 8.<br />
^ Solo exhibition, studios: Van Haaften, "Portraits", Berenice Abbott, Photographer, p. 11.<br />
^ Beach quotation: Van Haaften, "Portraits", Berenice Abbott, Photographer, p. 11.<br />
^ "Image: 1293890.jpg, (1240 × 827 px)". img-3.journaldesfemmes.com. Retrieved May 31, 2019.<br />
^ Salon de l'Escalier, Belgian and German exhibitions: Van Haaften, "Portraits", Berenice Abbott, Photographer, p. 11.<br />
^ "Berenice Abbott - Bio". www.phillipscollection.org.<br />
^ O'Neal, Hank (2010). Berenice Abbott. New York, N.Y.: Thames & Hudson. pp. [p. 3]. ISBN 9780500411001.<br />
^ Lee., Morgan, Ann (2007). The Oxford dictionary of American art and artists. Oxford University Press. (1st ed.). Oxford: Oxford University Press. ISBN 9780199891504. OCLC 181102756.<br />
^ Harris, David (2000) Eugène Atget: Unknown Paris. New York: New Press. ISBN 1-56584-854-3. pp. 13, 15.<br />
^ Mac-Orlan, Pierre (1930). Atget: Photographe de Paris. New York, N. Y.: E. Weyhe.<br />
^ O'Neal, Hank (2010). Berenice Abbott. New York, N. Y.: Thames & Hudson. pp. [p. 5]. ISBN 9780500411001.<br />
^ Harris, David (2000) Eugène Atget: Unknown Paris. New York: New Press. ISBN 1-56584-854-3. pp. 8, 188.<br />
^ a b "Berenice Abbott - Bio". www.phillipscollection.org. Retrieved April 5, 2018.<br />
^ a b "Berenice Abbott | MoMA". The Museum of Modern Art. Retrieved April 4, 2018.<br />
^ a b Yochelson, introduction.<br />
^ "Berenice Abbott - Bio". www.phillipscollection.org. Retrieved April 4, 2018.<br />
^ O'Neal, Hank and Berenice Abbott. Berenice Abbott: American Photographer. Introduction by John Canaday. New York: McGraw Hill Book Company, 1982.<br />
^ a b Barr, Peter (1997) Becoming Documentary: Berenice Abbott's Photographs 1925–1939. Ph.D. dissertation. Boston University.<br />
^ McCausland, Elizabeth (1939). Changing New York. New York, N.Y.: E. P. Dutton & Company, Inc.<br />
^ Lanier, Henry Wysham; Abbott, Berenice; Harper & Brothers (1949). Greenwich Village, today & yesterday. OCLC 34989459.<br />
^ Current Biography, 1942, 1.<br />
^ a b Geyer, Andrea. "Revolt, They Said". www.andreageyer.info. Retrieved June 5, 2017.<br />
^ "Berenice Abbott | International Photography Hall of Fame". International Photography Hall of Fame. Retrieved April 4, 2018.<br />
^ Yochelson, Berenice Abbott.<br />
^ O'Hagan, Sean (March 10, 2015). "Berenice Abbott: the photography trailblazer who had supersight". the Guardian. Retrieved April 5, 2018.<br />
^ Crisis in US Science Education? Better Call in Avant-Garde Photographer Berenice Abbott Forbes<br />
^ a b Gaze, Delia (1997). Dictionary of Women Artists, Volume I. Chicago, Illinois, USA: Fitzroy Dearborn Publishers. p. 167. ISBN 1-884964-21-4.<br />
^ "MIT Museum: Exhibitions – Berenice Abbott: Photography and Science: An Essential Unity". Web.mit.edu. Retrieved June 15, 2013.<br />
^ "An American from Paris". Vanity Fair. February 2012. Retrieved November 2, 2017.<br />
^ Zoffness, Courtney (March 20, 2018). "Art Lives: Sarah Coleman's "The Realist: A Novel of Berenice Abbott"". Los Angeles Review of Books. Retrieved April 8, 2018.<br />
^ "Under the El at the Battery, Manhattan, Berenice Abbott; Publisher: Parasol Press Ltd., New York ^ Minneapolis Institute of Art". collections.artsmia.org. Retrieved April 8, 2019.<br />
^ Morel, Gaelle; Miller, Sarah; Weissman, Terri (2012). Berenice Abbott. Editions Hazan. p. 55. ISBN 9780300182002.<br />
^ "Brooklyn Museum". www.brooklynmuseum.org. Retrieved April 8, 2019.<br />
^ Morel, Gaelle; Miller, Sarah; Weissman, Terri (2012). Berenice Abbott. Editions Hazan. p. 29. ISBN 9780300182002.<br />
^ "Berenice Abbott | American photographer". Encyclopedia Britannica. Retrieved April 8, 2019.<br />
^ "Automat, 977 Eighth Avenue, Manhattan". www.metmuseum.org. Retrieved April 8, 2019.<br />
^ "Brooklyn Museum". www.brooklynmuseum.org. Retrieved April 8, 2019.<br />
^ Morel, Gaelle; Miller, Sarah; Weissman, Terri. Berenice Abbott. Paris: Editions Hazan. p. 33. ISBN 9780300182002.<br />
^ "Brooklyn Museum". www.brooklynmuseum.org. Retrieved April 8, 2019.<br />
^ Morel, Gaelle; Miller, Sarah; Weissman, Terri. Berenice Abbott. Paris: Editions Hazan. pp. 48–49. ISBN 9780300182002.<br />
^ "Fifth Avenue Coach Company | RISD Museum". risdmuseum.org. Retrieved April 8, 2019.<br />
^ "Edward Hopper". International Center of Photography. February 29, 2016. Retrieved April 8, 2019.<br />
^ Morel, Gaelle; Miller, Sarah; Weissman, Terri. Berenice Abbott. Paris: Editions Hazan. p. 98. ISBN 9780300182002.<br />
^ Morel, Gaelle; Miller, Sarah; Weissman, Terri. Berenice Abbott. Paris: Editions Hazan. p. 101. ISBN 9780300182002.<br />
^ "Berenice Abbott. Father Duffy, Times Square. April 14, 1937 | MoMA". The Museum of Modern Art. Retrieved April 8, 2019.<br />
^ "Museum of the City of New York - Gunsmith and Police Department Headquarters". collections.mcny.org. Retrieved April 8, 2019.<br />
^ "Museum of the City of New York - Church of God". collections.mcny.org. Retrieved April 8, 2019.<br />
^ "Berenice Abbott. Eugene Atget. 1927 | MoMA". The Museum of Modern Art. Retrieved April 8, 2019.<br />
^ Atget, Eugène; MacOrlan, Pierre; Abbott, Berenice; Jonquières, Henri; Henri Jonquières et cie; Marcel Seheur (Firm); Vigier et Brunissen (April 6, 2018). "Atget: photographe de Paris". Henri Jonquières, éditeur – via Open WorldCat.<br />
^ Abbott, Berenice (April 6, 2018). "A guide to better photography". Crown Publishers – via Open WorldCat.<br />
^ Abbott, Berenice (April 6, 2018). "New guide to better photography". Crown – via Open WorldCat.<br />
^ Abbott, Berenice (April 6, 2018). "The view camera made simple". Ziff-Davis Pub. Co. – via Open WorldCat.<br />
^ Atget, Eugène (April 6, 2018). "20 photographs". Abbott – via Open WorldCat.<br />
^ Atget, Eugène; TROTTENBERG, Arthur D; Proust, Marcel (April 6, 1963). "A Vision of Paris. The photographs of Eugène Atget. The words of Marcel Proust (reprinted from "Remembrance of Things Past"). Edited, with an introduction, by Arthur D. Trottenberg, etc. [With portraits of Atget and Proust.]". New York; Lausanne printed – via Open WorldCat.<br />
^ Atget, Eugène; Abbott, Berenice (April 6, 1964). "The world of Atget". Horizon Press – via Open WorldCat.<br />
^ Valens, Evans G; Abbott, Berenice (April 6, 1964). "Magnet". World Pub. Co. – via Open WorldCat.<br />
^ Abbott, Berenice (April 6, 1965). "Motion". World Publishing Co. – via Open WorldCat.<br />
^ Abbott, Berenice; Hall, Chenoweth (April 6, 1968). "A portrait of Maine". MacMillan ; Collier-Macmillan – via Open WorldCat.<br />
^ Valens, Evans G; Abbott, Berenice (April 6, 1969). "The attractive universe: gravity and the shape of space". World Pub. Co. – via Open WorldCat.<br />
^ Abbott, Berenice; Abbott, Berenice (April 6, 2018). "Berenice Abbott". Steidl – via Open WorldCat.<br />
^ Abbott, Berenice; O'Neal, Hank (April 6, 2018). "Berenice Abbott". Thames & Hudson – via Open WorldCat.<br />
^ Abbott, Berenice; Kurtz, Ron; Van Haaften, Julia; Durant, John (April 6, 2018). "Documenting science". Steidl – via Open WorldCat.<br />
^ Abbott, Berenice; Kurtz, Ron; O'Neal, Hank (April 6, 2018). "The unknown Abbott" – via Open WorldCat.<br />
^ Abbott, Berenice; Kurtz, Ron; O'Neal, Hank (April 6, 2018). "Berenice Abbott Paris Portraits 1925-1930". Steidl / Commerce Graphics – via Open WorldCat.<br />
^ Abbott, Berenice (April 6, 1990). "Berenice Abbott photographs". Smithsonian Institution Press – via Open WorldCat.<br />
^ O'Neal, Hank; Abbott, Berenice (April 6, 1982). "Berenice Abbott, American photographer". McGraw-Hill – via Open WorldCat.<br />
^ O'Neal, Hank; Abbott, Berenice; Canaday, John (April 6, 1982). "Berenice Abbott 60 years of photography". Thames and Hudson – via Open WorldCat.<br />
^ Abbott, Berenice; Scuola grande di San Giovanni Evangelista (Venice, Italy); Ikona Gallery (April 6, 1986). "Berenice Abbott, fotografie: Scuola grande San Giovanni Evangelista, 26 giugno-27 luglio 1986". Ikona Gallery – via Open WorldCat.<br />
^ Abbott, Berenice; Van Haaften, Julia (April 6, 1989). Berenice Abbott, photographer: a modern vision : a selection of photographs and essays. New York Public Library – via Open WorldCat.<br />
^ Shimizu, Meredith Ann TeGrotenhuis; Abbott, Berenice; Northwestern University (Evanston, Ill.) (January 16, 2019). "Photography in urban discourse: Berenice Abbott's changing New York and the 1930s" – via Open WorldCat.<br />
^ Morel, Gaëlle (April 6, 2018). "Berenice Abbott". Éditions Hazan – via Open WorldCat.<br />
^ Abbott, Berenice; Van Haaften, Julia (April 6, 1997). "Berenice Abbott". Könemann – via Open WorldCat.<br />
^ Van Haaften, Julia; Abbott, Berenice (April 6, 2018). "Berenice Abbott" – via Open WorldCat.<br />
^ 哈弗腾; 唐小佳 (April 6, 2018). "光圈世界摄影大师 = Aperture masters of photography". 中国摄影出版社 – via Open WorldCat.<br />
^ This list of exhibitions comes from Meredith TeGrotenhuis Shimizu's dissertation, "Photography and Urban Discourse: Berenice Abbott's Changing New York and the 1930s," 2008<br />
^ Artforum, Summer 1979<br />
^ Levin, Helen (Summer 1987). "The Beauty of Physics". Women Artists News. 12: 29 – via EBSCOhost.<br />
^ Berenice Abbott papers at Manuscripts and Archives Division at the New York Public Library<br />
^ Manuscripts and Archives Division, The New York Public Library (January 5, 2009). "Guide to the Berenice Abbott Papers" (PDF). Retrieved May 31, 2019.<br />
^ "Berenice Abbott: Changing New York" New York Public Library<br />
^ "Berenice Abbott" Museum of the City of New York<br />
^ "Berenice Abbott" The Jewish Museum (New York)<br />
^ "Berenice Abbott" Smithsonian American Art Museum<br />
^ "Berenice Abbott (1898–1991)" The Phillips Collection<br />
^ "Works – Berenice Abbott – People – Searchable Art Museum". sam.nmartmuseum.org.<br />
^ "Works by Berenice Abbott at the Minneapolis Museum of Art". Minneapolis Institute of Art. Retrieved February 17, 2018.<br />
^ "Search the Collections". Cleveland Museum of Art.<br />
^ https://walkerart.org/collections/browse?all=true&cq=Berenice%20Abbott. Missing or empty |title= (help)<br />
Cited sources<br />
Bonnie Yochelson (1997). Berenice Abbott: Changing New York. New York: New Press. ISBN 1565845560.<br />
Further reading<br />
Bakewell, Joan; Rodger, Liam (2011). "Abbott, Berenice". Chambers Biographical Dictionary. 9th. Retrieved February 15, 2018.<br />
Broe, Mary Lynn (1993). Women's Writing in Exile. University of North Carolina Press. ISBN 9780807842515.<br />
Butet-Roch, Laurence, "Berenice Abbott: Writing Her Own History," The New York Times, May 6, 2015<br />
Documentary Film: Berenice Abbott: A View of the Twentieth Century (1992)<br />
Hillstrom, L. C., & Hillstrom, K. (1999). Contemporary women artists. Detroit: St. James Press.<br />
Kauffman, Bette (1999). "Abbott, Berenice". In Commire, Anne (ed.). Women in World History: A biographical encyclopedia. 1. Waterford, CT: Yorkin Publications, Gale Group. pp. 11–17. ISBN 0787640808.<br />
Noyes Platt, Susan (2004). "Berenice Abbott". In Susan Ware (ed.). Notable American Women: A biographical dictionary, completing the Twentieth Century. Cambridge, MA: Harvard University Press. pp. 2–3. ISBN 067401488X.<br />
Stern, Keith (2009), "Abbott, Bernice", Queers in History, BenBella Books, Inc.; Dallas, Texas, ISBN 978-1-933771-87-8<br />
Wedge, Eleanor F. (2000). "Abbott, Berenice (1898–1991), photographer". American National Biography.<br />
Van Haaften, Julia (2018). Berenice Abbott: A Life in Photography, W. W. Norton & Company. ISBN 0393292789, ISBN 978-0393292787.<br />
External links<br />
Media related to Berenice Abbott at Wikimedia Commons<br />
<br />
Corinne, Tee A. "Berenice Abbott" (GLBTQ: An encyclopedia of gay, lesbian, transgender and queer culture.)<br />
Teicher, Jessica E. "Inspired by Berenice Abbott"<br />
"Berenice Abbott's Photographic Prints"(Commerce Graphics Ltd, Inc.)<br />
Berenice Abbott (The Museum of Modern Art)<br />
Get the Picture: Berenice Abbott (Minneapolis Institute of Art)<br />
Berenice Abbott (Archives of Women Artists, Research and Exhibitions)<br />
Architectural photographers<br />
Early architectural photographers include Roger Fenton, Francis Frith (Middle East and Britain), Samuel Bourne (India) and Albert Levy (United States and Europe). They paved the way for the modern speciality of architectural photography. Later architectural photography had practitioners such as Ezra Stoller and Julius Shulman. Stoller worked mainly on the east coast of America, having graduated with a degree in architecture in the 1930s. Shulman, who was based on the West Coast, became an architectural photographer after some images that he had taken of one of Richard Neutra's houses in California made their way onto the architect's desk.<br />
<br />
Elizabeth McCausland<br />
Elizabeth McCausland (1899–1965) was an American art critic, historian and writer.<br />
<br />
Eugène Atget<br />
Eugène Atget (French: [adʒɛ]; 12 February 1857 – 4 August 1927) was a French flâneur and a pioneer of documentary photography, noted for his determination to document all of the architecture and street scenes of Paris before their disappearance to modernization. Most of his photographs were first published by Berenice Abbott after his death. Though he sold his work to artists and craftspeople, and became an inspiration for the surrealists, he did not live to see the wide acclaim his work would eventually receive.<br />
<br />
Grace M. Mayer<br />
Grace M. Mayer (November 26, 1901–December 21, 1996) was a curator of photography for the Museum of the City of New York and for the Museum of Modern Art.<br />
<br />
Grapestake Gallery in San Francisco<br />
The Grapestake Gallery was founded in San Francisco in 1974 by Thomas V. Meyer and his sister Ursula Gropper. The gallery was the first in San Francisco to exhibit photographs concurrently with painting and sculpture. The gallery helped to introduce and validate photography as a fine-art and collecting medium. The gallery opened with an Ansel Adams retrospective and later exhibited artists such as Harry Callahan, Joel Meyerowitz, Paul Strand, William Eggleston, Richard Misrach, Berenice Abbott, Imogen Cunningham, Judy Dater, Lewis Baltz, and Jerry Uelsmann. Richard Misrach had his first one-man show here. Grapestake Gallery closed in 1984, but Meyer and Gropper continued to promote fine-art photographs as independent dealers.<br />
<br />
The world was not terribly much aware of fine art photography until Adams was discovered. When Adams, because of his great personality, his flamboyance, his humor, his generous nature, came on the scene and had some help from some promotional people, people started paying attention. Initially, there was virtually no market for photographs; nobody bought prints. When we opened our gallery, which was in 1974, we were selling a 16 x 20 inch Adams print for $500.<br />
<br />
Gwen Le Gallienne<br />
Gwen Le Gallienne (1874 - 1966) was an English painter and sculptor. She was the first woman allowed to sketch battlefield scenes by the British War Office.<br />
<br />
Hank DeVito<br />
Henry M. "Hank" DeVito is an American musician and photographer known primarily for his pedal steel guitar work and songwriting.<br />
<br />
Hank O'Neal<br />
Hank O’Neal (born June 5, 1940) is an American music producer, author and photographer.<br />
<br />
Helen Gee (curator)<br />
Helen Gee (1919–2004) was an American photography gallery owner, co-owner of the Limelight in New York City, New York from 1954 to 1961. It was New York City's first important post-war photography gallery, pioneering sales of photographs as art.<br />
<br />
In the late 1970s, Gee worked as a photography curator, lecturer and writer.<br />
<br />
Hofstra University Museum<br />
Hofstra University Museum is the art museum of Hofstra University, located in Hempstead, New York in Long Island.<br />
<br />
The Museum has two galleries on campus: the Emily Lowe Gallery and the David Filderman Gallery. The Museum and the Emily Lowe Gallery were established in 1963, and have been an active presence in the University for more than 50 years. The David Filderman Gallery was added to the museum in 1991. The Hofstra University Museum is accredited by the American Alliance of Museums (AAM).The Hofstra University Museum holds a collection of more than 5,000 art and ethnographic objects dating from 1,500 BCE to the contemporary period and representing six continents. The collections have grown primarily through gifts since the founding of Hofstra University in 1935, prior to the establishment of the Museum, and there have been many local contributors to the Museum’s collections. The Museum is noteworthy for African art and objects; Asian art is another area of strength with works dating from the seventh to the twentieth century.<br />
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The Hofstra University Museum owns an early Gauguin oil painting, Portrait of a Woman (1881–82), works by George Grosz, Conrad Felixmüller, Johan Barthold Jongkind, John Thomas Peele, Georges Rouault, Joseph Stella, Jane Peterson, and Alfred Maurer. Photographs in the collection include works of Berenice Abbott, Lucien Clergue, Danny Lyon, August Sander, Andy Warhol, and Edward Weston.<br />
<br />
Julien Levy<br />
Julien Levy (1906–1981) was an art dealer and owner of Julien Levy Gallery in New York City, important as a venue for Surrealists, avante-garde artists and American photographers in the 1930s and 1940s<br />
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Levy was born in New York. After studying museum administration at Harvard under Paul J. Sachs, Levy dropped out, traveled to Paris by boat, and befriended Man Ray, Marcel Duchamp, and Berenice Abbott, through whom he came into possession of a portion of Eugène Atget's personal archive. In Paris he also met his future wife, Joella Haweis, daughter of artist and writer Mina Loy. At some point in his life, Julien Levy remarried to surrealist artist Muriel Streeter.His connections with many other artists during this period of the 30's and 40's allowed Streeter to gain helpful insight with her own work during this time spent in and around Levy's New York gallery.<br />
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Back in New York, Levy worked briefly at the Weyhe Gallery before establishing his own New York gallery at 602 Madison Avenue in 1931. Concentrating at first on photography, he staged Man Ray's first major show, introduced Henri Cartier-Bresson to the U.S., and promoted many other European and American figures. On January 29, 1932 came the landmark multi-media Surrealist exhibition of the work of Pablo Picasso, Max Ernst, Joseph Cornell, Marcel Duchamp, and the introduction of Salvador Dalí's The Persistence of Memory (which Levy owned). He also championed the surrealist work of Leon Kelly.This exhibition marks the first in New York to display the works of members of the official surrealist group. In 1937 the gallery moved to 15 East 57th Street, where Levy mounted the first solo exhibition of the work of Frida Kahlo, November 1 to 15, 1938. From 1943 to 1949 the gallery was located at 42 East 57th Street. In 1945 Arshile Gorky had his first solo show there.<br />
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After closing the gallery, Levy taught at Sarah Lawrence College and State University of New York at Purchase. Levy's books include Memoir of an Art Gallery and Surrealism.<br />
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Leslie-Lohman Museum of Gay and Lesbian Art<br />
The Leslie-Lohman Museum of Gay and Lesbian Art (LLM), operated by the Leslie-Lohman Gay Art Foundation, is a visual art museum in SoHo, Lower Manhattan, New York City. It mainly collects, preserves and exhibits visual arts created by LGBTQ artists or art about LGBTQ themes, issues, and people. The Museum offers exhibitions year-round in numerous locations and owns more than 22,000 objects, including, paintings, drawings, photography, prints and sculpture. It has been recognized as one of the oldest arts groups engaged in the collection and preservation of gay art. In May 2011, the Foundation was awarded Museum status by the New York State Board of Regents. The Museum is a member of the American Alliance of Museums and operates pursuant to their guidelines. As of 2019, the LLM was the only museum in the world dedicated to artwork documenting the LGBTQ experience.The Museum maintains a Permanent Collection into which more than 1,300 objects have been accessioned. The Permanent Collection contains works by a number of well-known gay artists such as Berenice Abbott, David Hockney, Ingo Swann, Catherine Opie, Andy Warhol, Tom of Finland, Delmas Howe, Jean Cocteau, David Wojnarowicz, Robert Mapplethorpe, George Platt Lynes, Horst, Duncan Grant, James Bidgood, Duane Michals, Charles Demuth, Don Bachardy, Attila Richard Lukacs, Jim French, Del LaGrace Volcano, Paul Thek, Peter Hujar, Arthur Tress and many others.<br />
<br />
Nicholas Callaway<br />
Nicholas Callaway is an app producer, book publisher, television producer, writer and photographer.Mr. Callaway is the founder and CEO of Callaway Arts & Entertainment, a cross-platform intellectual property creation studio that publishes high-quality illustrated books, mobile applications, computer-animated television series, and branded lifestyle products. The company's book publishing division, Callaway Editions, specializes in the design, production and publication of high-quality illustrated books on the arts, design, fashion and photography. Titles include: Alfred Stieglitz: Photographs & Writings, Georgia O'Keeffe ’s One Hundred Flowers, Irving Penn’s Passage, 'Madonna' ’s Sex, Diana: Portrait of A Princess, The Art of Make-Up by Kevyn Aucoin, A Nation Challenged: A Visual History of 9/11 and its Aftermath, a series of children's books by Madonna beginning with The English Roses, the Callaway Classics series of fairy tales, and OBAMA: The Historic Journey, co-published with The New York Times.In 2012, he co-founded and was the CEO, then Chairman of Happy Studio, an interactive digital brand creation company for the development of lifestyle apps for Apple's iOS devices, with headquarters on Union Square in New York City.The company's first product, Martha Stewart CraftStudio, was released in partnership with Martha Stewart Living Omnimedia on June 21, 2012 and was an Editor's Choice in Apple's App Store on launch date. In its first weekend it rose to No. 1 in the lifestyle category in the App Store, and to No. 2 overall. Bringing the physical paper-crafting world of scrapbooking, memory-keeping and photo-embellishment to life on the iPad, Martha Stewart CraftStudio allows crafters and non-crafters of all ages and skill levels to create and customize digital cards, invitations, thank-you notes, scrapbook pages, keepsakes, and more.<br />
<br />
Its second brand Makr, a fast, easy and fun mobile-first design tool that empowers designers and makers everywhere, was acquired by Staples in April 2015.<br />
<br />
In August 2010, with an investment from Kleiner, Perkins, Caufield, and Byers, Mr. Callaway founded Callaway Digital Arts (CDA), which publishes children’s applications for Apple’s iPad, iPhone, and iPod family of products. All of CDA’s apps have risen to No. 1 in their category in the App Store, including Miss Spider’s Tea Party, Miss Spider’s Bedtime Story, Sesame Street’s The Monster at the End of This Book and Thomas & Friends: Misty Island Rescue, and the early learning literacy and numeracy series, Endless Alphabet.In 1994, Mr. Callaway published Miss Spider's Tea Party by David Kirk, which has sold 5 million copies worldwide. Subsequently, Nicholas Callaway and David Kirk founded Callaway & Kirk Company LLC, which is dedicated exclusively to the creations of David Kirk. Other products include: more than seventy Miss Spider titles; the CGI Nova the Robot book series; the Sunny Patch line of children's lifestyle products featured at Target stores for 7 years and subsequently acquired by the educational toy company Melissa & Doug; and Miss Spider's Sunny Patch Friends, a 3-D computer-animated television series that has aired on Nick Jr. in the US and in many other countries around the world since its debut in 2005.<br />
<br />
Nicholas Callaway graduated from Harvard University with a degree in Classics and Fine Arts, where he studied with Robert Fitzgerald and Emily Vermeule. He undertook early fine art photography and design studies at MIT with the founder of Aperture, Minor White, with designer Muriel Cooper, and with portrait photographer Wendy Snyder McNeil.<br />
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From 1977-1979 Mr, Callaway was the first director of Galerie Zabriskie in Paris, where he curated and mounted many landmark photography exhibitions, (many for the first time in Europe) including Harry Callahan, Lee Friedlander, Henri Cartier-Bresson, Eugène Atget, Berenice Abbott, Ansel Adams, William Klein, Man Ray and others. His final exhibition, French Avant Garde Photography Between the Wars, rediscovered for the first time such luminaries as Brassaï, Dora Maar, Claude Cahun, Eli Lotar, Germaine Krull, Roger Parry, Maurice Tabard, Jean Moral, Moï-Ver and others.<br />
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Mr. Callaway's photographs and writings have been published in Aperture (cover of Octave of Prayer, 1972 and Celebrations, 1975), Departures magazine and Vanity Fair.<br />
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Patchin Place<br />
Patchin Place is a gated cul-de-sac located off of 10th Street between Greenwich Avenue and the Avenue of the Americas (Sixth Avenue) in the Greenwich Village neighborhood of Manhattan, New York City. Its ten 3-story brick row houses, said to have been originally built as housing for the Basque staff of the nearby Brevoort House hotel, have been home to several famous writers, including Theodore Dreiser, E. E. Cummings, John Cowper Powys and Djuna Barnes, making it a stop on Greenwich Village walking tours. Today it is a popular location for psychotherapists' offices.<br />
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Stevens House (Astoria, New York)<br />
The Stevens House was located on Vernon Boulevard and 30th Road (Queens County) in the Astoria section of Queens in New York City, New York, United States.<br />
<br />
The Camera Club of New York<br />
Since 1884, The Camera Club of New York has been a forum to explore photography. Though the Club was created by well-to-do 'gentlemen' photography enthusiasts seeking a refuge from the mass popularization of the medium in the 1880s, it accepted its first woman as a member, Miss Elizabeth A. Slade, in 1887, only four years after its inception, and later came to accept new ideas and new approaches to the medium.<br />
<br />
Over the years the Club helped launch revolutionary new approaches to photography and nurture many photographers who later became giants in the field. Alfred Stieglitz used the Club as a forum and venue to convince a still skeptical public that photography was an art worthy of comparison to painting. Later, as the medium matured, the Club was again the place where the new "straight photography" approach would emerge. Paul Strand, who joined the Camera Club at 17, was introduced to a camera at the Club that had a right-angle viewfinder, allowing one to photograph people unaware. Strand used this camera to produce some of his most memorable images on the streets of New York, including Blind Woman and Wall Street.<br />
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The Camera Club was also an important place to hear about new advances in photography. For instance, X-Ray photography was demonstrated there in 1898 and the Autochrome Lumière process, an early form of color photography, in 1909. In 1930 Willard D. Morgan first introduced the new Leica camera to Club members. Among the important lectures held at the Club were Aero Photography by Edward Steichen in 1921 and The Life and Work of Eugène Atget by Berenice Abbott in 1931. Later, Richard Avedon lectured on fashion Photography in 1949.<br />
<br />
Today, the Camera Club continues to function as an important resource for photography. The club offers classes in basic camera and darkroom skills, which help nurture and create new pioneers of photography and workspaces for established and emerging photographers. Lectures and exhibits are an important part of the club's program. Since 1999 such important photographers as Eugene Richards, Nigel Parry, Duane Michals, Oliver Weber, Andres Serrano, Eddie Adams, and Henry Horenstein have exhibited and lectured at the club.The Camera Club of New York is located at 126 Baxter Street, New York, NY 10013.<br />
<br />
The Phillips Collection<br />
The Phillips Collection is an art museum founded by Duncan Phillips and Marjorie Acker Phillips in 1921 as the Phillips Memorial Gallery located in the Dupont Circle neighborhood of Washington, D.C. Phillips was the grandson of James H. Laughlin, a banker and co-founder of the Jones and Laughlin Steel Company.<br />
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Among the artists represented in the collection are Pierre-Auguste Renoir, Gustave Courbet, El Greco, Vincent van Gogh, Henri Matisse, Claude Monet, Pablo Picasso, Georges Braque, Pierre Bonnard, Paul Klee, Arthur Dove, Winslow Homer, James McNeill Whistler, Jacob Lawrence, Augustus Vincent Tack, Georgia O'Keeffe, Karel Appel, Joan Miro, Mark Rothko and Berenice Abbott.<br />
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Todd Webb<br />
Todd Webb (September 5, 1905 – April 15, 2000) was an American photographer notable for documenting everyday life and architecture in cities such as New York City, Paris as well as from the American west. His photography has been compared with Harry Callahan, Berenice Abbott, Walker Evans, and the French photographer Eugène Atget. He traveled extensively during his long life and had important friendships with artists such as Georgia O'Keeffe, Ansel Adams and Harry Callahan. He photographed famous people including Dorothea Lange. His life was like his photos in the sense of being seemingly simple, straightforward, but revealing complexity and depth upon a closer examination. Capturing history, his pictures often transcend the boundary between photography and artistic expression.<br />
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University of Maine Museum of Art<br />
University of Maine Museum of Art (UMMA) is an art museum in downtown Bangor, Maine. It is part of the University of Maine, which is located in nearby Orono, Maine. The University of Maine Art Collection was established in 1946, under the leadership of Vincent Hartgen. As the initial faculty member of the Department of Art and curator of the art collection, Hartgen's goal was to provide the people of Maine with significant opportunities to experience and learn about the visual arts and their diverse histories and cultural meanings.<br />
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In the early 1980s, the University Art Collection became the University of Maine Museum of Art. Through the cooperative effort and vision of the City of Bangor and the University of Maine, the museum relocated in December 2002 to downtown Bangor where it has taken on a new role as a regional fine arts center. The facility was designed by the Boston firm, Ann Beha Architects, and now occupies the first floor of Norumbega Hall, a historic downtown building that formerly housed a department store. The Bangor facility, while allowing the museum to showcase a greater proportion of its collection, also enhances the arts scene of the region's largest city.<br />
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The museum remains the only institution owned by the citizens of the State of Maine to house a permanent fine arts collection – one which has grown to a stature that makes it a nucleus in the state for historic and contemporary art. Consisting of more than 3500 original works of art, the collection is particularly strong in American mid-20th century works on paper. Contemporary highlights of the collection include works by David Hockney, Andy Warhol, Roy Lichtenstein, Edward Hopper, Pablo Picasso, and Edward Burtynsky. Additionally, the museum's permanent collection includes work by artists associated with Maine such as Berenice Abbott, Marsden Hartley, Winslow Homer, John Marin, Carl Sprinchorn, and Andrew Wyeth. In addition to making the University's collection more accessible to the public, the downtown location enables the museum to expand its educational programs beyond the confines of the Orono campus. In 2011, the museum was said to have one of the finest gallery spaces in the state.The museum hosts an annual calendar of exhibitions featuring contemporary artists and ideas. In 2011, the museum hosted its first national show, Photo National 2011. The exhibit featured 76 photographs by 34 photographers, including 11 from Maine. Among the museum's educational offerings are art camps for children lectures, special events, family programming, and educational classes and workshops for adults.University of Maine Museum of Art is part of the Maine Art Museum Trail, a circuit of eight art museums designed to highlight Maine's art history.In 2014, the museum renewed its lease to remain in the downtown location for an additional 17 years.<br />
<br />
Ohio Women's Hall of Fame<br />
1970–1979<br />
1978<span style="white-space: pre;"> </span><br />
Florence Allen Helen Chatfield Black Frances Bolton Elizabeth Boyer Harriet Bracken Martha Kinney Cooper Gertrude Donahey Jane Edna Hunter Consolata Kline Virginia Kunkle Margaret Mahoney Helen Grace McClelland Agnes Merritt Rose Papier Lottie Randolph Ella P. Stewart Marigene Valiquette Ann B. Walker Stella Walsh Marion Wells<br />
1979<span style="white-space: pre;"> </span><br />
Mary Jobe Akeley Mary Ann Bickerdyke Beatrice Cleveland Charity Edna Earley Eleanor Jammal Bernice Kochan Emily Leedy Ruth Lyons Jerrie Mock Emma Phaler Rachel Redinger Bobbie Sterne Ethel Swanbeck Clara Weisenborn Marjorie Whiteman<br />
1980–1989<br />
1980<span style="white-space: pre;"> </span><br />
Grace Berlin Erma Bombeck Patricia M. Byrne Ruth Crawford Louisa Fast Dorothy Fuldheim Lillian Gish Esther Greisheimer Edith Keller Tella Kitchen Blanche Krupansky Hattie Larlham Mary Louise Nemeth Annie Oakley Doris Weber<br />
1981<span style="white-space: pre;"> </span><br />
Mildred Bayer Tina Bischoff Lovin Dorothy Cornelius Doris Day Phyllis Diller Eusebia Hunkins Andre Norton Jean Starr Untermeyer Harriet Taylor Upton Nancy Wilson<br />
1982<span style="white-space: pre;"> </span><br />
A. Margaret Boyd Ann Eriksson Bernice Foley Zelma Watson George Grace Goulder Izant Toni Morrison Phyllis Sewell Jayne Spain Helen Zelkowitz<br />
1983<span style="white-space: pre;"> </span><br />
Harriet J. Anderson Ione Biggs Eula Bingham Mary O. Boyle Mariwyn Heath Josephine Irwin Barbara Janis Minnie Player Gloria Steinem Freda Winning Mary E. Miller Young<br />
1984<span style="white-space: pre;"> </span><br />
Sally Cooper Sarah E. Harris Cindy Noble Hauserman Marcy Kaptur Karen Nussbaum Mary Rose Oakar Catherine Pinkerton Willa Player Judith Resnik Helen Hooven Santmyer Marian Trimble Joyce Wollenberg<br />
1985<span style="white-space: pre;"> </span><br />
Lois Anna Barr Cook Mercedes Cotner Zell Draz Barbara Easterling Nikki Giovanni Aurora Gonzalez Mary Lazarus Barbara Mandel Norma Marcere Helen Mulholland Lauretta Schimmoler Marge Schott Mary Jen Steinbrenner<br />
1986<span style="white-space: pre;"> </span><br />
Margaret Andrew Kathleen Barber Fay Biles Elizabeth Blackwell Marie Clarke Eva Mae Crosby Ruby Dee Cynthia Drennan Hooker Glendinning Louise Herring Katherine LeVeque Ruth Ratner Miller Amelia Nava Arline Webb Pratt Anastasia Ann Przelomski Virginia Purdy Selma Lois Walker Julia Walsh Faye Wattleton Mary Ellen Withrow<br />
1988<span style="white-space: pre;"> </span><br />
Anna Biggins Patricia Clonch Norma Craden Jewel Freeman Graham Cathy Guisewite Rebecca D. Jackson Carol Heiss Jenkins Carol Kane Bea Larsen Alice Raful Lev Linda Rocker Sogg Eleanor Smeal Carolyn Utz Anita Smith Ward<br />
1989<span style="white-space: pre;"> </span><br />
Jeanette Grasselli Brown Maxine Carnahan Tracy Chapman Betsy Mix Cowles Ann Gazelle Michelle Graves Florence Harshman June Hutt Geraldine Jensen Carolyn Mahoney Linda Myers Jennie Porter Diane Poulton Renee Powell Charlene Spretnak Charlene Ventura<br />
1990–1999<br />
1990<span style="white-space: pre;"> </span><br />
Marilyn Gaston Dorothy Jackson Luella Talmadge Jackson Janet Kalven Rosabeth Kanter Maggie Kuhn Joan Lamson Maya Lin Anne Variano Macko Alicia Mott Ludel Sauvageot Fanchon bat-Lillian Shur Phebe Temperance Sutliff Grayce Williams<br />
1991<span style="white-space: pre;"> </span><br />
Berenice Abbott Earladeen Badger Hallie Brown JoAnn Davidson Raquel Diaz-Sprague Rita Dove Mary Ignatia Gavin Sara Harper Donna Hawk June Holley Martha C. Moore Darlene Owens Helen H. Peterson Martha Pituch Yvonne Pointer Virginia Ruehlmann Josephine Schwarz Suzanne Timken Nancy Vertrone Bieniek Stella Marie Zannoni<br />
1992<span style="white-space: pre;"> </span><br />
Mary of the Annunciation Beaumont Antoinette Eaton Rubie McCullough Nancy Oakley Harriet Parker Susan Porter Helen Steiner Rice Alice Schille Louella Thompson<br />
1993<span style="white-space: pre;"> </span><br />
Mildred Benson Amelia Bingham Virginia Coffey Viola Famiano Colombi Ivy Gunter Virginia Hamilton Lucy Webb Hayes Joy Alice Hintz Geraldine Macelwane Anne O'Hare McCormick Rena Olshansky Edna Pincham Maxine Plummer Jean Reilly Pauline Riel<br />
1994<span style="white-space: pre;"> </span><br />
Christine M. Cook Claudia Coulton Ellen Walker Craig-Jones Nanette Ferrall Jill Harms Griesse Georgia Griffith Florence Melton Lucille Nussdorfer Jane Reece Emma Ann Reynolds Carol Scott Paula Spence Deanna Tribe Lillian Wald<br />
1995<span style="white-space: pre;"> </span><br />
Sandra Beckwith Daeida Hartell Wilcox Beveridge Patricia Ann Blackmon Mary Bowermaster Christine Brennan Joy Garrison Cauffman Bunny Clark Grace Drake Naomi Evans Frances Dana Gage Jane Kirkham Sylvia Lewis Tami Longaberger Donna Moon Gratia Murphy Alice Robie Resnick Muriel Siebert<br />
1996<span style="white-space: pre;"> </span><br />
Carol Cartwright Elizabeth Evans Rae Natalie Goodall Elizabeth Hauser Bernadine Healy Carol Kelly Fannie Lewis Betty Montgomery Hope Taft<br />
1997<span style="white-space: pre;"> </span><br />
Carol Ball Marilyn Byers Jean Murrell Capers Martha Dorsey Joan Heidelberg Clarice Herbert Beatrice Lampkin Jacquelyn Mayer Townsend Ann O'Rourke Beryl Rothschild Thekla Shackelford<br />
1998<span style="white-space: pre;"> </span><br />
Marianne Boggs Campbell Carole Garrison Nancy Hollister Stephanie J. Jones Bettye Ruth Kay Barbara Ross-Lee Audrey Mackiewicz Kathy Palasics Margaret Diane Quinn Henrietta Seiberling Mary Emily Taylor Virginia Varga Jacqueline Woods Nancy Lusk Zimpher<br />
1999<span style="white-space: pre;"> </span><br />
MaryJo Behrensmeyer Alvina Costilla Sarah Deal Electra Doren Daisy Flowers Annie Glenn Ann Hamilton Carole Hoover Cheryl Han Horn Carol Latham Nancy Linenkugel Marie Barrett Marsh Marjorie Parham Mary Regula Lee Lenore Rubin Harriet Beecher Stowe Jerry Sue Thornton Janet Voinovich<br />
2000–2009<br />
2000<span style="white-space: pre;"> </span><br />
Paige Ashbaugh Maude Charles Collins Faye Dambrot Margarita de Leon Patricia Louise Fletcher Jean Patrice Harrington Shirley Hoffman Dorothy Kazel Farah Majidzadeh Ada Martin Lorle Porter Lanna Samaniego Yvonne Taylor Margaret Wong Betty Zane<br />
2001<span style="white-space: pre;"> </span><br />
Rebecca Boreczky Frances Jennings Casement Ruth L. Davis Lucille Ford Susan F. Gray Kathleen Harrison Adella Prentiss Hughes Janet E. Jackson Dottie Kammie Kamenshek Maxine Levin Irene Long Martha MacDonell Mary Andrew Matesich Elizabeth Powell Deborah Pryce Maria Sexton Farah Walters Georgeta Blebea Washington<br />
2002<span style="white-space: pre;"> </span><br />
Judy Barker Frances Seiberling Buchholzer Joan Brown Campbell Nancy Frankenberg Zell Hart-Deming Elsie Helsel Katie T. Horstman Jennie Hwang Cathy Monroe Lewis Viola Startzman Robertson Stefanie Spielman Kathryn D. Sullivan<br />
2003<span style="white-space: pre;"> </span><br />
Sheila Bailey Jeraldyne Kilborn Blunden Shannon Carter Luceille Fleming Olga Gonzalez-Sanabria Elsie Janis Lois Lenski Ellen Mosley-Thompson Cathy Nelson Evlyn Gray Scott Yvonne Williams<br />
2007<span style="white-space: pre;"> </span><br />
Rogers Margaret Brugler Julia Chatfield Lucille Hastings Lillie Howard Mary Ann Jorgenson Joyce Mahaney Rozella Schlotfeldt Katherine May Smith Florence Wang<br />
2008<span style="white-space: pre;"> </span><br />
Dorothy Baunach Carrie Black Caro Bosca Yvette McGee Brown Loann Crane Joan Durgin Carol Gibbs Billie Johnson Jih Lei Elizabeth Magee Kasturi Rajadhyaksha Julie Salamon Michele Wheatly<br />
2009<span style="white-space: pre;"> </span><br />
Gail Collins Pamela B. Davis Kim de Groh Beverly J. Gray Sharon Howard Carol Kuhre Virginia Manning Helen Moss Judith Rycus Mary Adelaide Sandusky Glenna Watson Bernett Williams Celia Williamson<br />
2010–2019<br />
2010<span style="white-space: pre;"> </span><br />
Owens Alvarene Tenenbaum Gayle Channing Dorothy McAlpin Maguire Chapman Barbara Fergus Merle Grace Kearns Rebecca J. Lee Nina McClelland Lana Moresky Martha Potter Otto Elizabeth Ruppert Rita Singh<br />
2011<span style="white-space: pre;"> </span><br />
Cheryl A. Boyce Elizabeth H. Flick Frances Harper Brenda J. Hollis Mary C. Juhas Kleia R. Luckner Valerie J. Lyons Linda S. Noelker Carrie Vonderhaar<br />
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-29996687130374719112019-10-01T02:11:00.000-07:002019-10-01T02:11:49.936-07:00Views & Reviews The Bread Book Kenneth Josephson Conceptualism Photography<div class="separator" style="clear: both; text-align: center;">
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THE BREAD BOOK<br />
by Josephson, Kenneth<br />
Austin, TX: University Of Texas Press, 2016. First Edition. First Printing.. Softcover. As New/No Dust Jacket, As Issued.. Austin, TX: University Of Texas Press, 2016. Softcover. As New/None, As Issued. First Edition/First Printing. 20 pages. Collection of photographs, presented as an Artist Book. One of the most important Conceptual art photography books of our time, in a New Edition. Limited Edition of 250 signed copies. Published as a softcover original only that will not be reissued once all of the copies are sold. An austerely elegant production by Kenneth Josephson and Only Photography Press: Regular-sized volume format. Pictorial softcovers with titles on the cover, as issued. Photographs by Kenneth Josephson. There is no text. Printed on pristine-white, thick coated stock paper in Berlin, Germany to the highest standards. The photographer himself has said that the production quality is superior to the original edition in the way that it captures the tonal nuances which, of course, is the whole point of the book. Without DJ, as issued. Re-presents, in a Limited Edition format, Kenneth Josephson's "The Bread Book". Pioneering Conceptual art photography at its Minimalist best, long before Minimalism itself became a full-fledged and dominant movement. "A deceptively simple object - photographs of the fronts and backs of ten slices of bread with no accompanying text - this Artist Book raises questions about the nature of photography and its ability to transform an object into an idea or concept while creating yet another object: The book itself. The result of this act of transformation is that the original loaf no longer functions as a loaf of bread, but as a self-contained book that considers the ideas of sequence and illusion" (Publisher's blurb). "A monument of the photobook. It's the book itself that is the work of art, not the individual images. Like most of the best Conceptual photography, the idea is devastatingly simple on the surface yet infinitely complex when you look beyond the surface" (Gerry Badger). Originally published in an edition of 1800 copies, "The Bread Book" has been out-of-print for a very long time. Here it is, in a production that Kenneth Josephson himself regards as definitive and superior to its original realization. An absolute "must-have" title for Kenneth Josephson collectors. <b><i>This title is a late-modern art photography classic. One of the greatest artist/photographers of our time. </i></b><br />
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<a href="http://www.ai-ap.com/publications/article/10775/kenneth-josephson-the-bread-book.html"><span style="color: red;">The Bread Book by Kenneth Josephson</span></a> (1973) is a small booklet of twenty pages printed in offset. Starting with the front cover, which shows, besides the title, the cap of a loaf of bread. Each sheet progressively shows the front and back of all ten slices of a small loaf of bread. The back cover therefore shows the other end of the loaf.<br />
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Josephson created this book in direct response to the photo story sequences that were being created and published by Duane Michals at about that time.<br />
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“If you look at a Duane Michals book you see it and you get it, and you never look at it again,” Josephson said. “With The Bread Book there is nothing to get. You can even look at it backwards.”<br />
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What started life as a fairly cheap and affordable book now retails for quite some dough.<br />
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<strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="http://www.thebookbeat.com/backroom/2016/07/26/photographer-kenneth-josephson-at-book-beat-sun-aug-7/"><span style="color: red;">Kenneth Josephson</span></a></strong><span style="color: #222222;"> is one of the foremost conceptual photographers in America. Since the early 1960s, when </span><span style="color: #222222;">institutions such as MoMA privileged photography in the documentary mode, Josephson has championed the photograph as an object “made,” not taken, by an artist pursuing an idea. Using innovative techniques such as placing images within images and including his own body in photographs, Josephson has created an outstanding body of work that is startlingly contemporary and full of ideas that stimulate the digital generation—ideas about the nature of seeing, of “reality,” and of human aspirations, and about what it means to be a human observing the world.</span></div>
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<strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><a href="https://thephotobook.wordpress.com/2016/04/05/kenneth-josephson-the-light-of-coincidence/"><span style="color: red;">The Light of Coincidence</span></a></em></strong><span style="color: #222222;"> is the definitive, career-spanning retrospective of Kenneth Josephson’s work and one of the few volumes ever published on this major artist. Josephson has worked in series over long periods of time, and this book beautifully reproduces representative selections from every series, including Josephson’s best-known </span><em style="background: transparent; border: 0px; color: #222222; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Images within Images</em><span style="color: #222222;">. Lynne Warren places Josephson’s art in historical context, from his early studies with Aaron Siskind and Harry Callahan at the Institute of Design and with Minor White at the Rochester Institute of Technology, to his mature work, which shares affinities with that of conceptual artists such as Cindy Sherman and Ed Ruscha, to his shaping influence on generations of students at the School of the Art Institute of Chicago, where he taught for over thirty-five years. Preeminent photo historian Gerry Badger’s foreword confirms Josephson’s stature as an artist who has explored “in a thoroughly creative and complex, yet accessible, way, the perhaps narrow but infinitely deep gap between actuality and image.”</span></div>
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“Kenneth Josephson’s photographs have life because they are great pictures. That is why they are not only satisfying but have resonated in our consciousness for so long. . . . He has produced one of the foremost bodies of work that explores how photographic images operate and their ultimate purpose.” -Gerry Badger, from the foreword to <em style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Light of Coincidence</strong></em></div>
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<span class="aolmail__5yl5" style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“A monument of the conceptual photobook. . . . It’s the book itself that is the work of art, not the individual images. . . . Like most of the best conceptual photography, the idea is devastatingly simple on the surface, yet infinitely complex when you look beyond the surface.” —Gerry Badger on <em style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Bread Book</strong></em>, author of The Photobook: A History</span></div>
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“The book shows the tremendous range of image-making styles, from street photography to collage, poignant family photos, references to photo history, and cheeky nudes. It’s easy to imagine they’ll continue to resonate deep into the future as well. –Famous in Chicago? What a Concept, <a href="http://lens.blogs.nytimes.com/2016/04/20/light-of-coincidence-kenneth-josephson/" style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0); background: transparent; color: #dd3333; margin: 0px; padding: 0px; vertical-align: baseline;">New York Times Lens Blog article on Kenneth Josephson</a></div>
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Read a Wall St. Journal review of his most recent exhibition <a href="http://www.wsj.com/articles/restlessness-secret-cities-and-meaningful-color-1460761259" style="-webkit-tap-highlight-color: rgba(0, 0, 0, 0); background: transparent; color: #dd3333; margin: 0px; padding: 0px; vertical-align: baseline;">here</a></div>
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“Ken makes photographs through conceptualism using expedient formal strategies calling attention self-consciously to the medium’s limits. It is conceptual and accessible because it is so clearly formal while playful wit and irony prevails. His images of humor and clarity that simultaneously invite pondering speak to generations in their freshness. And curators have long taken note and continue to speak to his influence in contrast to the relative under-representation of his rich and varied oeuvre.” — Marilyn Zimmerwoman, photographer/activist/educator</div>
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<strong style="background: transparent; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Kenneth Josephson</strong> was born in Detroit in 1932. He began his formal photography training at the Rochester Institute of Technology, earning an Associate Degree before being drafted into the army in 1953, where he spent several months in Germany doing photolithography for aerial reconnaissance. He returned to R.I.T. immediately after to earn his B.F.A. studying under the new program head, Minor White. Josephson started his graduate studies at the Institute of Design in 1958 studying under Harry Callahan and Aaron Siskind. In 1960 Josephson became an instructor at The School of the Art Institute of Chicago, where he taught until 1997. Josephson has participated in numerous exhibitions, and his works are in major museums around the world, including the Bibliothèque Nationale, Paris; the Center for Creative Photography; the George Eastman House; the Metropolitan Museum of Art; the Museum of Modern Art; the Tokyo Metropolitan Museum of Photography; and the Whitney Museum of American Art, as well as countless private collections.</div>
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<span style="color: red; font-size: large;"><b><a href="http://jnocook.net/texts/breadbook.htm">Visual Criticism in Photography</a></b></span><br />
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Jno Cook, Nit & Wit Magazine, November 1981<br />
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Photography is somewhat different from the other visual arts. Much of what has passed as photo-criticism in the last one hundred and forty years, and there has been very little of it, has been written by photographers. This has been so because, historically, photography represented more of a guild community, and therefore fell upon its own membership to formulate a critique. There were no objective outsiders who took any interest in the field, and few of the insiders have been articulate. Additionally, that photo community had little awareness of its own history, a condition that prevailed into the sixties, and photography's status as art was not firmly established until the seventies.<br />
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But at that point in time we not only see a rise in the volume of literature dealing with photography, but for the first time we start to see what might be understood as a criticism that is expressed in the same medium. It is photographic work done by photographers which deals with the work of other photographers. But there is little of it, and it is often inconclusive. The sparsity of work is in some ways difficult to understand, for when it comes to turning out work the photographic process has much greater possibilities for less of an investment than, for example, painting. More likely it stems from the discomfort many photographers must feel in attempting critical work. Because it is mostly absent or goes unrecognized, there is no clear legitimacy for photographic criticism done photographically, for work that forms a reaction, a condensation, or an understanding of the work of others. I am not speaking here of simply the art-historical allusion, references to the medium, or of conceptual explorations. And I'm not speaking of ifluences or derivative work. I'm speaking of genuine reactions, direct responses. Let me give two examples.<br />
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As a first example, consider the work done by a number of photographers which has had a clear reference to the work of the nineteenth century photographer Eadweard Muybridge, who in 1887 published some 800 motion studies under the title, Animal Locomotion. Muybridge had demonstrated in 1877 what a galloping horse looked like, and specifically that all four feet were off the ground at some point. But the studies of 1887 went far beyond his initial effort. Animal Locomotion showed the gaits of elephants and camels and other animals borrowed from the Philadelphia zoo, as well as humans, most often in the nude, in every type of activity. The colotype prints of these activities generally showed a dozen or more consecutive frames, and often simultaneous views were shown from the front, the side, and obliquely. Bound into books, the studies represented eleven volumes.<br />
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In 1974, Jim Snitzer spoofed the Muybridge efforts with a series of prints titled "Animal Crackers." Within the consecutive frames of each print animal crackers were being transformed, perhaps by being eaten. At about the same time, Marion Faller and Hollis Frampton produced a set of 16 prints under the label "Vegetable Locomotion," which did similar things with vegetables. Significant of the date -- 1974, 1975 -- is the fact that this seems to be the earliest time at which this type of activity is allowed while simultaneously the requirement is made of the viewer that it be taken seriously. It needed to be taken seriously, to the extent that that was possible, because all three of these persons were students in an art curriculum at the time. Snitzer was at the School of the Art Institute of Chicago, and Faller and Frampton were at the Visual Studies Workshop in Rochester.<br />
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But what kind of activity is this? How are we supposed to react to this work? Despite the fact that both of these series are the products of working artists, there seems to be little or nothing we can clearly label as art. The work does not deal with personal concerns or larger social issues. None of it calls up an emotional response, nor is any of it important as an appeal to its inherent sensual quality. To understand how this work functions one has to recognize the use of humor, parody, the historical allusion, and the exuberant display of imagination as intellectual activities, and realize that when the allusion becomes the primary reference of the work we are simply dealing with criticism. The legitimacy of an intellectual basis for work was, of course, firmly established in the other visual arts, but in photography it was tolerated much less. Photographers have always had problems in not dealing with real subject matter. This may explain the hesitancy with which these ventures are undertaken, and the fact that they fall short of their goal. For, although both of these studies can be understood as a reflective critique of Muybridge's Animal Locomotion, both miss the central reality of Muybridge's work: its in credible compulsiveness and exhaustiveness. It is this, after all, that makes Muybridge stand out as an exemplary figure in the history of photography. Those 800 studies were produced over the span of three or four years, and who can tell how much additional work was never published. A dozen prints, therefore, do not adequately address Muybridge's work or personality in scope or essence. A portfolio of a hundred prints would have been more to the point. Neither Snitzer nor Faller and Frapton, for example, blow up their subjects with a stick of dynamite as Muybridge did with a turkey, or use deformed vegetables as subjects.<br />
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Another example of criticism within the media is found in the work of Kenneth Josephson. Josephson teaches photography at the School of the Art Institute of Chicago, and much of his work over the years has dealt with an analytical exploration of photography in itself. Among his works, for example, is a continuing series dealing exclusively with allusion to the history of photography. Josephson is facile and at ease witht his type of work, and it is therefore no surprise that he was able to shift to a piece of work that was decidedly more critical than conceptual; the 1973 production of The Bread Book. The Bread Book is a small booklet of ten leaves, that is, twenty pages if the covers are counted, printed in offset. At first glance it might seem like yet another conceptual statement. Starting with the front cover which shows, besides the title, the cap of a loaf of bread, each sheet progressively shows the front and back of all ten slices of a small loaf of bread. The back cover therefore shows the other end of the loaf. It is easily dismissable unless some thought is given to what is being presented here, and how that is being accomplished. And it gains considerable significance if one knows that Josephson created this in direct response to the photo story sequences that were being created and published by Duane Michals at about that time.<br />
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"If you look at a Duane Michals book you see it and you get it, and you never look at it again," Josephson said. "With The Bread Book there is nothing to get. You can even look at it backwards." Josephson is notorious for the understatement. He doess not make mention, for example, what must be obvious after a moment's reflection, that the bread book incorporates the physical aspects of a loaf of bread. It not only records the bread in detai1, but the form of the book is the plan and layout for the reconstruction of the loaf. When you stand the book on end it becomes a sliced loaf of bread again. And like the building plans for a house, it has been condensed to a thickness of a mere eighth of an inch. Similar to other books of instructions with similar deadpan titles which appeared in the seventies -- books The Dome Book, The Massage Book -- Josephson's book seems to hold the same promise of completeness and no-nonsense authenticity. And it is. It's all there, the whole loaf. The slices are even reproduced full-size.<br />
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The Bread Book also comments on art and the making of art, and especially on the lack of taste or intelligence that goes into the preferences of the buying public. Duane Michal's work was selling. By 1974 Michals would have an exhibit at LIGHT gallery in NewYork. But for Josephson's bread book, the possibility of monetary rewards seemed limited, for the book sold for only two dollars and fifty cents. But that was the point of it. For Josephson, who normally dealt in single photographic peints, matted and signed, there was a gesture in the inexpensiveness of The Bread Booh just as there was in its availability. "I have quite a few left," Josephson remarked recently.<br />
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I have to admit that I had to struggle with The Bread Book when I first saw it. Its most significant aspect at first was the clever way in which the paradigm of subject and object had been retained. The book not only duplicated a loaf of bread, but any loaf of bread now became a model for The Bread Book. That is the sort of thing that makes Siskind's photograph of a discarded glove work in the same way that a photograph of a shoe woulddn't work -- for gloves, or hands, exist in the vertical, but a shoe on the wall would have been an absurdity.<br />
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What next became obvious is that I was here dealing with a book, and would tend to look at it with those presumptions which we nornally have about books. We immediately assume a narrative character, a progression from front to back, and a content that starts and completes itself within the covers -- not, as with this book, on the Covers.<br />
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We even assume that serial images are located in time. The Bread Book satisfied none of these requirements. Instructive as this might be in enlightening our ignorance, just as we might delight in those parallels that are being shown between books and bread, all of this make much more sense when seen in the context of Josephson's purpose. Compare The Bread Book now with the books of Duane Michals which play with space and physical transformations, but which are always located in time, always meant to be read from left to right, always assume a narrative unfolding.<br />
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As I mentioned above, efforts such as these seldom occur in photography, and when they happen they often fall short. Direct critical work is often reduced to a display of humour, and does not involve the requisite activities of amassing data, of analytic comparisons, or even of expressing a complete response to the work of others. The two critiques of Muybridge are obviously incomplete. Josephson's book, too, is inconclusive in that he never revealed his target publicly. But then, Josephson never deals in specific subject matter. For him the concepts incorporated in the book are more important than a specific reference to Duane Michals would have been. Josephson was wise enough to choose a small loaf -- there are only ten slices -- not only apropos for a small book, but perhaps also for a single roll of film, and at any rate just enough to establish it as a toss-off. His target, Josephson might have suggested, didn't require any more comment than that.<br />
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<i>Photos: Matthew Carson</i><br />
<br />
Kenneth Josephson was born on July 1, 1932 in Detroit, Michigan and he is one of the early and influential practitioners of Conceptual photography. Layering his images within other images and playing with the act of picture-making, investigating the nature of truth and illusion in the photographic medium. He is one of the great photographers of the latter part of the 20th century. Information. Happy birthday, Kenneth!<br />
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Matthew Carsonis a Librarian and Archivist at the International Center of Photography [ICP] in New York. Information. He is one of the committee members of the Contemporary Artists’ Book Conference at the New York Art Book Fair [NYABF] and is also a co-founder of the 10×10 Photobook organization. In 2013 he was a curator of the book component of the ICP Triennial: A Different Kind of Order. Information. Information. As a photography enthusiast and bibliomaniac he is the editor and a writer for the ICP library blog, Monsters & Madonnas.<br />
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<blockquote class="embedly-card">
<h4>
<a href="https://issuu.com/classicphotobooks/docs/cu31924003577214">The Book of Bread 1903 Parr Badger I Owen Simmons Photography</a></h4>
The Book of Bread 1903 Parr Badger I Owen Simmons Photography https://bintphotobooks.blogspot.com/2018/09/views-reviews-book-of-bread-1903-parr.html</blockquote>
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The Book of Bread. Text by Owen Simmons. Uncredited photographer. Maclaren & Sons, London, 1903. 360 pp. Large quarto. First edition. Hardbound with debossed title. 27 black-and-white and 11 color reproductions (8 tipped-in) plus 2 pasted-in silver gelatin prints. </div>
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Of all the books mentioned in Parr and Badger's The Photobook: A History, vol. I, one of the titles most often mentioned in reviews was this idiosyncratic (mainly because it is so doggedly literal) look at the world of bread. As they explain, even though the book was published in 1903, it is related to nineteenth century attempts to catalogue and classify the "things of the world." "Here, at the beginning of the twentieth century," they write, "one of the humblest, yet most essential of objects is catalogued as precisely, rigorously and objectively as any work by a 1980s Conceptual artist."</div>
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-48134134162547694362019-10-01T01:28:00.000-07:002019-10-01T02:03:58.995-07:00Views & Reviews The Book of Bread 1903 Parr Badger I Owen Simmons Photography<div class="separator" style="clear: both; text-align: center;">
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Title: <a href="https://www.ebay.nl/itm/Owen-Simmons-The-Book-of-Bread-1st-1st-1903-hb-Parr-Badger-rare-photobook/142907501518?hash=item2145f36bce:g:J2sAAOSwYtla2g2b"><span style="color: red;">The Book of Bread</span></a><br />
Author: Owen Simmons<br />
Published: 1903<br />
Publisher: Maclaren & Sons<br />
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First edition/first impression; UK; hardback without dust wrapper, as first issued<br />
Extremely scarce early 20th Century baking book, in its true first edition, which is now more famous as a fascinating piece of photographic history. Green cloth, lettered and decorated in black, with elaborate gilt lettering on the upper cover. Illustrated throughout with 12 chromolithograph plates, 8 tipped-in original photographs and 2 mounted silver gelatine prints. All plates, photographs and prints are present.<br />
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Referenced by Martin Parr and Gerry Badger, in The Photobook: A History, Vol 1, where they write: “here, at the beginning of the twentieth century, one of the humblest, yet most essential of objects is catalogued as precisely, rigorously, and objectively as any work by a 1980s Conceptual artist".<br />
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See also<br />
<h3 class="post-title entry-title" itemprop="name" style="background-color: white; font-family: Georgia, serif; font-size: 18.2px; font-weight: normal; line-height: 1.4em; margin: 0.25em 0px 0px; padding: 0px 0px 4px;">
<a href="http://bintphotobooks.blogspot.com/2016/12/views-reviews-bread-book-kenneth.html"><span style="color: red;">Views & Reviews The Bread Book Kenneth Josephson Conceptualism Photography</span></a></h3>
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<blockquote class="embedly-card">
<h4>
<a href="https://issuu.com/classicphotobooks/docs/cu31924003577214">The Book of Bread 1903 Parr Badger I Owen Simmons Photography</a></h4>
The Book of Bread 1903 Parr Badger I Owen Simmons Photography https://bintphotobooks.blogspot.com/2018/09/views-reviews-book-of-bread-1903-parr.html</blockquote>
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-16995242772924473032019-09-30T23:13:00.000-07:002019-09-30T23:13:54.163-07:00Kurkdjian Surabaya Come to Java 1922-23 Dutch East Indies Photography<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhXZ0qJr_d1drABNGkpsDLKkvvUkbGKTNrlAlKfv0CfOkxfxFnPszUKb53-8QW2EbAGQMw50wgdscmpHOfKxrdljcmjnPGCbakkMDxIV9_2wNx_EocFCkdFoWTiUZbGyeipTkUAuqG5HiN/s1600-h/IMG_9675.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5199861138428910642" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhXZ0qJr_d1drABNGkpsDLKkvvUkbGKTNrlAlKfv0CfOkxfxFnPszUKb53-8QW2EbAGQMw50wgdscmpHOfKxrdljcmjnPGCbakkMDxIV9_2wNx_EocFCkdFoWTiUZbGyeipTkUAuqG5HiN/s400/IMG_9675.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a>Come to Java 1922-23 by Official Tourist Bureau Weltevreden Java see for a <a href="http://www.flickr.com/photos/7687218@N05/sets/72157605033798074/"><span style="color: red;">slideshow on Flickr</span> </a>... photography by Kurkdjian Surabaya<br />
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<img alt="" border="0" id="BLOGGER_PHOTO_ID_5199862667437268034" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeWAEvqwm1t5H-tL6bXl2E5pmq9S9JZu5NFU2I0AfHpIXWet-75s8ySwkqyJYOcZDUdeyrgjKP2m3-Cte5ui04KyjazNZ1qEnKGIcjYF7XK4_Y-_hxSN4SoKSQ3I_l4aSG3oWaJRjrImFt/s400/IMG_9695.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi9Mq8LH9aqlzHa5N1dy1Hb_svJrP1zOlnBw0PySCkk53tXltQEXCrYcY2I7WtdCLDnLeWM6VqhINKaloNiNzP_5NSYc0ApsC4xkV8cf0e4CEldYF8iULnReM9JZc4pOcGTJ-VxcIXEf8m/s1600-h/Kurkdjian+Surabaya+achterzijde+Java.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5200482680326184034" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi9Mq8LH9aqlzHa5N1dy1Hb_svJrP1zOlnBw0PySCkk53tXltQEXCrYcY2I7WtdCLDnLeWM6VqhINKaloNiNzP_5NSYc0ApsC4xkV8cf0e4CEldYF8iULnReM9JZc4pOcGTJ-VxcIXEf8m/s400/Kurkdjian+Surabaya+achterzijde+Java.jpg" style="cursor: hand; float: left; margin: 0px 10px 10px 0px;" /></a>Onnes (or Ohannes) Kurkdjian, born in 1851, was an Armenian photographer who was based in Yerevan for part of the 19th century. Kurkdjian later emigrated from Armenia. He lived in Singapore for a short period - spending just over two months there in 1885 and working for another Armenian photographer. He then moved to the port town of <a href="http://bintphotobooks.blogspot.com/2007/01/asia-maior-photography-of-dutch-east.html"><span style="color: red;">Surabaya</span></a> on the island of Java, Dutch East Indies (now Indonesia), where he continued his profession as a photographer. He eventually owned a photographic "atelier" studio in Surabaya, with more than thirty <a href="http://bintphotobooks.blogspot.com/2008/02/dutch-east-indies-in-photographs-1860.html"><span style="color: red;">photographers</span></a> and darkroom assistants, producing photographs that are now highly prized for their topographical and anthropological content. The studio's photographs were also reproduced on picture postcards. He died in Surabaya in 1903 (some accounts say 1901, or 1904). After his death the company was taken over by the pharmaceutical import company "Helmig". <a href="http://docs.google.com/Doc?id=dgnkpdfn_991g9tbxff5"><span style="color: red;">Read more</span></a> ...<br />
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<object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/UvAuQs8EDPs&hl=nl"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/UvAuQs8EDPs&hl=nl" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br />
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See also <a href="http://nl.youtube.com/watch?v=6TBbsMGaVD0"><span style="color: red;">Beatiful Java</span> </a>...<br />
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<img alt="" border="0" id="BLOGGER_PHOTO_ID_5199863693934451794" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivZpA3Mkak1SKKEripmslFuFtN5ptVrmeIwYVaMLKbbuxwVgBiLt28FW9N_JHxq-HPhLFKnf3dhVyDvaDdF8fHdqHBLMXQZQdK8gI2ZL-8eB79ijUKmVC8dZwNALwYLz3etS7JxyaD54WW/s400/IMG_9805.jpg" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com1tag:blogger.com,1999:blog-5028121922441637074.post-20354955833153225942019-09-30T02:17:00.000-07:002019-09-30T02:17:43.659-07:00Blaze Gabriel Fabian Miller British Journal of Photography Issue # 7889 November 2019<div class="separator" style="clear: both; text-align: center;">
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<b class="almostalwaysblack" style="background-color: #f9fafb; color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=173772486" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">British Journal of Photography Blaze Gabriel Fabian Miller Issue # 7889 November 2019</a></b><span style="background-color: #f9fafb; color: #111111; font-family: "verdana" , "arial" , sans-serif; font-size: 12px;"> door </span><a href="http://www.librarything.nl/author/bainbridgesimon" style="background-color: #f9fafb; color: rgb(100, 12, 149) !important; cursor: pointer; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Simon Bainbridge</a><br />
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<a href="https://www.inglebygallery.com/exhibitions/7133-garry-fabian-miller-midwinter-blaze/overview/"><span style="color: red; font-size: large;"><b>GARRY FABIAN MILLER: MIDWINTER BLAZE</b></span></a><br />
12 OCTOBER - 20 DECEMBER 2019<br />
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<i>Garry Fabian Miller, 'There is no shadow', 2017, Light, oil, Lambda C-print from dye destruction print, Edition of 3. This copy 2/3. 116.8 x 116.8 cm</i><br />
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For the past thirty-five years Garry Fabian Miller has worked without a camera, making images entirely in the darkroom and using the techniques of early nineteenth century photographic exploration to experiment with the possibilities of light, as both medium and subject.<br />
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Since the mid 1980s Miller has patiently developed methods of passing light through coloured glass and liquid onto photographic paper, often using long exposures lasting anywhere between one and twenty hours to create his unique and luminous images. These techniques have earned Miller a deserved reputation as one of the most progressive artists working with photography today, a status marked by the Victoria & Albert Museum’s support of his work over the past 30 years. This support found physical form in Shadow Catchers, the landmark 2010 exhibition devoted to camera-less photography, and continues in the museum’s commitment to documenting the working practice of Miller's darkroom as a unique site of artistic production. The results of this - almost anthropological - engagement will be made visible in phase 2 of the V&A's new Photography Centre, planned to open in the spring of 2022, and proceeds in tandem with the museum's long term ambition to house the artist’s archive.<br />
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The photographs that will be shown at Ingleby this Autumn are characteristically virtuosic meditations on colour and form but they also mark the end of an era as the artist battles with the extinction of the analogue materials in a digital age. Dwindling supplies of paper and chemistry and the increasingly fugitive nature of his life-learnt methods see Miller embracing the perversity of his position in a final blaze of picture-making glory.<br />
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A new book, titled BLAZE, will be published to coincide with this latest body of work. The artist and writer Edmund de Waal introduces the new publication and comments:<br />
Blaze is the word for manifesto – words and ideas to start a fire with. Blake’s Songs of Innocence and Experience. Malevich’s writings. Kandinsky on colour. I think of the blaze of “Die Fackel’, the Torch, a blaze of red to set light to Vienna in the early part of the last century. Blaze is anger. And tenderness. And loyalty too: those emotions that are tinder-dry, unpredictable, unsearched-for and costly. The latest body of work by Garry Fabian Miller blazes.<br />
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Garry Fabian Miller will give the annual lecture of the Scottish Society for the History of Photography on Friday 15th November at the National Galleries of Scotland.<br />
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-14369615926935988552019-09-29T01:00:00.000-07:002019-09-29T02:54:32.550-07:00Unseen Amsterdam 2019 BookMarket & Non ya by Moritz Jekat Dummy Award Photography<div class="separator" style="clear: both; text-align: center;">
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Taking place for the first time at Westergas’ Transformatorhuis, this year’s Book Market will be bigger and better than ever before. With more than 80 independent publishers presenting their latest photobooks, it’s the place to discover a range of rare and experimental photobooks. Don’t miss impromptu book launches, signings, talks and special events, and meet the creative forces of the photobook industry. The shortlisted selection of this year’s Unseen Dummy Award will also be on show for visitors to browse through. The winner, announced on 20 September at 16.15 in Living Room, will have their photobook published by Lecturis and distributed internationally.<br />
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See also<br />
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<a href="https://bintphotobooks.blogspot.com/2019/09/impression-of-unseen-photo-festival.html"><span style="color: red;">Impression of the Unseen Photo Festival Amsterdam 2019 Street Photography</span></a></h3>
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<a href="https://issuu.com/classicphotobooks/docs/unseen-compressed">Amsterdam Unseen Photo Festival september 22 2019</a></h4>
Amsterdam Unseen Photo Festival september 22 2019</blockquote>
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Non ya by Moritz Jekat, Unseen Dummy Award Winner 2019 , Unseen Amsterdam 2019 © Olivier van Breugel<br />
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Unseen and Lecturis are delighted to announce that Non ya (None of your business) by Moritz Jekat has won this year’s Unseen Dummy Award! Chosen from an exemplary selection of photobook designs from exceptional artists all over the world, the Unseen Dummy Award grants the winner the opportunity to have their photobook published and distributed internationally.<br />
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This year’s international jury was comprised of Paul van Mameren (Managing Director, Lecturis), Christina Töpfer (Editor-in-Chief, Camera Austria International), Jenny Lindhe (Head, Photographs Collection & The Photobook Days at Landskrona Foto Festival), Natasha Christia (independent curator and writer), and Rebecca Fertinel (winner of the Unseen Dummy Award 2018).<br />
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<i>Non ya, 2019 © Moritz Jekat</i><br />
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Jury Statement :<br />
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‘Our selection process was determined by three core elements: the urgency and relevance of the subject matter, a strong formulation and structure, and how it would connect to its audience. The winning book, Non Ya, illustrates Jekat’s personal family history and their experience coming from multiple different countries to set up a new life in Berlin. As you flip through the pages you experience many different layers of family life, the intimacy and the difficulties. Through a deeply personal look at the realities of life as an immigrant, Jekat’s photobook creates a portrait of daily life in contemporary Europe.<br />
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We all felt that the winning book became stronger the longer you looked at it. The combination of portraits and still lives adds depth to its narrative, depicting a new form of privacy that is inherently not private. The glossiness of the paper and pops of colour gives it a familiar, almost commercial, feel which contrasts to its raw and subdued imagery.’<br />
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<h1 class="title entry-title" itemprop="name" style="background-color: white; display: table-cell; font-family: "Helvetica Neue Light", HelveticaNeue-Light, "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 20px; font-weight: normal; margin: 0px; padding: 0px 40px 0px 0px; position: relative; text-align: center; vertical-align: middle; width: 710px;">
<a data-id="3389094342809590252" data-item-type="post" href="https://bouillabaiseworkinprogress.blogspot.com/2019/09/highly-uncomfortable-photo-books-erik.html" itemprop="url" rel="bookmark" style="outline: none; text-decoration-line: none; transition: color 0.3s ease 0s;"><span style="color: red;">Highly Uncomfortable Photo Books Erik Kessels / Paul Kooiker Photography</span></a></h1>
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<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=131567081" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Gerard Petrus Fieret</a></b> door <a href="http://www.librarything.nl/author/alvesjordan" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Jordan Alves</a> (<span class="trans" id="tr3120815614" style="margin: 0px; padding: 0px; unicode-bidi: embed;">Auteur</span>)</span></div>
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Editions Xavier Barral (2016), 592 pagina's</div>
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<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=103153434" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Ed Van Der Elsken - Looking For Love On The Left Bank (French Edition)</a></b> door <a href="http://www.librarything.nl/author/berghmanstamara" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Tamara Berghmans</a></span></div>
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Aman Iman Publishing (2013), Hardcover, 112 pages</div>
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<h3 class="post-title entry-title" itemprop="name" style="background-color: white; font-family: Georgia, serif; font-size: 18.2px; font-weight: normal; line-height: 1.4em; margin: 0.25em 0px 0px; padding: 0px 0px 4px;">
<a href="http://bintphotobooks.blogspot.com/2017/01/in-almost-every-picture-erik-kessels.html"><span style="color: red;">In Almost Every Picture Erik Kessels Photobooks of Found Photographs since the 1960s: New Neorealism Mirelle Thijsen</span></a></h3>
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-24829442612879461652019-09-28T07:08:00.000-07:002019-09-28T07:08:06.716-07:00Views & Reviews VIOLENCE IS SEXY SUFFERING IS PORN Pornografie Klaes Staeck Artists' Book Graphic Design Photography<div class="separator" style="clear: both; text-align: center;">
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<span itemprop="author" style="box-sizing: border-box;">STAECK, Klaus.</span>
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<h2 class="book-title" style="box-sizing: border-box; font-size: 22px; line-height: 1.1; margin-bottom: 9px; margin-top: 18px;">
<span itemprop="name" style="box-sizing: border-box; color: #ef3125;">Pornografie.</span></h2>
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<span itemprop="publisher" style="box-sizing: border-box;">Germany: Anabas-Verlag Gunter Kampf,</span> 1971. <span itemprop="description" style="box-sizing: border-box;">First Edition. Quarto. Full-page black and white images of destruction, police brutality, and images from Vietnam. One of the great antiwar and anti-violence artists' books of the era. (Parr / Badger, v2, 150-151).</span></div>
The only work he could get was cleaning the morbidly obese. It was hard work but it was better than nothing. All day he lifted folds, swabbed sweaty crevices and lanced various pustules. The people were generally nice and thankful. One day as he worked on a particularly tough leg boil a woman farted right in his face. “Lady, why do have to make my job gross?”<br />
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Everything is relative. Anything can be made glorious or gross depending on your perspective. Klaus Staeck zooms right in in his 1971 book PORNOGRAFIE shortening the viewers depth of field. As a lawyer who passed the German Bar in 1969 Herr Staek was well acquainted with the distorting power of the magnifying lens. He uses this power with blunt force in an attempt to revitalize images and objects which in many cases, even though they contain obvious brutality, have become mundane.<br />
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<a href="http://www.mistermotley.nl/paper-podium/%E2%80%98geweld-sexy-lijden-porno%E2%80%99"><span style="color: red;">‘GEWELD IS SEXY, LIJDEN IS PORNO.’</span></a><br />
08 Mar 2016 - Merel van der Velde<br />
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In het journaal wordt je ermee overspoeld: beelden van het lijden van de mens. Overstromingen, bomaanslagen, treinontsporingen, vluchtelingen, aardbevingen en wijdverspreide armoede: we kijken er allemaal dagelijks naar. Veel nieuws is slecht nieuws, niets is te dramatisch, maar waarom zoeken we deze horror dagelijks op? Welke behoefte bevredigen we met het zien van deze beelden? We willen mee kunnen praten en worden gedreven door angst; the fear of missing out. Een andere reden is dat we trots zijn op onze compassie voor de mensheid (Zie mij vol empathie de knopjes van mijn afstandsbediening bespelen). Of geeft het zien van alle misère ons een tevreden gevoel omdat onze dagelijkse banale ‘problemen’ daardoor wel mee lijken te vallen? Een confronterend argument, maar daardoor niet minder waar, is sensatiedrift. Het is spannend om bloed en drama voorbij te zien flitsen, misschien zelfs opwindend.<br />
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De Duitse kunstenaar Klaus Staeck toont met het boek Pornografie onze oerbehoefte aan ramptoerisme. In de jaren ’60 en ’70 is Staeck actief op het gebied van provocerende fotomontages; politieke satire. Staeck is populair bij links en komt regelmatig in juridische strijd met conservatieve politici. Met de publicatie uit 1971, waarin hij talloze beelden uit kranten en tijdschriften samenbrengt, lukt het ook in 2016 om de lezer te shockeren. Je ziet korrelige detailfoto’s in zwart-wit van de lijdende, de strijdende, de stervende en de dode. Gezichten met ogen vol blinde woede, wanhoop en pijn kijken je aan vanuit de bladzijden die tussen je vingers door glippen. Paginanummers ontbreken. Je wilt kijken, maar ook wegkijken: het is gelijktijdig aantrekkelijk en afstotend, als een te grafische pornofilm. Deze publicatie toont de intimiteit van rivalen in brute omhelzing, opstandelingen vol passie en polsen door handboeien geketend. Je kijkt recht in een opening bij de lies, wat je ziet is een vlezige wond die achterblijft na het afhakken van een ledemaat. Enkele tekstfragmenten onderbreken de overvloed aan beelden, maar zetten de trend van gruwel voort.<br />
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<i>Een tekstuele onderbreking omschrijft martelingen</i><br />
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De tekst vertelt over bloedende genitaliën en ambtenaren die met plezier een stok besmeurd met mosterd in een willekeurige anus duwen. Soms zitten er glassplinters in het stuk hout. Een elfjarig meisje wordt gemarteld met elektroshocks en ontmaagd, verkracht. Deze monsterlijke daden worden verhaald in een kalme opsomming. De huiveringwekkende realisatie dat deze gruwelijkheden dagelijkse werkelijkheid zijn vermenigvuldigt de kracht van de woorden.<br />
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De politie komt steeds terug in beeld als de boosdoener, als degene die foltert en pijnigt. Staeck toont de Pigs en hun machtsmisbruik. De agenten op de foto’s lijken ervan te genieten om hun slachtoffers te martelen. Verderop heft een blij kind met soldatenhelm zijn arm, klaar om te slaan, de glimlach maakt het tafereel angstaanjagend. Het jochie kent geen goed of kwaad, maar kopieert het gedrag van de ‘grote mensen’.<br />
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<i>Een kleine jongen speelt soldaatje</i><br />
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Als we de reclamespotjes van de afgelopen decennia mogen geloven worden we pas daadwerkelijk gelukkig als we de perfecte auto, crèmespoeling of groentemix in huis hebben. Huppelende, blonde vrouwen glimlachen hun witte tanden bloot wanneer ze de juiste messenset in huis hebben gehaald. Staeck beeld een serie verdachte huishoudelijke voorwerpen af: de lezer kan na voorgaande gruwelen niets meer als onschuldig beschouwen. En schijn blijkt niet te bedriegen: de objecten krijgen de functie van wapens. Door simpelweg te bladeren lijk je de fysieke pijn in je eigen lichaam te voelen: een vishaak door je lip, een kaasmes in je arm en een citruspers die je oogkas doorboort. Alles is een close-up, genomen met een akelig kleine afstand. Huis- tuin- en keukenvoorwerpen kunnen onnoemelijke schade aanrichten, terwijl geweren en kogels als onschadelijk speelgoed aan de man worden gebracht. Reclameposters tonen hoe de kapitalistische vrije markt dankbaar gebruik maakt van een behoefte aan agressie. Strijden heeft plaats gemaakt voor kopen. Het bekende beeld van de protesterende vuist wordt nu gebruikt om een mannenluchtje aan te prijzen en ontblootte vrouwenbenen promoten een geweer. Geweld is sexy, lijden is porno.<br />
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<i>Keukengerei</i><br />
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<i>Moordwapen</i><br />
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<i>Vurig protest, teruggebracht tot handelsmerk</i><br />
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<i>Verleidelijke wapens</i><br />
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In een wereld vol geweld, die we dagelijks via alle mogelijke media op ons netvlies krijgen, kun je je hopeloos verloren voelen. Wanneer je snel door dit boek bladert verschilt het amper van het zappen langs tweehonderd televisie kanalen of het scrollen door je tijdlijn op Facebook. Het bekijken van Staecks Pornografie in 2016 maakt pijnlijk duidelijk dat het enorme aantal (gruwelijke) beelden dat wij dagelijks ongevraagd te zien krijgen, ons steeds minder doet realiseren waar we eigenlijk naar kijken. Wie het voorbijflitsen stillegt en in dit boek wat langer naar de beelden kijkt, één voor één, ziet dat de lijdende gezichten bij echte mensen horen.<br />
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Voor wie de confrontatie te groot is volgt een simpel advies: sluit het boek. Je vergeet het leed waarschijnlijk binnen enkele uren, minuten, wellicht luttele seconden. Echter zul je eraan herinnerd worden bij het zien van een opbeurende reclameposter, het deprimerende journaal of een sappige pornofilm. Voor onze hedendaagse, gewelddadige beeldcultuur kunnen (en willen) we ons niet afsluiten.
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Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-17891972507526195682019-09-27T22:10:00.000-07:002019-09-27T22:10:49.445-07:00Fotobook Festival 2 Kasseler Fotoforum Photography<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Nv1ZCF8f_7phnWtUfV0E0-pN2v2KxUFOvbHCb1R9fUhqvH-euOYamLj7xeGrBSme-SsJiNSxaWy0Zh4oBTqmQcRaxOknj6ueJHyCMXWUEJisk9DgkJAGiSj6DVbuTnBTQ5kvsy7qzbc/s1600-h/Kasseler+Fotoforum+YV2BXVFNCL4H3N544VXXT.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5335916778837492146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Nv1ZCF8f_7phnWtUfV0E0-pN2v2KxUFOvbHCb1R9fUhqvH-euOYamLj7xeGrBSme-SsJiNSxaWy0Zh4oBTqmQcRaxOknj6ueJHyCMXWUEJisk9DgkJAGiSj6DVbuTnBTQ5kvsy7qzbc/s400/Kasseler+Fotoforum+YV2BXVFNCL4H3N544VXXT.jpg" style="cursor: hand; display: block; height: 255px; margin: 0px auto 10px; text-align: center; width: 383px;" /></a> <br />
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<strong>The independent Photobook<br />The second Kasseler Photobook-Festival</strong></div>
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From the wish to the book. how does a photographic work become a photobook? Is a photobook without compromises possible? Which avenues towards the photobook are currently possible? For a few years now software, internet and digital print have opened completely new perspectives: small and even smaller editions, print on demand, flexible production. </div>
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What are the compromises that concept, creation and production demand and how do in-house productions reach their buyers? of what significance are virtual internet photobooks? How do established publishers respond to these challenges and which criteria do they use when choosing book projects for publication? </div>
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The <a href="http://www.kasselerfotoforum.de/index.php?cat_id=34&parent_id=10&article_id=371"><span style="color: red;">2nd Photobook Festival</span> </a>in the course of the Fotofrühling Kassel will address questions in detail such as content, production and distribution, from 14 to 17 May 2009. </div>
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Just like in previous years renowned guests (photographers, publishers, publicists) will be invited to speak on these topics and to engage in discussions with the participants. and in order to get a practical impression of how photos can be turned into books, the Fotoforum Kassel will be calling for the submission of photobook dummies – the prototypes of photobooks. The best of the submitted dummies will be exhibited at the event. Furthermore, we will continue the Photobook award with its renowned nominations of the best new releases of the previous year, accompanied by a new exhibition and a second catalogue. Apart from exhibitions and talks there will also be workshops for the production of photobooks. Stalls by booksellers and antiquarians will be part of the program and together with the well established portfolio viewings there will once again be a stimulating discourse between photographers and experienced experts. </div>
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Lectures and reviews by <a href="http://bintphotobooks.googlepages.com/dutchstandardsinthephotobookahistoryparr"><span style="color: red;">GERRY BADGER</span></a>, JEFFREY LADD (<a href="http://www.5b4.blogspot.com/"><span style="color: red;">5B4</span></a> & <a href="http://www.errataeditions.com/"><span style="color: red;">errataeditions</span></a>), <a href="http://bintphotobooks.blogspot.com/2009/04/duoperspective-by-wassinklundgren.html"><span style="color: red;">WASSINKLUNDGREN</span></a> and others ..</div>
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<a href="http://bintphotobooks.blogspot.com/2009/05/101-billionaires-2009-crisis-edition.html"><span style="color: red;">101 Billionaires by Rob Hornstra</span> </a>will used on 16 May 2009 during “New Documentations”, a special evening screening of long-form works at the upcoming <a href="http://bintphotobooks.blogspot.com/2009/05/dutch-nominees-new-york-photo-festival.html"><span style="color: red;">New York Photo Festival</span></a>. The book will also be exhibited during the Fotobook Festival in Kassel, Germany (15-17 May 2009), where it has been nominated for the <a href="http://bintphotobooks.blogspot.com/2008/05/kiyoshi-suzuki-soul-and-soul-1969-1999.html"><span style="color: red;">best photo book</span> </a>of the past year. And Fw: (a platform for photographers) has included 101 Billionaires in its book exhibition ‘Pages’ during <a href="http://www.phedigital.com/index.php?lg=en"><span style="color: red;">Photo España</span></a>.</div>
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See for <a href="http://bintphotobooks.blogspot.com/2008/05/pages-new-generation-of-photo-books.html"><span style="color: red;">Kasseler Fotoforum 2008</span> </a>...</div>
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Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-71064404760565571802019-09-27T00:33:00.000-07:002019-09-27T08:53:29.670-07:00Views & Reviews Gand (Gent/Ghent) Sasha (Sacha) Stone Photography<div class="separator" style="clear: both; text-align: center;">
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Rare city book on the Belgian city of Gand (Gent/Ghent) by Russian photographer Sasha (Sacha) Stone and his wife Cami, together Studio Stone. With a preface by Paul Colin.<br />
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Sasha Stone is also known for his work in surrealist magazines Bifur and Varietés, his books on Berlin and Paris and the famous nude portfolio 'Femmes'. In the 1930's Studio Stone was based in Brussels.<br />
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He died aged 45, fleeing the German attack on Brussels in May 1940.<br />
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Russian/American Photographer | Born: 1895 - Died: 1940Sasha Stone (1895-1940) was born Aleksander Serge Steinsapir in St. Petersburg, Russia, of Jewish parents. He lived and worked in Europe and America between the wars and is best known for his portraits, nude studies, photographs of Berlin and for his photojournalism. Stone studied engineering in Warsaw, and then spent several years in New York, where he obtained American citizenship and chose the pseudonym Sasha Stone. After a sculptor and painter education in Paris and Berlin, Stone described himself as an expert in the fields of advertising, architecture, illustration, film, and stage design. In the 1920s, Sasha Stone worked as a professional photographer in Berlin, primarily for the illustrated magazines published by the Ullstein publishing house. He belonged to the circle around the constructivist periodical "G", which included Moholy-Nagy, Mies van der Rohe, El Lissitzky and Walter Benjamin. He created the photomontage for the original book jacket of Benjamin's famous Einbahnstraße (One-Way Street) - which is still used for the English Penguin edition. In 1929, Stone published Berlin in Pictures, which is extremely difficult to find today. Both, his and his wife Cami's photographs were published in the German photography annual Das Deutsche Lichtbild. Threatened by the rising Fascism, they fled Germany in 1932 and moved to Brussels. Their studio was located at 18 rue de Naples until the German invasion of Belgium in 1940. Sasha Stone's nude work appeared in <a href="http://views%20%26%20reviews%20evolution%20of%20the%20photobook%20belge%20tamara%20berghmans%20photography/"><span style="color: red;">Les Femmes</span></a>, and was published by Editions Arts et Metiers Graphiques, Paris, in 1933. His nudes are usually in poses that are quite modernist in sensibility, and the lighting emphasizes their sculptural shapes and angles. The couple separated in 1939. Cami again assumed her maiden name. Sasha died in 1939 during his flight to the United States in Perpignan. 800 photos of the archive of Cami and Sasha Stone, lost until recently, were auctioned in Argenteuil, France, in 2009. Cami Stones nephew had rescued the archive during World War II and stored it until last year.<br />
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<blockquote class="embedly-card">
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<a href="https://issuu.com/classicphotobooks/docs/gent">Gand Gent august 21 2007</a></h4>
Gand Gent august 21 2007</blockquote>
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-61295039434062358422019-09-26T10:07:00.000-07:002019-09-26T10:07:14.679-07:00Nurse Midwife Maude Callen Eases Pain of Birth, Life and Death Life Magazine W. Eugene Smith Photojournalism Photography<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/_jW9m_4cwOAo/TQu9O66bzuI/AAAAAAABWPA/x7XtoU379kQ/s1600/ScreenShot001.bmp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/_jW9m_4cwOAo/TQu9O66bzuI/AAAAAAABWPA/x7XtoU379kQ/s400/ScreenShot001.bmp.jpg" width="342" /></a></div>
<span class="Apple-style-span" style="color: #333333; font-family: "arial" , "arial" , sans-serif; font-size: 12px; line-height: 18px;"><strong>Life Magazine December 3, 1951 – Black Nurse Midwife Photographic Essay by W. Eugene Smith</strong></span><br />
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<span class="Apple-style-span" style="font-family: "arial" , "arial" , sans-serif; font-size: 12px; line-height: 18px;"><span class="Apple-style-span" style="color: #333333;">In 1951 Life Magazine was at it’s best and this issue had one of the best </span><a href="http://issuu.com/bintphotobooks/docs/lifephoto"><span class="Apple-style-span" style="color: red;">photographic essays</span></a><span class="Apple-style-span" style="color: #333333;"> ever by W. Eugene Smith. The 12 page story is titled "Nurse Midwife Maude Callen Eases Pain of Birth and Death" The story follows Maude and her work in Pineville, South Carolina (Berkley County) and takes you on "Maude’s 16-Hour Day" In 1951 "There are only nine trained Midwives in South Carolina and 300 in the nation" and Maude was one of the 20,000 common midwives practicing. This is a wonderful story with pictures of a way of life that has slipped by.</span></span><br />
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<span class="Apple-style-span" style="font-family: "arial" , "arial" , sans-serif; font-size: 12px; line-height: 18px;"><a href="http://1.bp.blogspot.com/_jW9m_4cwOAo/TQxgJolpKLI/AAAAAAABWQQ/chKStanS3No/s1600/1218.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://1.bp.blogspot.com/_jW9m_4cwOAo/TQxgJolpKLI/AAAAAAABWQQ/chKStanS3No/s1600/1218.jpg" /></a></span></div>
<span class="Apple-style-span" style="font-family: "arial" , "arial" , sans-serif; font-size: 12px; line-height: 18px;"><span class="Apple-style-span" style="color: #544c4c;">This winter, Foam presents a retrospective containing work by </span><a href="http://bintphotobooks.blogspot.com/2010/10/w-eugene-smith-one-of-10-most.html"><span class="Apple-style-span" style="color: red;">W. Eugene Smith</span></a><span class="Apple-style-span" style="color: #544c4c;"> (US, 1918-1978). Smith has been hailed as the founder of the photographic essay. His extensive pictorial narratives, accompanied by captions and comments, appeared in magazines such as the world-famous American periodical </span><em style="color: #544c4c;">Life</em><span class="Apple-style-span" style="color: #544c4c;"> in the 1950s, the heyday of photographic journalism. Smith’s black-and-white reportages exhibit a powerful sense of involvement, dealing with subject matter that reflects his social commitment.</span><br />
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<span class="Apple-style-span" style="font-family: "arial" , "arial" , sans-serif; font-size: 12px; line-height: 18px;"><span class="Apple-style-span" style="color: #544c4c;">Foam features six of his finest series, including </span><em style="color: #544c4c;">The Country Doctor</em><span class="Apple-style-span" style="color: #544c4c;"> (1948), acclaimed as photojournalism’s first official photo essay. Other famous series such as </span><em><span class="Apple-style-span" style="color: #544c4c;">Nurse Midwife, </span><a href="http://picasaweb.google.com/bintphotobooks/EugeneSmithAManOfMercy?feat=directlink"><span class="Apple-style-span" style="color: red;">A Man of Mercy</span></a><span class="Apple-style-span" style="color: #544c4c;">, </span><a href="http://picasaweb.google.com/bintphotobooks/EugeneSmithSpanishVillage?feat=directlink"><span class="Apple-style-span" style="color: red;">Spanish Village</span></a><span class="Apple-style-span" style="color: #544c4c;">, </span><a href="http://bintphotobooks.blogspot.com/2009/04/w-eugene-smiths-monumental-pittsburgh.html"><span class="Apple-style-span" style="color: red;">Pittsburgh</span></a><span class="Apple-style-span" style="color: #544c4c;"> </span></em><span class="Apple-style-span" style="color: #544c4c;">and </span><em style="color: #544c4c;">Minamata</em><span class="Apple-style-span" style="color: #544c4c;"> are also shown in the exhibition. Alongside the photos, magazines are on display as well as the short documentary entitled Lamp Unto My Feet.</span></span><br />
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<span class="Apple-style-span" style="font-family: "arial" , "arial" , sans-serif; font-size: 12px; line-height: 18px;">Smith became interested in photography at an early age, inspired by his mother who was an enthusiastic amateur photographer. At fifteen, he published his first picture in a local newspaper. This marks the start of his professional career as a photographer for publications such as <em>Newsweek</em>, culminating in his appointment at <em>Life</em>.</span><br />
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<span class="Apple-style-span" style="font-family: "arial" , "arial" , sans-serif; font-size: 12px; line-height: 18px;">It was in this magazine that he published about fifty series, including <em>The Country Doctor, Nurse Midwife, A Man of Mercy </em>and<em> Spanish Village</em>.</span><br />
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<span class="Apple-style-span" style="font-family: "arial" , "arial" , sans-serif; font-size: 12px; line-height: 18px;">His tremendous sense of involvement, his essential humanism and his desire to achieve social change are all characteristic of W. Eugene Smith’s photography. Yet his tenure at Life was marked by constant conflict with the editors. Smith researched his stories thoroughly and submitted his photos with extensive captions, notes and lay-out suggestions. These were generally ignored, which eventually led to Smith’s resignation.</span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "arial" , sans-serif; font-size: 12px; line-height: 18px;">In 1955, Smith joined Magnum in the hope that this would give him the freedom to publish his photos the way he wanted. His first project for Magnum, <em>Pittsburgh</em>, was also his last: the series failed to meet his exacting demands. Smith invested all his emotional and financial resources in <em>Pittsburgh</em>. Other subsequent reportages, such as <em>Minamata</em>, suffered a similar fate.</span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "arial" , sans-serif; font-size: 12px; line-height: 18px;">Having been wounded while taking pictures on the front line during the Second World War, overcome by frustration and bedevilled by his own perfectionism, Smith succumbed to drug and alcohol abuse. His health quickly deteriorated. He ended his career as professor at the Center for Creative Photography in Tucson, only to die shortly after his appointment. </span></div>
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Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-4477323507524025312019-09-26T00:48:00.000-07:002019-09-26T00:48:35.524-07:00 Sex Objects: An American Photodocumentary Eric Kroll Highly Uncomfortable Photo Books Erik Kessels / Paul Kooiker Photography<div class="separator" style="clear: both; text-align: center;">
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<div style="background-color: #f9fafb; color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=173609908" style="color: rgb(0, 0, 0) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Sex Objects: An American Photodocumentary</a></b> door <a href="http://www.librarything.nl/author/krolleric" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Eric Kroll</a> (<span class="trans" id="tr3120815614" style="margin: 0px; padding: 0px; unicode-bidi: embed;">Auteur</span>)</span></div>
<div style="background-color: #f9fafb; color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
Addison House (1977), Editie: 1st</div>
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See also<br />
<h1 class="title entry-title" itemprop="name" style="background-color: white; display: table-cell; font-family: "Helvetica Neue Light", HelveticaNeue-Light, "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 20px; font-weight: normal; margin: 0px; padding: 0px 40px 0px 0px; position: relative; text-align: center; vertical-align: middle; width: 710px;">
<a data-id="3389094342809590252" data-item-type="post" href="https://bouillabaiseworkinprogress.blogspot.com/2019/09/highly-uncomfortable-photo-books-erik.html" itemprop="url" rel="bookmark" style="outline: none; text-decoration-line: none; transition: color 0.3s ease 0s;"><span style="color: red;">Highly Uncomfortable Photo Books Erik Kessels / Paul Kooiker Photography</span></a><span style="color: #333333;"> </span><br /></h1>
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TUESDAY, MARCH 30, 2010<br />
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<a href="http://5b4.blogspot.com/2010/03/sexobjects-by-eric-kroll-sex-theaters.html"><span style="color: red; font-size: large;"><b>Sex Objects by Eric Kroll - Sex Theaters by Andre Gelpke</b></span></a><br />
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You know, Eldon (Eldon Hoke aka. El Duce, drummer and front-man for The Mentors)... his starting line when he worked at The Ivar Theater as the film man was "Gentlemen, pitch your tents!" and the guys would pull their jackets up over their crotch. - Carlos Guitarlos<br />
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You cannot blame porn. When I was young I used to masturbate to Gilligan's Island. - Ron Jeremy<br />
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We'll have this room fumigated when you're out of it! - Kathleen Howard to Barbara Stanwyck from Ball of Fire (Howard Hawks, 1941)<br />
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To pursue an intellectual discourse is not usually the first response one has when seeing a person naked. The debate has heard a billion opinions whether women who get paid to expose their bodies are in positions of power, or being exploited. Photographers have loved nude bodies. Old camera clubs would mask the perversity of group photo-gangbang sessions by having the models pose "artistically" in the woods or perched on rocks near an ocean as if they were just stumbled upon frolicking around, communing with nature - mother nature as fuck toy. The two books in this post, each calling themselves "a documentary" delve into the world of camera clubs, massage parlors and sex theaters.<br />
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The first is Eric Kroll's Sex Objects: An American Photodocumentary published by Addison House in 1977. I first saw this book at Paris Photo in the booth of a dealer who assigned it a hefty price tag. I figured it was rare (I had forgotten to look it up online) but a copy turned up at The Strand Bookstore for 35 dollars so I grabbed it.<br />
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Kroll, who had been photographing women since he "was 16" became interested in women who made money through their bodies. Whenever he traveled for a commercial job he would search out massage parlors, nude shows and sex shops and engage in another commercial activity - paying women to allow him to photograph them. Sex Objects is the result of photographing 50 and interviewing over 100 women in 30 different US cities.<br />
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Make no mistake, Kroll's photography in this book isn't much beyond the expected. He frames the women posing in their workrooms or against studio seamless in a matter of fact way. He offers two or three photos of about 30 models, shooting them in both black and white and color.<br />
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What is good is the way the book is put together. It has a surprisingly playful design for a book from the late 70s with multicolor paper stock for the text pages and contrast between the color and b+w pictures. Large horizontal color images are oriented as verticals, their palette seems to mimic the glossy girly mag spreads from the time period. In some ways the women could be seen as a parade of possible choices within the context of this "documentary." In the interviews the women express a range of attitudes towards what they do for a living. Kroll's own notes include a variety of price lists and ways in which these establishments avoid charges of prostitution by skirting local state law.<br />
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Time will tell as to how this book stands after a few readings. I sense that the funky 70s color has much to do with the appeal.<br />
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Andre Gelpke's Sex-Theater made its appearance a few years later in 1981 published by Mahnert-Lueg.<br />
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Shot entirely in black and white 35mm, Gelpke's approach isn't really much better nor dynamic than Kroll's. In fact, both have very similar sensibilities to arranging their frames - many of which are center weighted images that feel repetitive.<br />
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Gelpke starts by alternating images of women painted onto strip club windows with portraits of the real performers. Once inside, the theater's stage is mostly a bare-bones affair with the performers going about their act; fucking, stripping or trying their talents as acrobats. One familiar with Garry Winogrand's pictures in the Ivar Theater in LA will have an idea of the sometimes dreary atmosphere made all the worse by Gelpke's evenly lit flash. In the glaring light of the exposure we see the grime and wear and tear of the stage curtains and walls.<br />
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There are some good pictures here but most get treated as if shot from the same vantage point from the audience. Rarely do we see any other audience members other than a hint of them by random disembodied arms stretching into the frame. In the last couple images the stage is filled with a variety of characters as if for a grand finale. Those two pictures become a bit more interesting with potential but sadly they just end the book. Maybe Gelpke is hinting that these places are always a bit of a let down. Surely a stretch but how else does it all manage to look so mundane.<br />
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POSTED BY MR. WHISKETS AT 1:14 AM<br />
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-36027483457670454862019-09-24T22:32:00.000-07:002019-09-25T02:37:07.432-07:00ABECEDA [Alphabet] VITEZSLAV NEZVAL KAREL TEIGE Graphic Design<div class="MsoNormal" style="-webkit-border-horizontal-spacing: 15px; -webkit-border-vertical-spacing: 15px;">
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<b><span style="font-family: "palatino linotype"; font-size: 11pt; text-transform: uppercase;">NEZVAL, VITEZSLAV; <a href="http://www.blogger.com/goog_743188032"><span class="Apple-style-span" style="color: red;">T</span></a></span></b><span style="font-size: 11pt; text-transform: uppercase;"><b><span style="font-family: "palatino linotype";"><a href="http://bintphotobooks.blogspot.com/2010/08/between-photograph-and-poem-study-of.html"><span class="Apple-style-span" style="color: red;">EIGE, KAREL</span></a>, </span></b></span><span style="font-family: "palatino linotype"; font-size: 11pt; font-weight: 700;">design.</span></div>
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<span style="color: #920000; font-family: "palatino linotype"; font-size: 14pt;">ABECEDA [Alphabet]</span></div>
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<i><span style="font-family: "palatino linotype"; font-size: x-small;">"In Nezval’s Abeceda, a cycle of rhymes based on the shapes of letters, I tried to create a 'typofoto' of a purely abstract and poetic nature, setting into graphic poetry what Nezval set into verbal poetry in his verse, both being poems evoking the magic signs of the alphabet." -Karel Teige</span></i></div>
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<span style="font-family: "palatino linotype"; font-size: x-small;">FIRST EDITION IN ORIGINAL WRAPPERS, one of 2000 copies printed, of one of the most important and influential books of European modernism. Illustrated with 25 black and white photomontages.</span></div>
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<span class="Apple-style-span" style="font-family: "palatino linotype"; font-size: small;">"The 1926 book <i>Alphabet</i> (<i>Abeceda</i>) is a landmark achievement in European modernism. Its frequent reproduction in exhibition catalogues and scholarly articles has made it a key symbol of Devetsil (1920-ca. 1931), the Czech artists' collective within whose ranks the book was conceived, and its importance is increasingly measured in international terms as well. The book consists of a series of rhymed quatrains by Devetsil poet Vitezslav Nezval, titled and ordered according to the letters of the Latin alphabet. Facing each set of verses is a Constructivist photomontage layout by Karel Teige, a painter turned typographer who was also Devetsil's spokesperson and leading theorist. Teige developed his graphic design around photographs of dancer and choreographer Milada (Milca) Mayerova, a recent affiliate of the group, who had performed a stage version of "Alphabet" to accompany a recitation of the poem at a theatrical evening in Nezval's honor in April 1926... The project to create a new alphabet epitomizes the proselytizing attitude of avant-gardists in various fields in the years after World War I. From Dada poetry to Constructivist architecture and design, from calls to overhaul theater to revolutions in literary theory, a panoply of experiments took the alphabet as their model or target and disclosed the potency of this elementary linguistic structure as a trope for creative renewal and social revolution. With its large print, childlike verses, and an instructional sequence that matches a single letter in text and image on every page spread, <i>Alphabet</i> presents itself as the class reader for that internationally sponsored course in universal reeducation." (Matthew S. Witkovsky, <a href="http://www.findarticles.com/p/articles/mi_m0422/is_1_86/ai_n6073152/pg_1"><span class="Apple-style-span" style="color: red;">"Staging language: Milca Mayerova and the Czech book Alphabet"</span></a>).</span></div>
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<span style="font-family: "palatino linotype"; font-size: x-small;">"An important landmark of the Czech Avant-Garde and ... one of the first conceptual artists' books"; an "important book which attempted to challenge both conventional artistic hierarchies and class distinctions with an art that could be equally embraced by a professor or a street cleaner" (<i><a href="http://issuu.com/bintphotobooks/docs/photobookvolumei"><span class="Apple-style-span" style="color: red;">The Photobook</span></a></i>).</span><br />
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<a href="https://issuu.com/classicphotobooks/docs/nezval_vitezslav_abeceda_1926_low_res">Nezval Vitezslav Abeceda 1926</a></h4>
Nezval Vitezslav Abeceda 1926</blockquote>
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Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-29113434485366629422019-09-24T02:16:00.000-07:002019-09-24T03:58:09.103-07:00Impression of the Unseen Photo Festival Amsterdam 2019 Street Photography<div class="separator" style="clear: both; text-align: center;">
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<a href="https://amsterdam.unseenplatform.com/event/about"><span style="color: red;">Unseen</span></a> is an international platform dedicated to contemporary photography practices. Focusing on what’s new in the international art scene, Unseen discovers and presents artworks of upcoming artists and helps them to develop their practice, as well as presenting the latest work of established artists.<br />
<br />
Unseen creates a unique space for exchanging ideas and knowledge, hearing different voices, raising awareness of the burning issues of today and expanding the international community.<br />
<br />
Unseen currently consists of the following:<br />
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UNSEEN AMSTERDAM<br />
Unseen Amsterdam is an event that lies between an art fair and a contemporary photography festival taking place in September that showcases the latest developments in the field of contemporary photography practices.<br />
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Here you can expect to discover artists, both emerging and established, whose works are asking questions that open up new ways of thinking and break existing prejudices. With over 25,000 visitors each year, we are excited to present a programme that invites and welcomes the international art community to discuss and debate the current and future issues and challenges of our reality and the world we live in. From the Fair (53 international galleries), Exhibitions and Living Room (three-day speakers programme) to the Book Market, On-site Projects and City Programme, you can immerse yourself in the real pleasure and experience of contemporary photography practice.<br />
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UNSEEN FOUNDATION<br />
Unseen Foundation is an independent not-for-profit organisation that aims to increase the impact of artists working with photography on society. Unseen Foundation endeavours to launch initiatives to promote the work of emerging artists, with a specific focus on young talent. Through various events, Unseen Foundation aims to create environments where those with personal and professional interests in contemporary photography can exchange ideas - pushing the medium of photography ever forward and bringing artists into contact with new audiences every step of the way.<br />
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UNSEEN PLATFORM<br />
Unseen Platform is an online resource for artists, professionals and enthusiasts that presents artworks and projects focusing on new developments in contemporary photography. We invite curators, theoreticians and creatives to collaborate with us to create online content around the most cutting-edge projects of the moment. Follow Unseen Platform for unparalleled insights into the world of contemporary photography and visit the Unseen Shop to discover and acquire collectable artworks.<br />
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UNSEEN MAGAZINE<br />
Charting key developments at the forefront of contemporary photography, Unseen Magazine is a bi-annual publication that is distributed all over the world and invites a selection of instrumental voices to provide their take on the position of the medium today.<br />
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UNSEEN ON TOUR<br />
Unseen hosts and collaborates with partners and organisations to create events that are designed to encourage international exchange and develop conversations that will engage and connect people from different cultural backgrounds. By bringing Unseen around the world, we aim to hear different voices and enlarge our community. So far, events were held in Moscow, Hamburg, Beijing, Paris and London.<br />
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<blockquote class="embedly-card">
<h4>
<a href="https://issuu.com/classicphotobooks/docs/unseen-compressed">Amsterdam Unseen Photo Festival september 22 2019</a></h4>
Amsterdam Unseen Photo Festival september 22 2019</blockquote>
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<h4>
<a href="https://issuu.com/classicphotobooks/docs/press_release__unseen_amsterdam_2019__a_thriving_e">UNSEEN AMSTERDAM 2019: A THRIVING EIGHTH EDITION. The 2019 edition of Unseen Amsterdam attracted a t</a></h4>
UNSEEN AMSTERDAM 2019: A THRIVING EIGHTH EDITION. The 2019 edition of Unseen Amsterdam attracted a truly global audience and strong sales.</blockquote>
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-50935578818350122212019-09-19T08:16:00.002-07:002019-09-19T08:26:21.605-07:00Views & Reviews Brassaï Determined the Image of Paris with his Photos Retrospective Photography<div class="separator" style="clear: both; text-align: center;">
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<a href="https://www.foam.org/museum/programme/brassai"><span style="color: red;">Brassaï (1899- 1984)</span> </a>created countless iconic images of 1930s Parisian life. He was famous for capturing the grittier aspects of the city, but also documented high society, including the ballet, opera, and intellectuals - among them his friends and contemporaries like Pablo Picasso, Salvador Dalí and Henri Matisse. The exhibition at Foam traces his career with over 170 vintage prints, plus a selection of drawings, a sculpture and documentary material.<br />
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Brassaï gathers many of the artistic facets of the photographer, from photos to drawings of female nudes. It is organized in twelve thematic sections: Paris by Day, and by Night, Minotaure, Graffiti, Society, Places and Things, Personages, Sleep, Pleasures, Body of a Woman, Portraits – Artists, Writers, Friends and The Street. Each is very different from the next – reflecting the diversity of Brassaï’s photographic work.<br />
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See also<br />
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<a data-id="3950315373744460611" data-item-type="post" href="https://bouillabaiseworkinprogress.blogspot.com/2015/08/brassai-in-amsterdam-50s-dirk-de-herder.html" itemprop="url" rel="bookmark" style="background-color: white; font-family: "Helvetica Neue Light", HelveticaNeue-Light, "Helvetica Neue", Helvetica, Arial, sans-serif; font-size: 20px; outline: none; text-align: center; text-decoration-line: none; transition: color 0.3s ease 0s;"><span style="color: red;">Brassai in Amsterdam '50s Dirk de Herder Photography</span></a><span style="background-color: white; color: #333333; font-family: "helvetica neue light" , , "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 20px; text-align: center;"> </span><br />
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<span style="font-size: large;"><b>Met zijn foto’s bepaalde Brassaï het beeld van Parijs</b></span><br />
Fotografie Brassaï werd beroemd als fotograaf, maar had ook talent voor schilderen, beeldhouwen en schrijven. „Je wordt voortdurend verscheurd door je gaven.”<br />
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<i>Brassaï: Gezicht op de Pont Royal richting Pont Solferino, (1933).</i><br />
<i>Foto Estate Brassai Succession Paris </i><br />
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<i>Tentoonstelling</i><br />
<i>Brassaï. T/m 4/12, Foam, A’dam. Inl: foam.org</i><br />
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<i>●●●●●</i><br />
Rianne van Dijck<br />
18 september 2019 om 17:41<br />
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Op een nacht in 1933 kocht Brassaï de conciërge van de Notre-Dame om. Hij wilde na sluitingstijd naar boven, de toren van die magistrale kathedraal op om van grote hoogte foto’s te maken van nachtelijk Parijs. De conciërge, een voluptueuze dame met hartproblemen, zei dat hij dan maar alleen de tweehonderd treden moest beklimmen. Haar enige voorwaarde: zorg dat er geen enkel licht te zien is als je daarboven staat – dan zouden de gendarmes hem kunnen ontdekken en dat zou haar haar baan kunnen kosten. Dat was geen probleem voor Brassaï die zich had bekwaamd in het fotograferen in de duisternis.<br />
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De anekdote over de Frans-Hongaarse fotograaf Brassaï (uit Brasov, een stadje in Transsylvanië, echte naam: Gyula Halász, 1899-1984) is te lezen in Bystander, een vuistdikke bijbel over straatfotografie. Brassaï was behalve een uitzonderlijk fotograaf, én een begaafd schilder, beeldhouwer en filmmaker, ook een begenadigd schrijver die zijn ervaringen, werkwijze, gedachtes en gevoelens op papier zette en zo zijn foto’s voorzag van een uitgebreide context aan verhalen.<br />
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In Le Paris secret des années 30 (1976) vertelt hij bijvoorbeeld levendig over het obscure Parijse nachtleven uit de jaren 30; over de prostituees, de pooiers, de criminelen en de hoerenlopers die de bars en bordelen in Montmartre bevolken. Beroemd is ook Brassaïs Conversations avec Picasso uit 1964, over zijn jarenlange vriendschap met ’s werelds beroemdste schilder die hij met regelmaat bezocht in diens atelier in rue La Boétie. „Als je me echt wilt leren kennen, lees dan dit boek”, zei Picasso bij de verschijning van Conversations. „Helaas is zelfs een lang leven kort en moet men kiezen”, zei Brassaï in 1980.<br />
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<i>Brassaï: Street-walker near Place d’Italie (1932).</i><br />
<i>Foto Estate Brassai Succession Paris</i><br />
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In de grote overzichtsexpositie, nu in Foam Amsterdam, zijn naast een beeldhouwwerkje en een paar tekeningen 170 van zijn vintage-prints te zien; afdrukken die hij destijds zelf maakte. De straatfoto’s van Parijs-bij-dag hangen er, en de portretten van beroemde kunstenaars als Picasso, Matisse, Giacometti en een piepjonge Dalí. En natuurlijk de prachtige foto’s waar Brassaï het beroemdst mee werd: de indrukwekkende nachtelijke beelden van beregende kasseien, spookachtige stadsgezichten, enge doorkijkjes onder de Seine-bruggen, meestal genomen in een mistige nacht waardoor de harde, elektrische verlichting zachter en diffuser werd – film noir avant la lettre.<br />
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De foto’s werden gepubliceerd in zijn nu iconische boek Paris de nuit in 1933, dat Brassaï in één klap een bekend kunstenaar maakte in een tijd dat fotografie nog maar nauwelijks werd gezien als een serieuze kunstvorm.<br />
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Brassaï koos voor de fotografie, maar heeft daar soms twijfels over gehad. „Als iemand een talent voor schilderen of beeldhouwen heeft, is de weg gemarkeerd, zonder aarzeling. Maar als je meerdere talenten hebt, dan is dat bijna een ramp. Je wordt voortdurend verscheurd door je gaven, vol spijt van wat je had kunnen doen maar niet deed.”<br />
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<span style="font-size: large;"><b>Brassaï: ‘Ik was bekend met het obscure leven, kende alle prostituees, de pooiers, de criminelen’</b></span><br />
Brassaï (1899 – 1984), de Franse fotograaf van Hongaarse komaf, maakte talloze iconische beelden van het Parijse leven in de jaren 30. Hij stond bekend om zijn sfeervolle nachtelijke beelden van de stad, met haar prostituees, travestieten, pooiers en criminelen, maar fotografeerde ook de high society, het ballet, de opera en de intellectuelen – waaronder zijn vrienden en tijdgenoten als Pablo Picasso, Salvador Dalí en Henri Matisse. Henry Miller, met wie hij ook goed bevriend was, noemde hem 'Het oog van Parijs'. Foam Fotografie Amsterdam toont tot en met 12 december een groot retrospectief van zijn werk.<br />
Rianne van Dijck<br />
13 september 2019<br />
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Zonder titel, Parijs, 1937. Deze foto van een billboard met het gezicht van Marlene Dietrich verscheen in het fotoboek Camera in Paris, dat in 1949 in Londen uitkwam. In het bijschrift staat: ‘Iets om naar te kijken’– het is niet duidelijk of dit door een redacteur of door Brassaï zelf werd geschreven. Van Brassaï is bekend dat hij zijn foto’s vaak ensceneerde. Of deze fietskoerier zich daadwerkelijk aan de Duitse filmster stond te vergapen, of dat Brassaï hem hiernaartoe heeft geloodst, is onbekend.<br />
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Op de Boulevard Saint-Jacques, 1930-1932. Brassaï, met zijn voorliefde voor het nachtleven van Parijs, was een van de eerste fotografen die zich waagde aan fotografie in het donker. Met zijn Voigtländer Bergheil-camera en 24 glasplaten trok hij er ’s nachts op uit, om in de ochtend zijn foto’s te ontwikkelen in zijn appartement. Hij werd een aantal keren gearresteerd door de politie, die hem ervan verdacht zich in het donker bezig te houden met criminele activiteiten.<br />
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Prostituee, bij de Place d’Italie, 1932. ,,Dankzij mijn eindeloze nachtelijke wandelingen kon ik mijn gang gaan en de mensen bestuderen die de nacht bevolkten. Ik was bekend met het obscure leven, en zelfs met de criminelen uit die tijd. Ik kende alle prostituees, de pooiers, de bordelen…”, schreef Brassaï in het fotoboek Le Paris sécret des années 30, dat hij publiceerde in 1976.<br />
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Fat Claude en haar vriendin in Le Monocle, c. 1932. Brassaï fotogafeerde’s nachts in bars en clubs, onder andere in Le Monocle, een bar voor homo’s en lesbiennes in rue Edgar-Quinet. Zelf schreef hij bij deze foto: ‘Lesbisch stel in Le Monocle, Parijs’. Fat Claude heette in het echt Violette Morris. Ze was een beroemd Frans atlete en een van de eerste transgenders – ze liet haar borsten verwijderen. Later zou ze zich aansluiten bij de nazi’s, in 1944 werd ze door het Franse verzet geliquideerd.<br />
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Le Môme Bijou, Bar de la Lune, Montmartre, 1932. Over Madame Bijou, een met sieraden behangen 70-jarige prostituee, schreef Brassaï: ‘Achter haar glinsterende ogen, nog steeds verleidelijk, flakkerden de lichten van de Belle Époque. Het was alsof in die ogen de geest van een jong meisje glimlachte, alsof de ouderdom daar geen vat op had gekregen.’ Fun fact: In de film Titanic tekent Leonardo di Caprio’s personage Jack Dawson een oudere vrouw die hij in Parijs zou hebben ontmoet en die elke nacht in een bar zit, wachtend op een verloren liefde. De tekening is gebaseerd op Brassaï’s foto.<br />
Foto Estate Brassaï Succession<br />
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Stel in een café, bij de Place d’Italie, 1932. Rond 1930 was de fotografie, vooral in slechte lichtomstandigheden, nog een kwestie van lange sluitertijden, magnesiumflitsen en massieve, houten statieven. Het ligt dus niet voor de hand dat deze beroemde foto van een kussend stel een ‘gestolen moment’ was, waarbij de man en vrouw niet wisten dat ze gefotografeerd werden. Brassaï was daar ook helemaal niet op uit; hij wilde een ,,mise-en-scene creëren om zo een verhaal te vertellen”, zo schreef hij zelf.<br />
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A Monastic Brothel, rue Monsieur-le-Prince, c. 1931. Dat Brassaï zelfs ín de Parijse bordelen fotografeerde en prostituees en hun klanten mocht vastleggen, geeft aan hoezeer hij kind aan huis was in het obscure nachtleven. In diverse interviews zegt hij overigens dat hij ook zijn assistent soms liet figureren als ‘klant’ – of dat ook het geval is op deze foto, is onbekend.<br />
Foto Estate Brassaï Succession<br />
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Gala-avond bij Maxim’s, mei 1949. Ook na de oorlog, toen Brassaï aan de slag ging voor Harper’s Bazaar, bleef hij het nachtleven van Parijs vastleggen. Maxim’s, in 1893 geopend door de Parijse ober Maxime Gaillard, was een van de meest populaire en trendy restaurants in Parijs, met een even rijke als beroemde clientèle waaronder Marcel Proust, Maria Callas, Aristoteles Onassis en Jean Cocteau.<br />
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Henri Matisse met zijn model, 1939. Behalve de danseressen, de prostituees en nachtvlinders, fotografeerde Brassaï ook kunstenaars en schrijvers als Matisse, Bonnard, Giacometti, Sartre en Beauvoir. Met onder andere Picasso en Henry Miller ontwikkelde hij hechte vriendschappen. Op deze foto is Matisse 70, het model is Lydia Delectorskaya, zijn muze, secretaresse, assistent en goede vriendin tot zijn dood in 1954.<br />
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Morris Column, avenue de l’Observatoire, 1934. ,,Mijn foto´s werden als ‘surrealistisch’ beschouwd omdat ze een verzonnenen onwerkelijk Parijs onthulden, ondergedompeld in duisternis en mist”, schreef Brassaï over zijn nachtelijke stadsbeelden. Maar, zo legde hij uit: ,,Ik wilde gewoon de realiteit vastleggen – omdat niets surrealistischer is dan dat.”<br />
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Passage de Clichy, 1930-1932. In de Passage de Clichy, om de hoek van de Boulevard de Clichy, bevonden zich veel kleine hotels. Het nauwe straatje, om de hoek bij de Moulin Rouge en de rosse buurt van Quartier Pigalle, trok veel prostituees en hun klanten.<br />
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Doorkijkje door pont Royal naar de pont Solférino, c. 1933. Brassaï fotografeerde graag bij mistig, nat weer, omdat de mist de harde, elektrische verlichting zachter en diffuser maakte. ,,‘s Nachts ontstaat een schemerwereld, een wereld van verschuivende vormen, van valse perspectieven. Er is iets griezeligs, zelfs verontrustends aan”, schreef de Franse schrijver en dichter Paul Morand in zijn voorwoord bij het fotoboek Paris de Nuit (1933).<br />
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Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-43820715618588040562019-09-18T00:06:00.000-07:002019-09-18T00:06:11.466-07:00Views & Reviews How do You Move between Guilt and Involvement in South Africa? A Journey to the Homeland Katharine Cooper Photography<div class="separator" style="clear: both; text-align: center;">
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The exhibition ‘<a href="https://www.kunsthal.nl/en/plan-your-visit/exhibitions/katharinecooper/"><span style="color: red;">A Journey to the Homeland</span></a>’ by the South African photographer Katharine Cooper (1978, Grahamstown) presents a probing portrait of white Africans. Major political events, such as the collapse of Apartheid in South Africa in 1994 and the expulsion of white farmers from their houses in Zimbabwe in 2000, significantly changed the position of these Africans. Although many of them managed to secure a certain future for themselves after these changes, others were not so lucky. In 2013, Cooper returned for a journey through the countries of her childhood, South Africa and Zimbabwe. In a respectful way, she captured members of the white minority that she used to belong to herself.<br />
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For her photo series ‘A Journey to the Homeland’, Katharine Cooper used her Hasselblad camera to photograph the white farmers, with a special focus on their children, who got caught up in political and economic forces beyond their comprehension. More than thirty-five analogue black and white photographs not only show poverty and vulnerability, but also reveal a certain amount of pride and love for the continent where Cooper grew up. Pride and joy are tempered by vulnerability, while a smile accompanied by a riffle hides the uncertainty. The presence of animals in the photographs adds a deeper layer of meaning. A little boy clumsily holding a kitten, and therefore experiencing some kind of love, or a young man assuming the same huddled-up and defenceless position as the bunny in his lap.<br />
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Cooper plays with light, geometry, texture and intensity, and excels in the space between the personification of the families and the way in which they are portrayed. The analogue images seems to have been framed in their square formats. These silver gelatine prints give the impression that the photographs were made decades ago, while the black and white also refers to the journalistic character of the subject. Although she consciously decided to focus on one of the many minorities in South Africa – a minority she once belonged to herself –, this should not be perceived as either a victory over or an apology for the colonial past.<br />
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KATHARINE COOPER<br />
In 2004, Katharine Cooper graduated from the ‘École Nationale Supérieure de la Photographie’ in Arles, France, after which she worked in the studio of the renowned photographer Lucien Clergue. She developed into a socially committed documentary photographer and now travels all over the world. In 2013, Cooper returned to Africa for a four-month journey through Zimbabwe and South Africa. This journey resulted in the photographic series ‘White Africans: A Journey to the Homeland’ for which Cooper received the 2013 photography award of the Académie des Beaux-arts in Paris. Cooper is also interested in the problems of the Middle East and, since 2015, has made several journeys to war zones in Syria and Iraq. In these places she also photographs families that are struck by fate.<br />
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<span style="background-color: white; font-family: "ffdinwebmedium"; margin: 0px; padding: 0px;"><i><span style="font-size: x-small;">Katharine Cooper, Nina with her children Mayrie and Max and their Oupa Lindsay in the Beadle Street house in Grahamstown, South Africa, 2013, photo ©Katharine Cooper, courtesy of Flatland Gallery</span></i></span></div>
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<span style="font-size: large;"><b>Hoe laveer je tussen schuld en betrokkenheid in Zuid-Afrika?</b></span><br />
Fotografie<br />
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Katharine Cooper: A Journey to the Homeland. T/m 13 oktober 2019 in de Kunsthal Rotterdam.<br />
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Rianne van Dijck<br />
26 juli 2019<br />
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Fotografie In haar poëtische portretten richt Katharine Cooper haar lens voornamelijk op Zuid-Afrikaanse witte kinderen – die zich nauwelijks lijken te realiseren welke geschiedenis ze op hun rug meetorsen.<br />
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<i>Katharine Cooper, Simoné Vlooh and Oogies the cat, early in the morning at Coronation Park, Krugersdorp, South Africa, 2013. (60 x 60 cm)</i><br />
<i>Courtesy Flatland Gallery</i><br />
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Ze zijn ontroerend; het portret van een groepje stoere jongemannen dat met een rugbybal midden op straat uitdagend staat te poseren, de foto van de gehandicapte Hunter Koen, die – zo lezen we in het bijschrift – door zijn ouders is verlaten en nu in een sloppenwijk woont. Hun overduidelijke armoede contrasteert met de beelden van de rijke families: de jongens in schoolkostuum met hun kraakheldere bloesjes, het gezin dat met de zwarte dienstmeid poseert voor hun riante huis in Jeffreysbaai. Wat de mensen op deze foto’s met elkaar gemeen hebben, is dat ze allemaal wit zijn in een land met een voornamelijk zwarte bevolking.<br />
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In de Rotterdamse Kunsthal is deze zomer A Journey to the Homeland te zien van Katharine Cooper (Zuid-Afrika, 1978); foto’s die Cooper in 2013 maakte in Zuid-Afrika en Zimbabwe, landen waar ze woonde tot ze als negentienjarige fotografiestudent naar Londen vertrok om zich uiteindelijk te vestigen in het Franse Arles.<br />
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<i>Katharine Cooper, Boys with pellet guns on Ledbury Farm, Mazowe, Zimbabwe, 2013. (80 x 80 cm)</i><br />
<i>Courtesy Flatland Gallery</i><br />
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Als je als witte Zuid-Afrikaan besluit een fotoserie te maken over witte Zuid-Afrikanen, dan kies je voor een beladen onderwerp. Niets is immers neutraal in een verhaal over een land waar de ene bevolkingsgroep lange tijd werd onderdrukt door de andere en waar ook in de 25 jaar na de afschaffing van de apartheid de sporen van die catastrofale geschiedenis nog lang niet zijn uitgewist. Hoe ga je om met die geschiedenis, hoe laveer je tussen begrippen als schuld, verantwoordelijkheid en betrokkenheid?<br />
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In de foto’s van Cooper zien we dat sinds 1994 weliswaar een grote groep witte Zuid-Afrikanen de rijkdom van voor de apartheid heeft behouden, maar dat er ook een groep is die de privileges niet heeft behouden en in armoede is vervallen – al is die groep een heel stuk kleiner dan zwarte Afrikanen die in armoede leven.<br />
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<i>Katharine Cooper, Naughty Boys: Petrus, Hansie, Raymon and Jason at Coronation Park, Krugersdorp, South Africa, 2013. (60 x 60 cm)</i><br />
<i>Courtesy Flatland Gallery</i><br />
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Cooper focust in haar werk niet op de politieke of sociaal-economische, noch op de dramatische kant van die leefomstandigheden. In haar poëtische portretten richt ze haar lens voornamelijk op kinderen – die, of ze nu rijk zijn of arm, zich in hun onschuld (wat Cooper benadrukt door ze regelmatig met een dier te fotograferen – een konijn, een kitten, een papegaai) nauwelijks lijken te realiseren welk een geschiedenis ze op hun rug meetorsen. Haar intieme portretten stralen eerder een soort tijdloosheid uit dan dat het harde, registrerende nieuwsfoto’s zijn. Het meisje dat verlegen voor een oude schuurdeur staat met een grote slak in haar handen, doet denken aan de beelden die Dorothea Lange bijna een eeuw geleden maakte van de arme boerenbevolking in het Amerikaanse Zuiden. Het jongetje dat met zijn blote voeten en z’n blonde kop recht de lens inkijkt, roept associaties op met de straatkinderen die Lewis Hine aan het begin van de 20ste eeuw fotografeerde.<br />
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Met deze aanpak neutraliseert Cooper de lading die het onderwerp heeft. En laat ze met haar subjectieve documentaire beelden zien dat in een land waar de geschiedenis zo’n stempel heeft gedrukt op de samenleving, er kwetsbaarheid is, en trots, en weet ze dat gevoel op te roepen dat het gaat om mensen die ergens thuis zijn – maar ook weer niet.<br />
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Een versie van dit artikel verscheen ook in NRC Handelsblad van 13 september 2019<br />
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<span style="font-size: large;"><b>Het thuisland van witte Afrikanen</b></span><br />
Fotograaf Katharine Cooper (1978), geboren in Zuid-Afrika, maakte in 2013 een portretserie over de witte bevolking van Zuid-Afrika en Zimbabwe, na de afschaffing van de Apartheid in het eerste land (1994) en de verdrijving van witte boeren in het tweede land (2000). Veel van hen weten na de omwentelingen een zekere toekomst te behouden, anderen hebben minder geluk. Cooper wil geen politiek statement maken over kolonialisme en maakt vooral persoonlijke en kwetsbare portretten van kinderen. Katharine Cooper: A Journey to the Homeland is tot en met 13 oktober te zien in Kunsthal Rotterdam.<br />
Christian Sier<br />
13 augustus 2019<br />
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Broers op hun veranda of ‘Stoep’ in Coronation Park, Krugersdorp, Zuid-Afrika 2013<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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Ondeugende jongens: Petrus, Hansie, Raymond en Jason in Coronation Park, Krugersdorp, Zuid-Afrika 2013<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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Rugbyteam in Coronation Park, Krugersdorp, Zuid-Afrika 2013<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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Jongens met luchtbuksen op Ledbury Farm, Mazowe, Zimbabwe 2013<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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Werkster met Beth en de buurkinderen op Ledbury Farm, Mazowe, Zimbabwe 2013<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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Karin, Johan & André Smit met Maria Lokomo voor hun huis in Jeffreysbaai, Zuid-Afrika 2013<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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Nina met haar kinderen Mayrie en Max en hun opa Lindsay in Beadle Street House in Grahamstown, Zuid-Afrika 2013<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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Nadine Vorster wacht op de trein op Princess Station, Krugersdorp, Zuid-Afrika 2013<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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Zane van Hoff en zijn vriendin Vanessa Grobler in Koffiebaai, Wildkust, Zuid-Afrika 2013<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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Simoné Vlooh en kat Oogies, vroeg in de ochtend in Coronation Park in Krugersdorp, Zuid-Afrika 2013<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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Hunter Koen (20), verlaten door zijn ouders, nu woonachtig in Coronation Park in Krugersdorp, Zuid-Afrika 2013.<br />
Foto Katharine Cooper/ Flatland Gallery<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhktTP79OX7ug8dne8dMuKiJ0yfMPC7aa3zJkJQfiBJvLIfxnjiIXsXLaCFwBzSa2QtZw9fheHo2-kZtHvQn0HdTgaDkMdfDFTIIrgNPevp1KwGfORJBiJUb1F4qyx5CkWbnAPJ9dCqNi0/s1600/0508culcooper4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1371" data-original-width="1360" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhktTP79OX7ug8dne8dMuKiJ0yfMPC7aa3zJkJQfiBJvLIfxnjiIXsXLaCFwBzSa2QtZw9fheHo2-kZtHvQn0HdTgaDkMdfDFTIIrgNPevp1KwGfORJBiJUb1F4qyx5CkWbnAPJ9dCqNi0/s400/0508culcooper4.jpg" width="396" /></a></div>
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Corrie Saymaan, parkeerwachter bij Queen’s Mall, Oudtshoorn, Zuid-Afrika 2013<br />
Foto Katharine Cooper/ Flatland GalleryBint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-6619386236074307052019-09-17T00:27:00.000-07:002019-09-17T00:27:05.520-07:00Views & Reviews The fascination of Inez & Vinoodh for the Manipulated Body Inez van Lamsweerde Vinoodh Matadin Photography<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_xkNsXhigVAlJw60QyWfHibqOMybhFMU8UamRbGrm7gq_ZeJMf4149EYbQfOyciwYs0eooRMzqUi3R7JZsMXYwL-KfcU4Kjz-pZwp1mv1oViElGcORyOEstH1zJBg-3-vkriKfXkehTU/s1600/IMG_0083.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1600" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_xkNsXhigVAlJw60QyWfHibqOMybhFMU8UamRbGrm7gq_ZeJMf4149EYbQfOyciwYs0eooRMzqUi3R7JZsMXYwL-KfcU4Kjz-pZwp1mv1oViElGcORyOEstH1zJBg-3-vkriKfXkehTU/s400/IMG_0083.JPG" width="400" /></a></div>
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The Ravestijn Gallery is proud to present ‘I See You in Everything’, the first solo exhibition at the gallery of the artist duo, Inez van Lamsweerde and Vinoodh Matadin, better known by their collaborative name Inez & Vinoodh. Without a singular theme or period, the exhibition will comprise of an array of work selected from a colossal career that sprawls over thirty years.<br />
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Their maverick ways of working have facilitated a new perception of fashion photographs in the context of art, seeing their work grace the pages of fashion magazines and the walls of museums in equal measure. Thirty years on, Inez & Vinoodh still taunt the temporality of much modern fashion, trading trends for timeless photographs, some which are re-contextualized decades later, just as this exhibition intends to do.<br />
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Inez & Vinoodh have created ad campaigns for an innumerable list of leading brands that include Christian Dior, Yves Saint Laurent, Gucci, Louis Vuitton, and Chanel, and have photographed personalities such as Kate Moss, Lady Gaga, Tom Cruise, Rihanna, Kanye West, and Paul McCartney. Their work has also been exhibited in galleries and museums internationally including the Stedelijk Museum and Van Gogh Museum in Amsterdam, the Hayward Gallery in London, the Deichtorhallen in Hamburg, and the Whitney Museum of Contemporary Art in New York. A retrospective show titled Pretty Much Everything 1985–2010 began it’s international tour at FOAM, Amsterdam in the summer of 2010 and has since travelled to the Pavilion Bienal in Sao Paulo, the Dallas Contemporary in Dallas, and Fotografiska in Stockholm.<br />
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<span style="font-size: large;"><b>De fascinatie van Inez & Vinoodh voor het gemanipuleerde lichaam</b></span><br />
Fotografie De grens tussen modefotografie en kunst is verdampt in het werk van Inez & Vinoodh. Op een compacte expositie bij The Ravestijn Gallery ligt de nadruk op het meest recente werk.<br />
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<i>Inez & Vinoodh, Lady Gaga, Leonor, 2015</i><br />
<i>Foto Courtesy The Ravestijn Gallery </i><br />
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<i>Fotografie</i><br />
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<i>Inez & Vinoodh: I See You in Everything. T/m 19/10, The Ravestijn Gallery, Amsterdam.</i><br />
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<i>Inl:<a href="https://theravestijngallery.com/exhibitions/inez-vinoodh-i-see-you-in-everything#more"> <span style="color: red;">theravestijngallery.com</span></a></i><br />
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<i>●●●●●</i><br />
Tracy Metz<br />
11 september 2019<br />
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De mislukte fotoshoot in Groningen in 1991 is inmiddels onderdeel van de legendevorming rond het beroemde Nederlandse fotografenduo Inez van Lamsweerde en Vinoodh Matadin. Het regende en ze waren na afloop niet tevreden met hun beelden. Dus gingen ze iets nieuws proberen: op de computer nieuwe foto’s van de modellen over eerder gemaakte zonnige stadsbeelden heen monteren. Een werkwijze was geboren, Inez & Vinoodh zijn die tot de dag van vandaag blijven doorontwikkelen; ze hebben er een genre op zich van gemaakt.<br />
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Dat is goed te zien op de tentoonstelling I See You in Everything, hun eerste solotentoonstelling in de Amsterdamse The Ravestijn Gallery. De grens tussen modefotografie en kunst is verdampt; wat blijft is de fascinatie voor het gemanipuleerde lichaam. Hun werk beweegt zich moeiteloos tussen tijdschrift, museum – en galerie. Zoals Van Lamsweerde een paar jaar geleden in een interview zei: „Ik maak niet meer wat de tijdschriften willen; ze willen nu wat ik maak.”<br />
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<i>Inez & Vinoodh, Cindy Sherman, The Gentlewoman, 2019 en Inez & Vinoodh, LucyFer, 2011.</i><br />
<i>Foto Courtesy The Ravestijn Gallery</i><br />
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In 2010 hadden Inez & Vinoodh een overweldigende overzichtstentoonstelling in Foam met ruim 300 werken, die terecht de titel Pretty Much Everything kreeg. Deze presentatie bevat daarentegen slechts zestien beelden. Die wordt aangekondigd als een selectie uit hun oeuvre van de afgelopen dertig jaar, maar bij die selectie is de keuze wel gevallen op recent werk: het oudste is van 2005 en de meeste van veel korter geleden. Het werk boeit als altijd, maar deze expositie blijft daardoor beperkt tot een verkoopkanaal zonder verhaallijn, met prijzen tussen de 25.000 en 55.000 euro.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinYPBWx2d5EEvSXyAkB-fBQekudZHpSR52-4EL3YhM1jZQEWLha6HoRWsjfAMi5NG6S2Hmbx_mRNTHucO-Z1HQAJJp8mSy8VoAx34rrsrZaSrBYzUNAvnebxc6uagoxsf5F8Fjx8rxIRU/s1600/data49155129-2ab9bf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1360" data-original-width="1360" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinYPBWx2d5EEvSXyAkB-fBQekudZHpSR52-4EL3YhM1jZQEWLha6HoRWsjfAMi5NG6S2Hmbx_mRNTHucO-Z1HQAJJp8mSy8VoAx34rrsrZaSrBYzUNAvnebxc6uagoxsf5F8Fjx8rxIRU/s400/data49155129-2ab9bf.jpg" width="400" /></a></div>
<i>Inez & Vinoodh, Dutch Tulip, 2019</i><br />
<i>Foto Courtesy The Ravestijn Gallery</i><br />
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Een enkele keer is het juist het gebrek aan manipulatie dat verrast. Op de cover van het tijdschrift The Gentlewoman staat een totaal naturel foto van kunstenaar Cindy Sherman, die we anders alleen van haar talrijke verkleedpartijen kennen. Ah, ziet ze er zo uit! Maar aan de wand hangt een grote afdruk van diezelfde Cindy Sherman gekleed in kimono met een woest opgemaakt gezicht en één hand diep in een grote zak chips gestoken. Ook verrassend van directheid zijn de grote afdrukken van bloemen tegen een spierwitte egale achtergrond. Alsof de kunstenaars even afstand nemen en vormen en kleuren vieren, waar ze niets aan veranderd hebben.Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-47066569595407248562019-09-16T03:36:00.000-07:002019-09-16T03:58:25.895-07:00Andy Warhol Photobooth Pictures BookMarket Utrecht september 15 2019 Photography<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDdv_wJBGh2R9cDvKA_Ylyw_PSfPBuXpj3eCeFk6GHZoJIXt6DunKkaGBGVa2YBQ0u1c8SGhcNTxY5ueJn7TgXfJyuiK3T59AKCh0O-s2DkAaiy5np_sCo0yZer7sLpm-nk2sDhmd8Tw4/s1600/8224c0a4-2242-4268-9a08-8156872f261d.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="393" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDdv_wJBGh2R9cDvKA_Ylyw_PSfPBuXpj3eCeFk6GHZoJIXt6DunKkaGBGVa2YBQ0u1c8SGhcNTxY5ueJn7TgXfJyuiK3T59AKCh0O-s2DkAaiy5np_sCo0yZer7sLpm-nk2sDhmd8Tw4/s640/8224c0a4-2242-4268-9a08-8156872f261d.jpg" width="358" /></a></div>
'<br />
Andy Warhol Photobooth Pictures<br />
Miller, Robert<br />
Published by Robert Miller Gallery (1989)<br />
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See also<br />
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<a data-id="8785282074981167868" data-item-type="post" href="https://bouillabaiseworkinprogress.blogspot.com/2019/09/handsome-devil-smiths-never-mind.html" itemprop="url" rel="bookmark" style="outline: none; text-decoration-line: none; transition: color 0.3s ease 0s;"><span style="color: red;">Handsome Devil The Smiths Never Mind the Bollocks Sex Pistols BookMarket Utrecht september 15 2019 Street Photography</span></a></h1>
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<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=68054518" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Monografie Gerard Fieret (1924-2009)</a></b> door <a href="http://www.librarything.nl/author/burkomfransvan" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Frans van Burkom</a></span></div>
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Focus Media Groep</div>
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<br />
Chambre Close<br />
Rheims, Bettina; Serge Bramley<br />
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Published by Gina Kehayoff, Munich (1992)<br />
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ISBN 10: 3929078031 ISBN 13: 9783929078039<br />
Gina Kehayoff, Munich, 1992. Hardcover. First edition, first printing. Fine in a Fine dust jacket, now protected by a mylar cover. Patterned-silver-paper-bound hardcover in matching dj with red, printed paper belly-band. The conceit of this volume is that a trove of photographs have been found with an accompanying text explaining the unknown author's fetish of asking female strangers to pose nude for him. The color photographs show a variety of attractive women in anonymous hotel-room settings of patterned wallpaper and cheap furniture in various stages of erotic undress. The subsequent editions don't even try to duplicate the exquisite, elegant and expensive details of this gorgeous book. Photographs by Bettina Rheims; text by Serge Bramley. 144 pages; 69 full-page, color plates; 9 x 10.75 inches.<br />
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<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=20423243" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Hollandse velden</a></b> door <a href="http://www.librarything.nl/author/meerhansvander" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Hans van der Meer</a></span></div>
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Amsterdam : De Verbeelding; 88 p, 21×29 cm</div>
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<table cellspacing="0" class="bookinformation" style="color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin: 6px 0px 10px; padding: 0px; width: 757px;"><tbody>
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<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=90271002" style="color: rgb(0, 0, 0) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">33 Still Lives</a></b> door <a href="http://www.librarything.nl/author/corbijnanton" style="color: rgb(169, 52, 52) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Anton Corbijn</a></span></div>
<div style="margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
<span class="trans" id="tr1532984564" style="unicode-bidi: embed;">Andere auteurs</span>: <a href="http://www.librarything.nl/author/corbijnantoncolorpho" style="color: rgb(100, 12, 149) !important; cursor: pointer; outline: none; text-decoration-line: none; unicode-bidi: embed;">Anton (photographer); 33 Color Photographs Corbijn</a> (<span class="trans" id="tr294887008" style="unicode-bidi: embed;">Illustrator</span>)</div>
<div style="margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
[Schirmer/Mosel] (1999), Edition: 1ST, Hardcover, 64 pages</div>
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<tr><td class="bibliographicinfo" colspan="4" style="font-size: inherit; padding-bottom: 10px; vertical-align: top;"><div style="margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=173339686" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Gerald van der Kaap - Iwantapermanentwave (I maestri del celare (18))</a></b> door <a href="http://www.librarything.nl/author/kaapgeraldvander" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Gerald van der Kaap</a> (<span class="trans" id="tr3120815614" style="margin: 0px; padding: 0px; unicode-bidi: embed;">Auteur</span>)</span></div>
<div style="margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
Duizend en Een Uitgeverij (2018), 48 pagina's</div>
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<div style="background-color: #f9fafb; color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=74025213" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Cowboy Kate & andere verhalen</a></b> door <a href="http://www.librarything.nl/author/haskinssam" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Sam Haskins</a></span></div>
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Amsterdam, De Bezige Bij</div>
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Angus McBean Paperback – Import, 1982<br />
by McBean, Angus; Woodhouse, Adrian (Author)<br />
Paperback: 119 pages<br />
Publisher: Quartet Books; First Edition edition (1982)<br />
Language: English<br />
ISBN-10: 0704300400<br />
ISBN-13: 978-0704300408<br />
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<div style="background-color: #f9fafb; color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=21757683" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Cruel compassion</a></b> door <a href="http://www.librarything.nl/author/martenspeter" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Peter Martens</a></span></div>
<div style="background-color: #f9fafb; color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
Amsterdam : Fragment; 80 p, 23×23 cm</div>
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<h3 class="post-title entry-title" itemprop="name" style="background-color: white; font-family: Georgia, serif; font-size: 18.2px; font-weight: normal; line-height: 1.4em; margin: 0.25em 0px 0px; padding: 0px 0px 4px;">
<a href="http://bintphotobooks.blogspot.com/2013/05/wayne-miller-making-of-family-of-man.html"><span style="color: red;">Wayne Miller the making of The Family of Man Photojournalism Photography</span></a></h3>
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<table cellspacing="0" class="bookinformation" style="color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin: 6px 0px 10px; padding: 0px; width: 757px;"><tbody>
<tr><td class="bibliographicinfo" colspan="4" style="font-size: inherit; padding-bottom: 10px; vertical-align: top;"><div style="margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=36907641" style="color: rgb(0, 0, 0) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Inri</a></b> door <a href="http://www.librarything.nl/author/rheimsbettina" style="color: rgb(169, 52, 52) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Bettina Rheims</a></span></div>
<div style="margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
<span class="trans" id="tr1532984564" style="unicode-bidi: embed;">Andere auteurs</span>: <a href="http://www.librarything.nl/author/rheimsbettina" style="color: rgb(100, 12, 149) !important; cursor: pointer; outline: none; text-decoration-line: none; unicode-bidi: embed;">Bettina Rheims</a></div>
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Kehayoff (Gina) Verlag,Germany, Hardcover</div>
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<div style="background-color: #f9fafb; color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=33573622" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Nieuwe school-vereeniging amsterdam 1898-1948: 50 jaar nieuwe school-vereeniging amsterdam</a></b> door <a href="http://www.librarything.nl/author/hufpaul" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Paul Huf</a></span></div>
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<span class="trans" id="tr1532984564" style="unicode-bidi: embed;">Andere auteurs</span>: <a href="http://www.librarything.nl/author/textjoostdeklerk" style="color: rgb(100, 12, 149) !important; cursor: pointer; outline: none; text-decoration-line: none; unicode-bidi: embed;">Text Joost de Klerk</a></div>
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Printed by Meijer's Boek- en Handelsdrukkerij, Wormerveer (boekdruk). - Opdrachtgever: NV Nieuwe Schoolvereeniging (50-jarig bestaan)</div>
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<div style="background-color: #f9fafb; color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=19521738" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Sanne Sannes (1937-1967)</a></b> door <a href="http://www.librarything.nl/author/sannessanne" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Sanne Sannes</a></span></div>
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Amsterdam : Fragment; 142 p, 33 cm</div>
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<tr><td class="bibliographicinfo" colspan="4" style="font-size: inherit; padding-bottom: 10px; vertical-align: top;"><div style="margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=20793731" style="cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">De ontdekking van Japan</a></b> door <a href="http://www.librarything.nl/author/elskenedvander" style="color: rgb(100, 12, 149) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Ed van der Elsken</a></span></div>
<div style="margin-bottom: 3px; padding: 0px; unicode-bidi: embed;">
Fragment (1988), Unknown Binding, 154 pages</div>
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-28786070867636907442019-09-12T01:29:00.000-07:002019-09-12T02:04:43.797-07:0015 Years after the Atomic Bomb Hiroshima Tozu Nagata Photography<div class="separator" style="clear: both; text-align: center;">
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<table cellspacing="0" class="bookinformation" style="color: #111111; font-family: Verdana, Arial, sans-serif; font-size: 12px; margin: 6px 0px 10px; padding: 0px; width: 757px;"><tbody>
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<span class="trans" id="tr1076972712" style="unicode-bidi: embed;"><b class="almostalwaysblack" style="margin: 0px; padding: 0px;"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=173195897" style="color: rgb(0, 0, 0) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; unicode-bidi: embed;">Hiroshima</a></b> door <a href="http://www.librarything.nl/author/nagatatozu" style="color: rgb(169, 52, 52) !important; cursor: pointer; margin: 0px; outline: none; padding: 0px; unicode-bidi: embed;">Tozu Nagata</a></span></div>
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Patria Shoten</div>
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The Patria publishing house published several books on Japanese news. In 1960 after the publication of "<a href="https://bouillabaiseworkinprogress.blogspot.com/2019/08/the-children-of-chikuho-japanese.html"><span style="color: red;">The Children of Chikuho</span></a>", he published this book about Hiroshima 15 years after the atomic bomb, through the lives of several of the bombing survivors; a school teacher, a fisherman, an elderly couple, an official, a blind man, etc.<br />
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This publication appears in the Japanese photobooks History book, "<a href="http://bintphotobooks.blogspot.com/2017/09/from-pictorialism-to-provoke-japanese.html"><span style="color: red;">The Japanese photobooks 1912-1990</span></a>" published by Steidl.<br />
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This edition was printed on very poor quality paper, so that it would be cheap and affordable for everyone. As you can see in the photographs the paper is very yellow, but this is the condition in which this book is.<br />
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土門拳(1909-1990)の代表作『筑豊のこどもたち』がパトリア書店から出版されたのが1960年の1月。本書は同じ年の夏に同出版社から出版された写真集。裏表紙のプロフィールによると著者である永田登三は毎日新聞大阪本社に勤務するアマチュアカメラマンとある。毎週休日の日ごとに夜行で広島へ行き、また夜行で大阪に戻るという撮影生活を続け、被爆者たちの生活を記録したんだそう。被爆から15年しか経っていない広島。造本は先の『筑豊のこどもたち』を踏襲している。表表紙の裏には謹呈+署名あり。別刷りの英文テキストが一葉付属している。<br />
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まえがき:ロベルト・ユンク(Robert Jungk)<br />
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目次<br />
まえがき ユンク<br />
あとがき 永田登三<br />
ある女教師.1<br />
ある女事務員.2<br />
ある漁夫.3<br />
ある夫婦.4<br />
ある老サラリーマンの一家.5<br />
ある老夫婦.6<br />
ある老婆.7<br />
わたしらには戦後はない.8<br />
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出版社 publisher:パトリア書店/Patoria Shoten(Patoria Bookshop)<br />
刊行年 year:1960<br />
ページ数 pages:95<br />
サイズ size:H255×W180mm<br />
フォーマット format:中綴じ/saddle stitch<br />
言語 language:和文/Japanese<br />
付属品 attachment:<br />
状態 condition:少傷み。/slightly damaged.<br />
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-79304042065390519492019-09-10T01:13:00.001-07:002019-09-10T01:13:25.892-07:00The PTT Letterbox in the Dutch Landscape Design Friso Kramer Jan-Dirk van der Burg Photography<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><b>De PTT-brievenbus: een icoon in het Nederlandse landschap</b></span><br />
Jan-Dirk van der Burg<br />
5 september 2019<br />
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De PTT-buitenbus mag gerust een landschappelijk icoon in het Nederlandse landschap worden genoemd. Ooit bedacht om de bezorgronde van de postbode niet tot een uitputtende veldtocht te maken. Elk huis dat verder dan 10 meter van de stoep af staat, was vanaf 1972 verplicht om de postbode een handje te helpen en een buitenbus te plaatsen.<br />
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Ik heb altijd gedacht dat dit een prachtig gebaar van de PTT naar hun werknemers was, maar wat blijkt: het was gewoon een bezuinigingsoperatie! Deze maatregel bespaarde 360 arbeidsplaatsen per jaar omdat men met veel minder postbodes toe kon.<br />
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Ieder huishouden was trouwens volkomen vrij om een eigen bus te kiezen, maar de reden waarom de PTT-bus het hele buitengebied in korte tijd heeft veroverd, valt met de Vaderlandse volksaard te verklaren: hij was gratis.<br />
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<i>Jan Dirk van der Burg is Fotograaf des Vaderlands. Maandelijks maakt hij een beeldverslag van Nederland.</i><br />
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Na een proef in Drachten had de PTT al snel 450.000 bussen geïnstalleerd. Alleen in Gelderland waren problemen, daar werd post uit de bus gestolen en in Friesland werden ze opgeblazen met oud & nieuw. Dat de PTT dan niet wéér een gratis een bus kwam bezorgen, zorgde wel voor veel verontwaardiging.<br />
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Ik vind de bus, een ontwerp van Friso Kramer een meesterwerk. Onder postbodes geliefd om zijn binnenklep en comfortabele inwerpgleuf, hoewel je van de PTT ‘inwerp-opening’ moest zeggen, vanwege de eventuele schunnige connotatie.<br />
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We kunnen inmiddels een aantal opvallende gebruikerscategorieën onderscheiden. De mensen die een nisje voor de bus in hun heg zagen, de groene sokkel, de camouflage-poging of de hurkhoogte-variant. De buitenbus heeft gezorgd voor een permanente expositie van onze Nederlandse creativiteit.<br />
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<a href="https://www.comm.nl/nieuws/nieuws/de-groene-buitenbrievenbus-een-herinnering-aan-friso-kramer/"><span style="color: red; font-size: large;"><b>De groene buitenbrievenbus, een herinnering aan Friso Kramer (1922-2019)</b></span></a><br />
22 februari 2019<br />
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Het is eind jaren 1960 en er wordt meer en meer post verstuurd. Voor de PTT (de voorloper van PostNL) is efficiency enorm belangrijk, en zoekt een manier om de routes van de postbestellers sneller en goedkoper te maken. De PTT bepaalt dat wanneer je voordeur met brievenbus verder dan 10 meter van de weg af ligt, je van de PTT een buitenbrievenbus aan de weg moet plaatsen. Dat scheelt veel lopen voor de postbode! Hoewel daar tegenover staat dat je zelf naar je buitenbrievenbus moet gaan om je post te halen.<br />
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<b>Een design van Friso Kramer</b><br />
Hein van Haaren is hoofd van de Dienst Esthetische Vormgeving van de PTT en vraagt aan Friso Kramer om een buitenbrievenbus te ontwerpen. Kramer heeft een flinke staat van dienst als industrieel ontwerper. De Revoltstoel uit 1953 en de straatverlichting uit 1960 zijn een feit en hij werkt aan kantoormeubilair en heeft bestuursfuncties in het culturele veld. Met het ontwerpbureau Total Design heeft hij zich beziggehouden met de vele facetten van designvraagstukken.<br />
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<b>Ontwerp brievenbus</b><br />
Is het bedenken van een brievenbus niet veel te simpel voor hem? Reken maar dat de brievenbus slim doordacht is en ingenieus in elkaar zit! Hoe zorg je ervoor dat de post er goed in past, door zowel postbode als ontvanger van de post prettig te gebruiken is, hij mag van binnen niet nat worden, de klep moet niet hinderlijk klapperen in de wind, de naam en adresgegevens moeten er duidelijk op (met bijgeleverde kaartjes, plakletters en cijfers). Inclusief beveiliging tegen post-diefstal, door een slotje.<br />
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Als materiaal kiest Kramer voor kunststof, dat is goed in grote aantallen te produceren want het werd in matrijzen geperst. De bussen moeten wel lang meegaan, in weer en wind. Daarom zijn ze geverfd in een donkere kleur. De keuze viel op groen, om precies te zijn RAL 6005.<br />
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<b>400.000 brievenbussen</b><br />
Kramer en Van Haaren plaatsen 1000 van deze brievenbussen op proef, in Drachten. Na drie maanden evalueren ze ter plaatse en voeren ze verbeteringen door. In 1972 bestelde PTT 400.000 buitenbussen bij Wavin NV te Zwolle. En evenzoveel bevestigingsmateriaal, palen, slotjes, kaartjes, plakletters en cijfers. Sinds 1973 maken ze onderdeel uit van het straatbeeld.<br />
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<blockquote class="embedly-card">
<h4>
<a href="https://issuu.com/classicphotobooks/docs/buitenwoningbrievenbus">1971 buitenwoningbrievenbus Friso Kramer</a></h4>
1971 buitenwoningbrievenbus Friso Kramer</blockquote>
<script async="" charset="UTF-8" src="//cdn.embedly.com/widgets/platform.js"></script>
<b>1. Maximale camouflage</b><br />
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<b>2. Nis in de heg</b><br />
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<b>3. Groene sokkel</b><br />
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<b>4. Dubbelbus</b><br />
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<b>5. Bovenwaartse uitsparing</b><br />
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Een versie van dit artikel verscheen ook in NRC Handelsblad van 7 september 2019Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-7726914355025392842019-09-09T02:04:00.000-07:002019-09-09T02:04:34.672-07:00Views & Reviews Portretten Huizen Sterren Stedelijk Museum Amsterdam Thomas Ruff Photography<div class="separator" style="clear: both; text-align: center;">
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Thomas Ruff. Portretten, Huizen, Sterren<br />
Foreword (in Dutch, French and German) by Dr. W.A.L. Beeren. Text (in Dutch, French and German) by Els Barents. Includes biographical information, exhibition history and a checklist of the exhibition. 84 pp., with 30 four-color plates, beautifully printed by Mart. Spruijt bv, Amsterdam.<br />
Published on the occasion of the 1989-1990 exhibition Thomas Ruff: Portretten Huizen Sterren at the Stedelijk Museum Amsterdam (also traveled to Grenoble and Zürich).<br />
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Text: Barents Els. cm 23,5×30; pp. 84; COL; paperback. Publisher: Stedelijk Museum, Amsterdam, 1990.<br />
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<span style="font-size: large;"><b>Foto's als vraagtekens</b></span><br />
Hans den Hartog Jager<br />
23 februari 2012<br />
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Porno, daar gaat het allemaal om. Het duurt even voor je het beseft, maar dan komt de klap des te harder aan, in het Haus der Kunst in München: voor de Duitse kunstenaar Thomas Ruff is het maken van een foto net zoiets als het vervaardigen van porno. Voor alle zekerheid: wie hoopt dat dit stuk nu verder gaat over prikkeling en seks en geilheid (mede gestimuleerd door Ruffs nudes-serie, waarvoor hij zeer expliciete pornografische foto’s van internet zo bewerkte dat al die handelingen verdwijnen achter een waas van pixels) moet ik teleurstellen – geilheid interesseert Ruff namelijk maar marginaal. Wat wel: dat fotografie je net als porno, een wereld voorschotelt die ergens geworteld lijkt in de werkelijkheid, die bereikbaar zou kunnen zijn, mogelijk zelfs echt, maar die je, desondanks, zelf nooit zult ervaren.<br />
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Je zou dat zelfs een kernprobleem van de fotografie kunnen noemen (ooit al prachtig beschreven door Susan Sontag): dat elke foto, simpelweg door het feit dat ie wordt gemaakt, de werkelijkheid esthetiseert, optilt, verbijzondert. Daar is op zich weinig bezwaar tegen, zo lang je als toeschouwer dat mechanisme maar doorziet.<br />
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Maar dat is het probleem: juist doordat we zo vaak met zo veel foto’s om de oren worden geslagen, zijn we steeds meer geneigd te denken dat er ergens in die esthetisering een kern van waarheid zit (net zoals je, door lang in interieurbladen te kijken denkt dat jouw huiskamer met die specifieke bank ook al bijna design is). En daar komt Ruff weer om de hoek kijken: hij heeft als fotograaf zo z’n twijfels bij de stille conventies van zijn vak, bij het esthetiseren, de suggestie van uniciteit. Tegelijk is Ruff geen moralist: hij wil dat esthetiseren niet veroordelen, hij toont vooral hoe het werkt en stelt er vragen bij, om de toeschouwer uit die lome schommeling van de beeldenvloed te sleuren. Om ons opnieuw op scherp te zetten. Beter te kijken.<br />
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Dat is ook meteen het intrigerende aan het grote Ruff-overzicht in München: de spanning, de twijfel die Ruff altijd heeft gehad over zijn eigen medium wordt er prachtig zichtbaar. Thomas Ruff (1958) begon zijn carrière als leerling van het beroemde fotografenduo Bernd en Hilla Becher met twee voor hem (en zijn leermeesters) typerende series. Zowel in ‘Häuser’ als ‘Porträts’ probeerde hij de huizen en de gezichten van mensen zo objectief mogelijk vast te leggen. Vooral de portretten-serie werd legendarisch: Ruff regisseerde zijn modellen zo dat alle expressie, alle emotie, ieder lachje van hun gezicht verdween en er van hun hoofden niets anders overbleef dan ‘gipsen bustes’ – waar hij opvallend vaak in slaagde. Maar juist doordat je als toeschouwer niet gewend bent om in het gezicht van een ander (onder wie overigens ook Stedelijk-conservator Leontine Coelewij, die nu door heel München hangt te pronken als de Mona Lisa van de tentoonstelling) helemaal niets te kunnen lezen, word je nog sterker geprikkeld je tot deze ‘koppen’ te verhouden. Om iets in ze te projecteren.<br />
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Al snel maakt Ruff echter een inhoudelijke omslag: vanaf het begin van de jaren negentig gaat hij steeds vaker onderwerpen verbeelden die in het normale leven ‘ongezien blijven’ – en die hij dus, uit de aard van de zaak, niet met z’n eigen camera kan vastleggen. Ruff wordt steeds meer een appropriation photographer: een kunstenaar die zijn beelden niet per se zelf hoeft te maken, maar wiens werk er vooral uit bestaat foto’s van anderen uit te kiezen en eventueel naar eigen inzicht te bewerken – om de beelden op die manier zichtbaar te maken, zijn toeschouwers om de oren te slaan met gecompliceerde werkelijkheden die anders buiten hun zicht zouden blijven. Zo bouwt Ruff al vroeg een opmerkelijke fascinatie op voor foto’s van de ruimte. Prachtig zijn de enorme, zeer precieze zwart-witafbeeldingen van sterrenhemels (waarvoor hij originelen gebruikt van het European Southern Observatory) – grote diepzwarte vlakken met uiterst geconcentreerde witte puntjes en nevels – ons sterrenstelsel. De afgelopen jaren voegt hij daar onder andere foto’s van Mars (gemaakt door de NASA) aan toe en foto’s die werden gemaakt door de ruimtesonde Cassini. De kracht van deze werken zit ’m precies in de onzekerheid waarmee Ruff je slaat: ze zijn prachtig, je weet dat ze zijn geworteld in de werkelijkheid, maar je komt niet te weten in hoeverre hij ze heeft gemanipuleerd. Hoe mooi ze ook zijn, je kunt er niet werkelijk van genieten – je voelt je vooral verloren en op het verkeerde been gezet. Waar kijk ik eigenlijk naar?<br />
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Waar houdt de werkelijkheid op? Wie Ruffs hemelfoto’s ziet kan zich ineens goed voorstellen dat er mensen zijn die geloven dat de maanlanding van 1969 nooit heeft plaatsgevonden en de beelden allemaal in scène zijn gezet. Noem het ruimteporno.<br />
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Iets soortgelijks geldt op een veel subtielere manier voor de zogenaamde jpeg-serie, waar Ruff vanaf 2004 aan werkt. Hiervoor gaat hij appropriaton-technisch nog een stap verder: hij haalt simpelweg foto’s, suggestieve foto’s, mooie foto’s, van anderen van internet. Die blaast hij zover op dat ze uiteenvallen in grove pixelblokken – neem je als toeschouwer genoeg afstand (wat in de immense grote zaal van het Haus der Kunst geweldig kan), dan vloeien ze langzaam weer tot een beeld ineen. Op die manier stelt Ruff opnieuw de grenzen van de beeldbeheersing aan de kaak: wat is eigenlijk de betekenis van een foto op internet, die enorme beeldenvloed waar foto’s niet eens meer in materiële vorm bestaan, maar alleen nog maar simpele blokkendozen zijn die je op willekeurig welke manier in elkaar kunt zetten?<br />
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Zo beschreven lijkt Ruffs werk misschien vrij deconstructivistisch en theoretisch, maar het bijzondere is dat hij je, ondanks dit besef, telkens weet te verleiden. Een bezoek aan deze tentoonstelling is als een voortdurende confrontatie met de grondslagen van de fotografie. Waar kijk ik in vredesnaam naar? Wat betekent het? En als ik dit mooi vind, wát vind ik dan mooi?<br />
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Precies in die verwarring, in die bijna oneindige opeenstapeling van gedachten en emoties weet Ruff zijn doel perfect te bereiken. Gescherpt, geprikkeld maar ook een tikje verward ga je na afloop weer naar buiten. Zou je deze beelden ooit zelf kunnen vinden?<br />
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Thomas Ruff. T/m 20 mei in Haus der Kunst, Prinzregentenstrasse 1, München. Inl. www.hausderkunst.de<br />
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Een versie van dit artikel verscheen ook in NRC Handelsblad van 23 februari 2012<br />
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-11243048906520019852019-09-08T22:26:00.000-07:002019-09-09T10:22:55.777-07:00Top 40 Photographs Dutch Photography Nieuwe Revu<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-size: small;">Top 40 van de Nederlandse fotografie Een bijlage van Nieuwe Revu</span><br />
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<span class="Apple-style-span" style="font-size: small;"><a href="http://www.librarything.nl/work/8384563/summary/20796180"><span style="color: red;">Honger, Amsterdam 1944</span></a>, Cas Oorthuys (1908 - 1975). Reportagefotograaf die veel belangrijk werk uit de oorlog naliet.</span><br />
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<span class="Apple-style-span" style="font-size: small;">Portret Miles Davis, Montreal 1985. Anton Corbijn (1955). Specialist in foto's van de allergrootsten uit de muziekwereld.</span><br />
<span class="Apple-style-span" style="font-size: small;"><a href="http://www.librarything.nl/work/9551330/book/19521822"><span style="color: red;">Chili 1973</span></a>, Koen Wessing (1942). Geengageerd, fotografeerde vooral in Latijns-Amerika vele aspecten van dagelijks leven.</span><br />
<span class="Apple-style-span" style="font-size: small;">Man met spoorbaan, Teun Hocks, (1947). Fotograaf-kunstenaar maakt absurde, geensceneerde fotografie met nostalgische kleuren.</span><br />
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<span class="Apple-style-span" style="font-size: small;"><a href="http://www.librarything.nl/work/3635944/book/19521845"><span style="color: red;">Nicaragua</span></a>, Koen Wessing (1942). Als gezegd: heeft oog voor de sociale problemen van een land, indringend en betrokken.</span><br />
<span class="Apple-style-span" style="font-size: small;"><a href="http://www.librarything.nl/work/11956091/book/19529476"><span style="color: red;">Paris Mortel</span></a>, Johan van der Keuken (1938). Poetisch, accent op het gevoel, de vergankelijkheid van mensen met de stad als decor.</span><br />
<span class="Apple-style-span" style="font-size: small;"><a href="http://www.librarything.nl/work/3643172/book/19525718"><span style="color: red;">Juliette Greco</span></a>, Emmy Andriesse (1914 - 1953). Maakte wat men in de jaren vijftig, humanistische portretfoto's noemde.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5DAx1MRMi7mpSfNZAbukyfmyhoWBkvCMtjZ85PMI5FXSqZEi9Zm180TM1SWXHXRooV-uH6YxfTMPhOILIaoC5K1ddjYbWRgopX0jXnupnYHDT9I17hsjbYA7bgw8YihddARczAakjnv0/s1600/IMG_6840.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5DAx1MRMi7mpSfNZAbukyfmyhoWBkvCMtjZ85PMI5FXSqZEi9Zm180TM1SWXHXRooV-uH6YxfTMPhOILIaoC5K1ddjYbWRgopX0jXnupnYHDT9I17hsjbYA7bgw8YihddARczAakjnv0/s400/IMG_6840.JPG" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: small;"><a href="http://www.librarything.nl/work/3737886/book/20287532"><span style="color: red;">Zuid-Afrika</span></a>, Ed van der Elsken (1925). Lichamelijke fotografie. Teder maar ook met agressie en geweldadige emoties.</span><br />
<span class="Apple-style-span" style="font-size: small;">De tankcommandant, Co Rentmeester (1936). Werd wereldberoemd met deze foto waarvoor hij in '67 de World Press Photo ontving.</span><br />
<span class="Apple-style-span" style="font-size: small;">Vlag leggen Weteringplantsoen, Cas Oorthuys. De illegaliteit legt in '45 vlag waar 32 Nederlanders werden neergeschoten.</span><br />
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<span class="Apple-style-span" style="font-size: small;">Frankfurt am Main 1946, Cas Oorthuys. Maakte deze opname, terwijl hij onderweg was naar de Neurenbergse processen.</span><br />
<span class="Apple-style-span" style="font-size: small;">Schietpartij op de dam 7 mei 1945, W. F. Leijns (1884 - 1966). Hij werd als amateurfotograaf wereldberoemd door deze foto.</span><br />
<span class="Apple-style-span" style="font-size: small;">Dood vogeltje op straat, Ed van der Elsken. Een opname uit zijn beginperiode gewoon gemaakt met een geleende camera.</span><br />
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<span class="Apple-style-span" style="font-size: small;">De Zwanegang, Antwerpen, Aart Klein (1909). Subjectieve fotograaf, maakte veel jaarverslagen voor grote bedrijven.</span><br />
<span class="Apple-style-span" style="font-size: small;">Warmtebronnen, paul de nooijer (1943). Surrealistisch getint. Betiteld als humoristisch, moraliserend en illusionistisch.</span><br />
<span class="Apple-style-span" style="font-size: small;">Nozems Nieuwendijk 1957, Ed van der Elsken. Legt als Volksfotograaf nummer een al zijn hele leven straatbeelden vast.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix95sOIpTZyeobwnFvdWPznw-UEox1NXEc6fwgS0cu6yNPOq-upyhzUKezHGYFBf1ArIxT9Z9mCwcjGgl_30cFnABm-Yvw5KhXKo4JmBP5JmMtr2cirCyIz7Ab6DWNCyUJvD8ci-M1Oq8/s1600/IMG_6843.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix95sOIpTZyeobwnFvdWPznw-UEox1NXEc6fwgS0cu6yNPOq-upyhzUKezHGYFBf1ArIxT9Z9mCwcjGgl_30cFnABm-Yvw5KhXKo4JmBP5JmMtr2cirCyIz7Ab6DWNCyUJvD8ci-M1Oq8/s400/IMG_6843.JPG" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: small;">Drijvend Droogdok R'Dam. Johann Georg Hameter (1838 - 1885). Maakte furore met industriele en architectonische foto's.</span><br />
<span class="Apple-style-span" style="font-size: small;">Girls Head, Sanne Sannes (1937 - 1967). Schilder, filmmaker maar vooral fotograaf van onorthodoxe vrouwenportretten.</span><br />
<span class="Apple-style-span" style="font-size: small;">Zelfportret, Paul Schuitema (1897 - 1973). vormgever en fotograaf die foto's als directer, sneller medium zag dan woorden.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbxrc1VPCUX60jZbmk_ScohqG41ZtBjcvoVLsq8HDSHIeQn2EyAgBkLSH96sym5KfIRRH7n5DZbXapkzPFiYw-U_QYG8qDAy8P0VgD5fh9JmOiFHibRUuo4aWnhvcIwc6ExdM49_B-2NE/s1600/IMG_6844.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbxrc1VPCUX60jZbmk_ScohqG41ZtBjcvoVLsq8HDSHIeQn2EyAgBkLSH96sym5KfIRRH7n5DZbXapkzPFiYw-U_QYG8qDAy8P0VgD5fh9JmOiFHibRUuo4aWnhvcIwc6ExdM49_B-2NE/s400/IMG_6844.JPG" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: small;">Mexicans in poolroom, Ad van Denderen (1943).Niet alleen sociaal fotograaf, liefts zwart wit, vooral mensen.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYVjUvyaDncE0vDVkzdcUf7gw3SllSFOJ_gfUPl2RbrpqiWB7RSZqixFZKXG97kI7ma7ZnlySQYlHhjPHqBsHTLThfOo4mArIxbfBmQ6t6GJRDJvVi7wfXyzvS2tt1ijsRzJ0LNaYr0Cs/s1600/IMG_6845.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYVjUvyaDncE0vDVkzdcUf7gw3SllSFOJ_gfUPl2RbrpqiWB7RSZqixFZKXG97kI7ma7ZnlySQYlHhjPHqBsHTLThfOo4mArIxbfBmQ6t6GJRDJvVi7wfXyzvS2tt1ijsRzJ0LNaYr0Cs/s400/IMG_6845.JPG" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: small;">Roemenie, Rien Zilvold (1957). Winnaar van de Zilveren Camera '89, fotojournalist voor NRC Handelsblad.</span><br />
<span class="Apple-style-span" style="font-size: small;">Kamp Muhlberg, Cor van Weele (1918 - 1989). Illegale opname van kampgenoten. deed daarna veel portretten en reproducties.</span><br />
<span class="Apple-style-span" style="font-size: small;">Zigeuners in auto, Han Singels (1942). Documentair. Voorkeur voor langdurige diepgravende projecten.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP-shLOmHX9whtcqB1SmF_zeOkAYZpOKTpH9BUuiRf1SabEAY_qQ3bGs2QE6X_Er6Zrkc3YsmOFuYRHSiPAjTHz1yOUP4pm5IKtV1FjhtMM3F6t2WZu0Uz6zbhtLZpHKDnU0e5xZS9114/s1600/IMG_6846.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP-shLOmHX9whtcqB1SmF_zeOkAYZpOKTpH9BUuiRf1SabEAY_qQ3bGs2QE6X_Er6Zrkc3YsmOFuYRHSiPAjTHz1yOUP4pm5IKtV1FjhtMM3F6t2WZu0Uz6zbhtLZpHKDnU0e5xZS9114/s400/IMG_6846.JPG" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: small;">Protesttocht DUW arbeiders Groningen 1949, Dolf kruger (1923). Sociaal en politiek fotograaf, vooral schaduwkanten wederopbouw.</span><br />
<span class="Apple-style-span" style="font-size: small;">Dood kalf te netersel, Hansd Aarsman (1951). Begonnen in de krakerswereld, steeds op zoek naar nieuwe vormen van reportagefotografie.</span><br />
<span class="Apple-style-span" style="font-size: small;">The great sand dunes, Michel Szulc Kryzanowski (1949). Deze opname is afkomstig uit een sequence van zeven.</span><br />
<span class="Apple-style-span" style="font-size: small;">De ontdekking van Japan, Ed van der Elsken. Kreeg grote erkenning in Japan. Hij keerde dan ook meerdere malen terug.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrJAVflgnSjVtdLHcWhQsZ-esE_pzVssmECyWHazAK77eVM5rQrgD3VC8VJ80cN2ifwdhgK1S6yR8MwQczqipqzC7EHl8HdI4FOY3_BzuvBYBybF5yQpL2OzlqwxxELV2GzS3j-PUf0Yc/s1600/IMG_6847.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrJAVflgnSjVtdLHcWhQsZ-esE_pzVssmECyWHazAK77eVM5rQrgD3VC8VJ80cN2ifwdhgK1S6yR8MwQczqipqzC7EHl8HdI4FOY3_BzuvBYBybF5yQpL2OzlqwxxELV2GzS3j-PUf0Yc/s400/IMG_6847.JPG" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: small;">Lise Jordan, zuster van M. Breitner, Willem Witsen (1860 - 1923). eerste Nederlandse fotograaf met aandacht voor portretten.</span><br />
<span class="Apple-style-span" style="font-size: small;">Spaarndammerdijk, Amsterdam 1961, Aart Klein. Gemaakt toen hij nog persfotograaf was. Zijn werk wordt gekenmerkt als grafisch.</span><br />
<span class="Apple-style-span" style="font-size: small;">Rome 1947, Sem Presser )1917 / 1986'. Bij uitstek een fotograaf van mensen, ook wel de Carmiggelt van de camera genoemd.</span><br />
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<span class="Apple-style-span" style="font-size: small;">Quatorze Juillet Parijs 1936, Carel Blazer (1911 - 1980). In vakkringen bekend als de vader van de Nederlandse reportagejournalistiek.</span><br />
<span class="Apple-style-span" style="font-size: small;">Mark Spitz Olympische Spelen 1972, Co Rentmeester. Begeeft zich nu meer op commerciele dan op journalistieke vlak.</span><br />
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<span class="Apple-style-span" style="font-size: small;">Portret Kitty Courbois, Govert de Roos (1953). Vooral specialist in portretten van Nederlandse artiesten.</span><br />
<span class="Apple-style-span" style="font-size: small;">Captain Beefheart 1980, Anton Corbijn. De hoffotograaf van U2 streek voor deze opname neer in de Mojave Woestijn.</span><br />
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<span class="Apple-style-span" style="font-size: small;">Chili, Koen Wessing. Wil met deze foto's een bewustwordings-proces op gang brengen bij anderen.</span><br />
<span class="Apple-style-span" style="font-size: small;">Ballerina, Hans Neleman (1960). Een door stillevens en elegante portretten bekend geworden kunst- en reclamefotograaf.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSPj095zaIIPCgxNdZAvPWLzVVi3bGLTgP6UeKsF9vckvs7islnagBAlped3pF-TCX8pjX2_D31G4AGatGoEG0aCMvNJjSEoIyR6lcP_YOlY3g6_T34TETYhJFhP2oJbgCjbnuzhTRI7k/s1600/IMG_6851.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSPj095zaIIPCgxNdZAvPWLzVVi3bGLTgP6UeKsF9vckvs7islnagBAlped3pF-TCX8pjX2_D31G4AGatGoEG0aCMvNJjSEoIyR6lcP_YOlY3g6_T34TETYhJFhP2oJbgCjbnuzhTRI7k/s400/IMG_6851.JPG" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: small;">Minister van der Klaauw, Vincent Mentzel (1945). Mentzel bepaalde jarenlang het fotografisch gezicht van het NRC Handelsblad.</span><br />
<span class="Apple-style-span" style="font-size: small;">Zelfportret, Marlo Broekmans (1953). Naam gemaakt met zelfportretten waarin licht en eigen lichaam centraal staan.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNrrUl8SR85u1PaIaWds8p6-8CiVkMwhYHFdQGrBqBWbCLTyRpRrynnQ1vWWOjdzKuJKaKWRbZSEUSCn5wb0g95N5g7scmPUkVz0N9ozosmZiYbbbgXgnjTNxNRIQVjDXBs8VDjzeXAMo/s1600/IMG_6852.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNrrUl8SR85u1PaIaWds8p6-8CiVkMwhYHFdQGrBqBWbCLTyRpRrynnQ1vWWOjdzKuJKaKWRbZSEUSCn5wb0g95N5g7scmPUkVz0N9ozosmZiYbbbgXgnjTNxNRIQVjDXBs8VDjzeXAMo/s400/IMG_6852.JPG" width="308" /></a></div>
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<span class="Apple-style-span" style="font-size: small;">Stilleven, Chris Lewis (1945). Begonnen als filmer, nu gericht op het fotograferen van landschappen en stillevens.</span><br />
<span class="Apple-style-span" style="font-size: small;">Cafe Torino, Peter van de Velde (1936). Maakt reisreportages die mooier zijn dan de werkelijkeheid.</span>Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-50126032475442130322019-09-07T03:01:00.000-07:002019-09-07T03:01:14.873-07:00 The Bauhaus (photo)Books Bauhausbücher covers, № I-XIV (1925-1930) Architecture Graphic Design Photography<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8sQal-Z9cqfhV-nLtYTu3ruopaXYIO_AUxSo9WgdKeZ023fY7ZsFdIbGUjgwH8L-ml7TStOu6nlGAcd8-wwJ2ZBN6JMM4J3lojrua8bVHTPJD__74mWFejn1OjfKYSbtsXILtsbk1tdG7/s1600/bauhausbucher1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8sQal-Z9cqfhV-nLtYTu3ruopaXYIO_AUxSo9WgdKeZ023fY7ZsFdIbGUjgwH8L-ml7TStOu6nlGAcd8-wwJ2ZBN6JMM4J3lojrua8bVHTPJD__74mWFejn1OjfKYSbtsXILtsbk1tdG7/s400/bauhausbucher1.jpg" width="320" /></a></div>
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<a href="https://thecharnelhouse.org/2014/05/21/bauhausbu%CC%88cher-covers-%E2%84%96-i-xiv-1925-1930/"><span style="color: red;">Bauhausbücher covers, № I-XIV (1925-1930)</span></a><br />
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Below are the covers to the books in the Bauhausbücher series, № 1-14.<br />
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Walter Gropius, Internationale Architektur. Bauhausbücher 1, München 1925<br />
Paul Klee, Pädagogisches Skizzenbuch. Bd. 2, München 1925<br />
Adolf Meyer, Ein Versuchshaus des Bauhauses in Weimar. Bd. 3, München, 1925<br />
Oskar Schlemmer, Die Bühne im Bauhaus. Bd. 4, München 1925<br />
Piet Mondrian, Neue Gestaltung. Neoplastizismus. Bd. 5, Eschwege 1925<br />
Theo van Doesburg, Grundbegriffe der neuen gestaltenden Kunst. Bd. 6, München 1925<br />
Walter Gropius, Neue Arbeiten der Bauhauswerkstaetten. Bd. 7, München 1925<br />
Lazlo Moholy-Nagy, Malerei, Fotografie, Film. Bd. 8, München 1925<br />
Wassily Kandinsky, Punkt und Linie zur Fläche: Beitrag zur Analyse der malerischen Elemente. Bd. 9, München, 1926<br />
Jan Peter Oud, Holländische Architektur, Bd. 10, München 1926<br />
Kasimir Malewitsch, Die gegenstandslose Welt, Bd. 11, München 1927<br />
Walter Gropius, Bauhausbauten Dessau. Bd. 12, München 1928<br />
Albert Gleizes, Kubismus. Bd. 13, München 1928<br />
Laszlo Moholy-Nagy, Von Material zu Architektur. Bd. 14, 1929<br />
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<a href="https://issuu.com/classicphotobooks/docs/m5050_x0031_liv_rlpf0723-compressed">Walter Gropius (ed.), Internationale Architektur, 1925. 111 p., 23 cm.</a></h4>
Walter Gropius (ed.), Internationale Architektur, 1925. 111 p., 23 cm.</blockquote>
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Walter Gropius - Internationale Architektur herausgegeben von Walter Gropius - München, Albert Langen Verlag, 1927 - zweite veränderte Auflage, viertes bis sechstes Tausend - 111 pp. - Linnen gebonden - 23 x 19 cm </div>
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Informatie: Typografie door L. Moholy-Nagy. Voorwoord door Walter Gropius. - Afgebeeld zijn werken van o.a.: Berlage, Poelzig, Mendelsohn, Bourgeois, Le Corbusier, Oud </div>
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J.J.P. Oud - Holländische Architektur. Die Entwicklung der Modernen Baukunst in Holland. Vergangenheit. Gegenwart. Zukunft - München, Albert Langen Verlag, 1926 - 1e druk - 85 pp. - 23 x 18 cm.<br />
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Met talrijke fotografische afbeeldingen.<br />
<br />
Typografische verzorging: L. Moholy-Nagy.<br />
Inhoud: Geständnis. Die Entwicklung der modernen Baukunst in Holland. Über die zukünftige Baukunst. Der Einfluss von Frank Lloyd Wright. Verzeichnis de Abbildungen.<br />
Zie ook Wingler.<br />
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<blockquote class="embedly-card">
<h4>
<a href="https://issuu.com/classicphotobooks/docs/m5050_x0031_liv_rlpf0730">J.J.P. Oud, Holländische Architektur, 1926. 107 p., 23 cm.</a></h4>
J.J.P. Oud, Holländische Architektur, 1926. 107 p., 23 cm.</blockquote>
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<blockquote class="embedly-card">
<h4>
<a href="https://issuu.com/classicphotobooks/docs/m5050_x0031_liv_rlpf0731">Kasimir Malewitsch, Die gegenstandslose Welt, 1927. 104 p.</a></h4>
Kasimir Malewitsch, Die gegenstandslose Welt, 1927. 104 p.</blockquote>
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Albert Gleizes - Kubismus - München, Albert Langen Verlag, 1928 - Bauhausbücher 13 - 1ste druk - 104 p. - softcover, dun karton met stofomslag - 23 x 18 cm<br />
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-80278457393726370172019-09-04T02:14:00.000-07:002019-09-04T02:14:18.428-07:00 British Journal of Photography The Portrait Issue # 7888 October 2019<div class="separator" style="clear: both; text-align: center;">
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<b class="almostalwaysblack"><a href="http://www.librarything.nl/catalog/bintphotobooks&bookid=172872775" style="cursor: pointer; outline: none; unicode-bidi: embed;">British Journal of Photography The Portrait Issue # 7888 October 2019</a></b></div>
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<a href="https://www.bjp-online.com/2019/09/issue-7888-the-portrait-issue/"><span style="color: red; font-size: large;"><b>Issue #7888: The Portrait Issue</b></span></a><br />
written by Marigold Warner<br />
Published on 4 September 2019<br />
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As the UK lurches towards a possible extension of the Brexit deadline, British Journal of Photography’s annual Portrait Issue returns with a selection of images from this year’s Portrait of Britain award<br />
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The Portrait Issue returns this month, featuring a selection of the 200 shortlisted images from our fourth annual photography exhibition, Portrait of Britain. With the UK embroiled in the Brexit debate, the award makes a timely return, presenting an alternative view of nationhood, defined not by the discord of fiery political rhetoric, but by the everyday realities of its citizens in all their diversity.<br />
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The cover image is of Franko-B — a London-based, Italian performance artist whose work is confrontational, provocative and challenging. The portrait was taken by James Tye, one of the 200 photographers shortlisted for Portrait of Britain 2019.<br />
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The issue, now on newsstands, or available through our app, also features Roger Ballen, who, for nearly 40 years, has operated as an outsider, working on the margins alongside fellow art brut artists. Now, a book and exhibition, featuring a life-sized “alter ego” of Ballen called Roger 2, providesa glimpse inside the workings and processes of his dark mind — a world, he says, that “reveals itself through itself”.<br />
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Michael Jang spent four decades building a vast archive of photography documenting the streets of Los Angeles, from underground artistic communities to adorned celebrities. But, it wasn’t until 2001 that SFMOMA uncovered his hidden talent, which they are now compiling into a new book, and Jang’s first major retrospective.<br />
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The Portrait Issue also features Laura Pannack’s social documentary work, which took her to the Cracker — a stretch of land between two estates in Tipton in the Black Country, where she met the community of young adolescents who call it home. Pannack talks us through the project, revealing that by getting to know her subjects, she was reminded of the challenges of childhood that she too experienced growing up.<br />
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The Intelligence section features Trevor Paglen’s new exhibition on show at the Barbican’s Curve gallery, and, this month’s Agenda section spotlights, Moroccan-born, London-based Hassan Hajjaj, who has given the Maison Européenne de la Photographie a colourful makeover.<br />
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The Projects section introduces three more photography graduates from British colleges — our pick of the Class of 2019. Plus, find out about the best exhibitions launching this October, and Damien Demolder’s verdict on the new Canon RF 85mm f/1.2L lens. </div>
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<br />Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-53282360075746616712019-09-02T23:18:00.000-07:002019-09-02T23:18:04.145-07:00Strip Flips! Vol.2 (George) Concept Leslie Lyons Incredibly Small PhotoBooks Paul Kooiker Erik Kessels Photography<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; font-family: "roboto" , "arial" , sans-serif; font-size: 14px; line-height: 20px;">Strip Flips! Vol.2 (George)</span><br />
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ISBN: 9781576871256</div>
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Photographs and concept by Leslie Lyons</div>
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Flipbooks / Erotica / Wink-Wink Nudge-Nudge Theory<br />
Paperback flipbook<br />
6 x 4 inches<br />
128 pages<br />
60 four-color photographs<br />
ISBN: 978-1-57687-125-6<br />
Photographs and concept by Leslie Lyons</div>
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Flipbooks / Erotica / Wink-Wink Nudge-Nudge Theory<br />
Paperback flipbook<br />
6 x 4 inches<br />
128 pages<br />
60 four-color photographs<br />
ISBN: 978-1-57687-125-6</div>
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A new powerHouse Books series, <i style="box-sizing: border-box;"><b style="box-sizing: border-box;">Strip Flips</b></i> reinvents the performance and playful sexiness of burlesque striptease in photography flip books by famed Nerve photographer Leslie Lyons. Here, in the second volume of these salacious flipbooks, see George strutting her stuff in an airy New York loft, peeling off sexy item by sexy item until she’s down to…</div>
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<b style="box-sizing: border-box;">Leslie Lyons</b>‘ patented approach to photographing the act of the striptease in its entirety cleverly captures each and every classic showgirl gesture, can-can trick, and secret of the stripper’s trade. Careful not to give us the whole tamale, Lyons’ strip flip books rediscover the “tease” in striptease, harkening back to the wholesome—and delightfully naughty—era of benign lust, sexual allure, and powerful eroticism. Each flipbook is available individually, or as a whole set in a limited edition <i style="box-sizing: border-box;">Strip Flip</i> bundle!</div>
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<a href="http://bintphotobooks.blogspot.nl/2014/01/the-photobook-list-incredibly-small.html" style="color: #999999; font-family: Arial; font-size: 15px; font-weight: bold; line-height: normal; text-decoration: none; white-space: pre-wrap;"><span style="color: red;">Incredibly Small PhotoBooks Paul Kooiker Erik Kessels</span></a></div>
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<span style="color: #333333; font-family: "verdana" , "arial" , "helvetica" , sans-serif; font-size: xx-small; line-height: normal;">For several years, Paul Kooiker and Erik Kessels have organized evenings for friends in which they share the strangest photo books in their collections. The books shown are rarely available in regular shops, but are picked up in thrift stores and from antiquaries. The group’s fascination for these pictorial non-fiction books comes from the need to find images that exist on the fringe of regular commercial photo books. It’s only in this area that it’s possible to find images with an uncontrived quality. This constant tension makes the books interesting. It’s also worth noting that these tomes all fall within certain categories: the medical, instructional, scientific, sex, humour or propaganda. Paul Kooiker and Erik Kessels have made a selection of their finest books from within this questionable new genre. Incredibly small photobooks is the second volume (after Terribly awesome photobooks) showing this amazing collection.</span><br />
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: 20px; font-weight: bold; line-height: normal; text-align: -webkit-center;"><a href="http://www.flipbook.info/typology.php"><span style="color: red;">TYPOLOGY</span></a></span></div>
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<br /></td><td bgcolor="#CCCCCC" class="textes" style="font-family: Verdana, Arial, Helvetica, sans-serif; font-size: 12px;" valign="top"><span style="background-color: white;">Since the end of the 19 th century, we find flip books distributed as advertising gifts or sold as books or toys. Black and white or colour pictures or drawings of all kinds illustrates them. We classified them in main sections : <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;">Cinema</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Sport</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#erotique" style="color: black;">Eroticism</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">Advertising</a>,<a class="lien5" href="http://www.flipbook.info/typology.php#actu" style="color: black;">News</a>,<span class="lien5"> <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Comics-Cartoon and animation</a></span><a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;"></a>, <a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">Artist's Flip books</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#livres" style="color: black;">Books</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#feuillets" style="color: black;">Cut out leaves</a> or stickers' plate, <a class="lien5" href="http://www.flipbook.info/typology.php#internet" style="color: black;">Internet</a> and at last a few<a class="lien5" href="http://www.flipbook.info/typology.php#inclassables" style="color: black;">Unclassifiable</a>. For each category, we chose relevant examples from our collection.</span><br />
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<strong style="background-color: white;"><a href="https://www.blogger.com/null" name="cinema"></a>CINEMA</strong><br />
<img align="left" alt="flipbook" border="0" src="http://www.flipbook.info/flipbooks/marylin.jpg" height="250" hspace="5" vspace="5" width="241" /><span style="background-color: white;">Cinema and its history brought to the flip books several famous scenes. Around 1897 <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;">A.H. Gies</a> <span class="lien5">produced short silent screen movies, like <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;">Edison</a></span> and <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;">Gaumont</a> also did. Extracts from more or less famous movies regularly helped to point up the actor (more than the movie itself). Images do not automatically give priority to the continuity of the scene, but more to pictures removed from the film at regular intervals. A single sequence like the one showing Marilyn Monroe and the Marx Brothers in her first movie « <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;"><span style="font-style: italic;">Love Happy</span></a>» can be enough to make a flip book. The flip book devoted to Marilyn in the series called “Flip-O-Vision”-given in prime by Topps Production- used these pictures. It is presented in cut out and put together stripes and shows scenes of the movie. Another series called <span class="lien5">« <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;"><em>Ideal Moving Pictures</em></a>»</span> shows each a movie scene with an actor or an ideal situation to flip over. A bit later, a series of 12 flip books called «<a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;"> <em>Moviebook</em> </a>» shows in one of their movies actors of the Metro-Goldwin-Meyer such as <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;">Clark <span class="lien5">Gable</span></a>, <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;">Joan Crawford</a> or <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;">Greta Garbo</a> with under each pictures, elements of their biographies. In 1963, Topps realized 36 flip books marketed per two under the name of « <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;">Monsters</a> » because they often represented fantastic characters of Universal Pictures movies such as Frankenstein and Wolfman.<a href="http://www.flipbook.info/typology.php#cinema" style="color: black; font-size: 10px; font-weight: bold;"><img align="right" alt="" border="0" src="http://www.flipbook.info/flipbooks/warner.jpg" height="133" hspace="5" vspace="5" width="100" /></a></span><br />
<span style="background-color: white;">In order to realize these flip books, it was necessary to get the agreement of the producer and eventually the highlighted actor. So is the contract signed by both <a class="lien5" href="http://www.flipbook.info/typology.php#cinema" style="color: black;">Warner Bros</a> et Kellogg for the production of a flip book with Burt Lancaster in 1950; see on page two Burt Lancaster's agreement.</span><br />
<span style="background-color: white;"><a href="https://www.blogger.com/null" name="pocket"></a>In 1969 in New York, graphic designers Sandy and Val directed a series of flip books called <a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Pocket-Cinema</a> some using scenes of old movies. In France, a series entitled Pocket Film shows actors such as Michel Simon or <a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Edwige Feuillère</a> in one of their movies. In 1998, the Editions Cent Pages directed a series of flip books showing scenes of<em><a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Fric-Frac</a> </em>with Arletty and Michel Simon. For the centenary of Luis Bunuel birthday, the Filmoteca Ayuntamiento of Zaragosa devoted a flip book to his famous movie <em class="lien5"><a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Un Chien andalou</a></em>. For many years, the Deutsches Filmmuseum of Francfort had been directed several flip books among them in 2003 one devoted to <a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Winnetou</a>, the German western series.</span><br />
<span style="background-color: white;">Flip books have always been made to promote films. The Paramount directed in 1926 <em><a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Aloma of the South Seas</a> </em>a flip book with Gilda Gray dancing on the beach. Another scene shows <a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Clara Bow</a> nicknamed “The It Girl”, to promote the film <em>It </em>directed in 1927. More recently, we have flip books for the promotion of movies such as <em><a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Fargo</a></em>, <em><a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Terminator</a></em>, <em><a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Matrix</a></em>, <em><a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Star Wars</a> </em>or <em><a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Spider-Man</a></em>.</span><br />
<span style="background-color: white;">The Montreal film archives realized a series of thirteen flip books, that are animated cartoons, at the occasion of the world festival of animation in 1967 and directed by major names of the image such as <a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Peter Foldes</a> or <a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Robert Breer</a>. The Royal Film Archive of Belgium proposed for its 50 th anniversary in 1988 a flip book directed by the painter <a class="lien5" href="http://www.flipbook.info/typology.php#pocket" style="color: black;">Alechinsky</a>.</span><br />
<span style="background-color: white;"><a href="https://www.blogger.com/null" name="cohl"></a>To celebrate the 100 th anniversary of cinema in 1995, the company DD published four cases containing three flip books each as a tribute to the founders of cinematograph: <a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;">Émile Cohl</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;">Léonce Perret</a>, Ferdinand Zecca, <a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;">Jean Durand </a>et <a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;">Étienne-Jules Marey</a>. The Institut Lumière in Lyon also published historical flip books taken from the first brother Lumière films: “L'Arroseur Arrosé”, “L'arrivée d'un train en gare de la Ciotat” and “La sortie des usines Lumière”. The Museum of the Moving Image in London also realized for the event a box of four flip books showing extracts of four of the first movies ever directed in <a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;">Great Britain</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;">Germany</a>,<a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;"> United States</a> <a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;"></a>and<a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;">France</a>. Inside the box, there is a small explanation book about the four films and a short history of flip book called “The Flick Book story”, which is remarkable because almost the only text about it <a class="lien5" href="http://www.flipbook.info/typology.php#1" style="color: black;"><sup>1</sup></a>. Finally, the British Council, during the exhibition <a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;">« The Birth of the Movies »</a> published a presentation box of five flip books showing five scenes of the motion picture's early years.</span><br />
<span style="background-color: white;"><a href="http://www.flipbook.info/typology.php#baby" style="color: black; font-size: 10px; font-weight: bold;"><img align="right" alt="Jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/dancingbaby.jpg" height="180" width="171" /></a>We do not forget TV series: a flip book on both side directed by the publisher Simon & Schuster shows the <a href="https://www.blogger.com/null" name="baby"></a><span class="lien5"><em><a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;">Dancing Baby</a></em></span><em><a href="http://www.flipbook.info/typology.php#cohl" style="color: black; font-size: 10px; font-weight: bold;"></a> </em>(<a class="lien5" href="http://www.flipbook.info/typology.php#cohl" style="color: black;">See animation </a>), famous character of the series Ally McBeal.</span><br />
<span style="background-color: white;">The artist and American specialist of animation film, Jean-Pierre Trépanier, a long time made of the flip book his main way of expressing himself, he even said. “A flip book can tell a story. And it is cheaper than a movie <a class="lien5" href="http://www.flipbook.info/typology.php#2" style="color: black;"><sup>2</sup></a> ».</span><br />
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<strong style="background-color: white;"><a href="https://www.blogger.com/null" name="sport"></a>SPORT</strong><br />
<span style="background-color: white;"><a href="http://www.flipbook.info/typology.php#sport" style="color: black; font-size: 10px; font-weight: bold;"><img align="left" alt="Jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/aviation.jpg" height="169" width="127" /></a>Sport has been one of the main users of flip books, especially in the United States and Great Britain. The flip book can be either a tribute to a sportsman or the celebration of an event (commemoration or memorabilia). At the end of 19 th century, flip books were mainly illustrated by drawings, and then came the photographs. For example, a flip book celebrating the speed record on a mile by the horse <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Dan Patch</a> in 1906 in Minneapolis was realized a few years later and <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">re-published</a> then. In 1921, an unknown illustrator immortalized the historical boxing match between<a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Jack Dempsey</a> and Georges Carpentier. On the other hand, original photographs illustrate this rare flip book showing the English aviator <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Amy Johnson</a> <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">(See animation)</a> probably in the 30's when she won many records before her </span><img align="right" alt="flipbook" border="0" src="http://www.flipbook.info/flipbooks/cricket.jpg" height="95" hspace="5" vspace="5" width="100" /><span style="background-color: white;">deadly last flight in 1941.</span><br />
<span style="background-color: white;">In 1937, the Goudey Gum Company offered 13 flip books named « <em><a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Baseball Movies</a> </em>» about the main baseball champions. Presented in two parts, they called them afterwards « <em><a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Thum-Movies</a> </em>».</span><br />
<span style="background-color: white;">A British company called Flicker Productions directed a series of 35 flip books about different sports -probably made before World War II- and published according to sports: Slazengers Ltd for <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">tennis</a> and Burroughes & Watts for<a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Snooker</a>. The firsts are about <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">cricket</a> then <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">tennis</a>, golf, football, hockey, <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">swimming</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">snooker</a>... Cricket or golf fans collect flip books about champions such as <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Don Bradman</a> or <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Bobby Jones</a>, they are consequently more difficult to find.</span><br />
<span style="background-color: white;">American people are very fond of the gifts they call Premiums, gifts offered with purchases, more particularly foodstuffs.</span><br />
<img align="left" alt="flipbook" border="0" src="http://www.flipbook.info/flipbooks/baseball.jpg" height="200" hspace="5" vspace="5" width="150" /><span style="background-color: white;"><a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Sam et Gordon Gold</a> upplied between 1920 and 1974 brands for Premiums particularly devoted to sports. They ordered original pictures for a flip book about baseball, but never published it.</span><br />
<span style="background-color: white;">At the beginning of the 60's, the Canadian cereal brand Post offered a series of « <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Hockey Stars flip books</a> » with texts in English and French as a tribute to championship stars of the time.</span><br />
<span style="background-color: white;">Not dated, this case of eight Swiss flip books « <a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Ski pocket film instructor</a> » shows two Swiss champions teaching skiing techniques.</span><br />
<span style="background-color: white;">At the beginning of the 70's, the <em><a class="lien5" href="http://www.flipbook.info/typology.php#sport" style="color: black;">Daily Mirror</a> </em>realized a series of commemorative flip books about world football stars.</span><br />
<span style="background-color: white;"><a href="https://www.blogger.com/null" name="carew"></a>More recently, in 1977, the main NBA players – the American basketball championship – were the actors of a series of flip books </span><img align="right" alt="flipbook" border="0" src="http://www.flipbook.info/flipbooks/rodcarew.jpg" height="105" hspace="5" vspace="5" width="160" /><span style="background-color: white;">(<a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Dell Thumbshots Basketball</a>); each page of each flip book contained on the back information about players' life and statistics. The MLB (Major League Baseball Players) should direct a series of the same type at the same time, but it never went past the prototype with a flip book devoted to <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Rod Carew</a>. In 1989, a series called Flip Tipps showed baseball players such as <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Mickey Mantle</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Brett Butler</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Don Mattingly</a>…and the famous football player <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Pelé</a>.</span><br />
<span style="background-color: white;">Most famous sportsmen get, one day or another their flip book, among them, <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Michael Jordan</a> or<a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Tiger Woods</a>. Sometimes brands such as Coke or sponsors realize flip books. In 2001, the 40 th anniversary of the famous <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Roger Maris</a>'s Home Run was the occasion of a commemoration flip book.</span><br />
<span style="background-color: white;">Between 2002 and 2004, the company <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Flipp Sports</a> produced (with the help of the American professional baseball associations) a series of flip books about the great events of the American championship; they focused on the main players and multiplied the information.</span><br />
<img align="left" alt="flipbook" border="0" src="http://www.flipbook.info/flipbooks/golf.jpg" height="142" hspace="5" vspace="5" width="200" /><span style="background-color: white;">Sport training also uses the flip book. The movements' break down speaks indeed for itself. A famous series of 1939 entitled <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Ciné-Sports Library</a> shows many sports, from javelin to golf thanks to a series of flip books in a format between books and the traditional flip books allowing several animations. In 1957, the company <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Gillette</a> devoted a double flip book to secret gestures made by baseball players to exchange information. In 1978, a series <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Sport Flip </a>showed the different athletics sports. Flip books represent fighting sport especially well, notably <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Bruce Lee</a> demonstrations. Flip books can therefore deal with all kinds of sports, even the most unexpected ones: <a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">trampoline</a> or<a class="lien5" href="http://www.flipbook.info/typology.php#carew" style="color: black;">Stick throwing.</a></span><br />
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<strong style="background-color: white;"><a href="https://www.blogger.com/null" name="erotique"></a>EROTICISM</strong><br />
<span style="background-color: white;"><a href="http://www.flipbook.info/typology.php#erotique" style="color: black; font-size: 10px; font-weight: bold;"><img align="left" alt="Jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/streap.jpg" height="147" hspace="5" vspace="5" width="141" /></a>Eroticism was a great source of inspiration for flip books' publishers. In the 1900's, employees of <a href="http://www.flipbook.info/typology.php#pub" style="color: black; font-size: 10px; font-weight: bold;"><img align="right" alt="jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/catceros.jpg" height="200" width="150" /></a>specialized shops of the Rue de la Lune in Paris , sold erotic flip books. Actually, they are more “naughty” than pornographic. Germany too was not the last with its <em><a class="lien5" href="http://www.flipbook.info/typology.php#erotique" style="color: black;">Lebende Photographien</a></em>. The United States produced photo series of a nude <a class="lien5" href="http://www.flipbook.info/typology.php#erotique" style="color: black;">stripper</a> (<a class="lien5" href="http://www.flipbook.info/typology.php#erotic" style="color: black;">see animation</a>). More recently in 1988 in Berlin , a company realized four « <a class="lien5" href="http://www.flipbook.info/typology.php#erotique" style="color: black;">Erotic Mini Movie</a> » and the German company <a class="lien5" href="http://www.flipbook.info/typology.php#erotique" style="color: black;">Harlekin</a> also published some in the 90's. At the beginning of 21 st century, the American publisher <a class="lien5" href="http://www.flipbook.info/typology.php#erotique" style="color: black;">PowerHouse</a> produced the Strip Flips of Leslie Lyons. Cartoonists are not outdone, like the German flip books published in 1976 by <a class="lien5" href="http://www.flipbook.info/typology.php#erotique" style="color: black;">Comics Production</a> and in 2003 the flip book of <a class="lien5" href="http://www.flipbook.info/typology.php#erotique" style="color: black;">de Tom de Pekin</a>(<a class="lien5" href="http://www.flipbook.info/typology.php#erotique" style="color: black;">see animation </a>) published by the Papier Gras gallery in Geneva.</span><br />
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<strong style="background-color: white;"><a href="https://www.blogger.com/null" name="pub"></a>ADVERTISING</strong><br />
<img align="left" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/cholet.jpg" height="98" width="135" /><span style="background-color: white;">Right after its invention, the flip book served as an advertising object. Relatively easy to make, it can be either a gift or a promotion tool for a brand, or even give the opportunity to show a product in action or the way to use it. Like any other advertising objects, blotting papers or bookmarks for instance, even if they are often printed in huger quantities than those designed to be sold, they <a href="http://www.flipbook.info/typology.php#pub" style="color: black; font-size: 10px; font-weight: bold;"><img align="right" alt="Jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/fatima.jpg" height="150" hspace="5" vspace="5" width="124" /></a>sometimes are more difficult to find, especially in a good state</span><br />
<span style="background-color: white;">Like the <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">Bon Marché</a> that produced about twenty flip books under the name<em>Cinématographe de Poche</em>, other stores promoted themselves with its help, such as the<a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">Grand Bazar</a> et Nouvelles Galeries in Cholet.</span><br />
<span style="background-color: white;">Right after World War II, the Ligget & Myers Tobacco Company realized a series of ten flip books about dancers in action. They promoted the <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">Sultan</a> et <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">Fatima</a> cigarettes. They realized some flip books out of the series <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">that we use in the another way </a>(<a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">see animation</a>). In the same way, the brand <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">Turkish Trophies</a>, produced by Sotirios Anargyros from 1890 and taken over by the American Tobacco Company of James Duke, realized about twenty flip books in 1905 showing movie scenes.</span><br />
<span style="background-color: white;">Showing its product is also a way to sell it. For instance, this <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">print machines'manufacturer</a> in Chicago who shows how his machines are working.</span><br />
<span style="background-color: white;">In England, a <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">shoe sole manufacturer</a> explains how to replace the soles in less than one minute. A laboratory shows the astonishing effects of its potion <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">Bovril</a> (<a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">see animation</a>) in one of the oldest coloured flip book.</span><br />
<span style="background-color: white;">Some brands used sportive achievements to promote their products. Therefore, the Castrol Oil in two flip books dated 1937 to show the feat of <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">Sir Malcolm Campbell</a> and captain <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">George Eyston</a> winning the world's water speed record.</span><br />
<span style="background-color: white;">After the war in France , a wool manufacturer chose animated cartoons under the name of <a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">Pingouinscope</a>, Stemmscope and<a class="lien5" href="http://www.flipbook.info/typology.php#pub" style="color: black;">Adhemarscope</a>.</span><br />
<img align="left" alt="" border="0" src="http://www.flipbook.info/flipbooks/ww.jpg" height="200" hspace="5" vspace="5" width="150" /><span style="background-color: white;"><a href="https://www.blogger.com/null" name="cocci"></a>Since then, many kinds of brands are making commercial flip books. Car manufacturers are surely the most active; a car in motion is perfect for a demonstration. Volkswagen makes some regularly; the one of 1965 that shows the <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">coccinelle</a> is original, but <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Volkswagen</a> also realized a flip book to explain how the airbags work. Chevrolet presented the space of its« <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">1969 Walk-in-Wagon</a> ». Peugeot the working of the sunroof of its <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Peugeot 200 et 402</a> and made one for its 206 too. Mitsubishi showed the same way the sunroof of its<a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Spyder</a>, Mercedes the one of the <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">300 CE-24</a> Cabriolet and Honda the manual opening of the <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">CRX</a>. Toyata showed the working of the folding seats of the <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Yaris Verso</a>. Lancia did the same for the <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Lybra</a> and a whole series with an original binding for the <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Ypsilon</a> (<a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">see animation</a>). Porsche showed the <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Boxster</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Alfa Romeo</a> its 156 model and <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Audi</a> its A4. Audi also celebrated its victory in the <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">24 heures du Mans</a> with a flip book to see 24 hours in 2.4 seconds. The new <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Mini</a> got also its original flip book as it mixed cartoons and photographs. We do not forget motorbikes with <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">BMW</a>, and a box of six flip books for <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Harley Davidson</a>.</span><br />
<span style="background-color: white;">Any products can be the occasion of a flip book, like this oven that opens to celebrate the 125 th anniversary of the brand <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Neff</a> or the illustrations going with the cheese box with grater that Philippe Starck designed and named «<a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;"> Mister Meumeu</a> ».</span><br />
<span style="background-color: white;">Fashion or beauty products' manufacturers made some too, like <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Nike</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Adidas</a> or <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Burberry</a>, in the tradition of the pre-war period<a href="http://www.flipbook.info/typology.php#jp" style="color: black; font-size: 10px; font-weight: bold;"><img align="right" alt="Jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/gaultier.jpg" height="120" width="160" /></a><a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Presto</a> ! <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Chanel</a> too, and the beauty products <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Mac Femme Noir</a> as well as perfumes like Giorgio Beverly Hills'<a href="https://www.blogger.com/null" name="jp"></a><a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">So You</a> or<a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;"> Fragile</a> (<a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">see animation</a>) of Jean Paul Gaultier who stuck at the back of his sophisticated flip book a pull up disc to smell the fragrance.</span><br />
<span style="background-color: white;">Alcohol such as the Vodka <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Absolut</a> explains how to prepare a Cosmopolitan or <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">Glenfiddich</a> directs Charlie Chaplin. More unusual, a tinned sliced pineapple producer shows a <a class="lien5" href="http://www.flipbook.info/typology.php#cocci" style="color: black;">stripper</a> in action.</span><br />
<strong style="background-color: white;"><img align="right" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/stukas.jpg" height="160" hspace="5" vspace="5" width="117" /></strong><br />
<strong style="background-color: white;"><a href="https://www.blogger.com/null" name="actu"></a>NEWS </strong><br />
<img align="left" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/libertybond.jpg" height="160" hspace="5" vspace="5" width="129" /><span style="background-color: white;">News and politics can take over the flip book. In 1917, the United States made one to promote the « <a class="lien5" href="http://www.flipbook.info/typology.php#actu" style="color: black;">Liberty Bond</a> ». Inside, they presented the American flag with a few pages about its history. In 1925, for the Holy Year, we see Pope <a class="lien5" href="http://www.flipbook.info/typology.php#actu" style="color: black;">Pie XI</a> blessing the crowd. In 1929, the <a class="lien5" href="http://www.flipbook.info/typology.php#actu" style="color: black;">bullfights</a> in Seville and Barcelona are celebrated.</span><br />
<span style="background-color: white;">In Germany, at the turn of 19 th century, we could see the Kaiser<a class="lien5" href="http://www.flipbook.info/typology.php#actu" style="color: black;">William II</a> taking off his helmet on a stand. Probably realized in the 30's, a flip book called « <a class="lien5" href="http://www.flipbook.info/typology.php#actu" style="color: black;">Der Führer spricht</a> » shows Hitler talking in a microphone. Also serving the propaganda during World War II, the flip book « <em><a class="lien5" href="http://www.flipbook.info/typology.php#actu" style="color: black;">Stukas vernichten englishes Kriegsschiff</a> </em>» (Stukas destroying English war boats) expressed clearly its intentions in very simple drawings.</span><br />
<span style="background-color: white;">At the same period, another flip book showed General <a class="lien5" href="http://www.flipbook.info/typology.php#actu" style="color: black;">Franco</a> while he raised the arm to greet! At last, King <a class="lien5" href="http://www.flipbook.info/typology.php#actu" style="color: black;">George VI </a>wave at the crowd probably during World War II in front of a war boat.</span><br />
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<strong style="background-color: white;"><a href="https://www.blogger.com/null" name="bd"></a>COMIC STRIPS, CARTOONS AND ANIMATION</strong><br />
<span style="background-color: white;"><a href="http://www.flipbook.info/typology.php#bd" style="color: black; font-size: 10px; font-weight: bold;"><img align="left" alt="Jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/pitrak.jpg" height="121" hspace="5" vspace="5" width="200" /></a>The form itself of the comic books does not allow transforming it easily in flip books. However, we found a series of four about <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Marsupilami</a> published in Berlin in 1988. In 1989 and 1990, Semmel Verlag devoted a series of nine flip books to the strip cartoonist Brösel and his character Werner; the first four with <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">black covers</a> then worked again with<a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;"> coloured colors</a>. Rackham Productions in Paris produced and published a series of eight between 1989 and 1992: it starts with two flip books of<a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Winsor Mac Cay</a> (one of the first American Comic Strip's author), but these are just cartoons' extracts. Strip cartoonists were in charge of the others: <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Riff Reb's</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Moebius</a> (<a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">see animation</a>), <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Pitrak</a>(<a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">see animation</a>), <a href="http://www.flipbook.info/typology.php#bd" style="color: black; font-size: 10px; font-weight: bold;"><img align="right" alt="Jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/moebuis_alien.jpg" height="120" hspace="5" vspace="5" width="98" /></a><a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Got</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Leconte et Pic</a>. Another flip book of <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Moebius</a> (<a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">see animation</a>) without date or title is even rarer. In 1995, Démons & Merveilles devoted four to<a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Spirou et Fantasio</a>. In 2001, Carlsen Comicks devoted three to <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Haggi</a> and his<em>Hartmut</em>.</span><br />
<span style="background-color: white;">In Germany , publishers devoted several series to <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Loriot</a> and <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Mordillo</a> (among them <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">postcards</a> containing a flip book). Then since 2001, the Editions <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">flblb</a> in Poitiers has been realizing flip books with contemporary comic books' creators.</span><br />
<img align="left" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/koko.jpg" height="200" width="150" /><span style="background-color: white;">The cartoon is more favourable for the use of flip books because it is possible to isolate entire scenes, as we saw for the cinema. Flip books' publishers always used the Max Fleisher's cartoons. They took over at different time <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Betty Boop</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#%20bd" style="color: black;">Koko</a> the clown and then <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Popeye</a> and<a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Gulliver</a>'s Travel. They also rapidly used characters such as <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Felix the cat</a>, of Otto Messmer or the <em>Flintstones</em>and <em><a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">The Huckleberry Hound</a> </em>of William Hanna and Joseph Barbera . This back up material affected the other cartoons' publishers, notably <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Tex Avery</a> with a Démons & Merveilles series in 1994.</span><br />
<span style="background-color: white;">Walt Disney published some since the beginning of his career; he sometimes gave his authorization to use his characters for commercials, but also as by-products sold in his theme parks and to promote his films. Still today, the Walt Disney Company publishes flip books showing extracts of their latest movies. Collins published in 1939 one of the most famous devoted to <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Donald & Pluto</a>. It is a large booklet holding five flip books in juxtaposition printed on both sides, -it means 2000 pictures-. <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Hachette</a> published it in French. There is anoter <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">version</a> with ten flipbooks.</span><br />
<img align="left" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/disney.jpg" height="150" width="200" /><span style="background-color: white;">Disney published four important series: one for the <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Disneyland</a> resorts with the Disney characters, a second one with almost exclusively cartoon's scenes of <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Walt Disney</a> himself and published in the 70's (some often published again, among them one in French by <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Bernard Carant</a>) ; a third one devoted to the great Walt Disney's cartoons published by <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Renner Davis</a> in 1993 and 1994 and the last one is always in progress each time a new <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">cartoon</a> is directed. When Disney does not publish by itself, linked brands do it:<a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Hyperion</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Mouse Works</a> or <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">Merrimack</a>. Sometimes Disney may also grant to other <a class="lien5" href="http://www.flipbook.info/typology.php#bd" style="color: black;">publishers</a>.</span><br />
<span style="background-color: white;">A series of Walter Lantz's cartoons served as gifts in cereals' boxes in 1949 under the name of <a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">Post Grape Nut Flakes</a>. They are all on both sides, but only one side in colour; it was rare for a time when TV was still in black and white and we only could see coloured Tom & Jerry in magazines. Premiums of that kind are generally small, printed in huge number and rather brief. We found the most famous since 1912 in the <a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">Cracker Jack</a>, the American popcorn founded in 1893. The oldest that we found shows an extract of a movie with Charlie Chaplin. Drawings illustrated them more often than pictures and publishers printed them in <a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">Japan</a> to save the production's costs. We found different sizes and more particularly head-to-tail for some series. As well as Cracker Jack, companies such as <a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">Kellogg's</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">Kinder</a>, Storck (<a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">Bazooka</a>)(<a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">see animation</a>) <a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">Post</a>, …realized some flip books.</span><br />
<span style="background-color: white;">In the same way and without links to cartoons or comics, since the origins, <a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">drawings</a> has been illustrating many flip books and it is still today an important part of the production. From very refined drawings to sophisticated researches, illustrators find in flip books an art form allowing them to express their creativity.</span><br />
<span style="background-color: white;">After rather coarse flip books at the end of 19 th century, they became closer to what we see today in the first part of the 20 th century. Especially series realized by the American toy manufacturers <a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">Midgette</a> and <a class="lien5" href="http://www.flipbook.info/typology.php#jerry" style="color: black;">Peco</a>, that we can use either in their viewers or as simple flip books.</span><br />
<span style="background-color: white;"><a href="https://www.blogger.com/null" name="hot"></a><a href="http://www.flipbook.info/typology.php#hot" style="color: black; font-size: 10px; font-weight: bold;"><img align="left" alt="Jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/hotlicks.jpg" height="130" hspace="5" vspace="5" width="114" /></a>Regularly, artists exercise. They find publishers, even sometimes avant-garde publishers, or publish themselves, but they all tell their own stories. <a class="lien5" href="http://www.flipbook.info/typology.php#hot" style="color: black;">Patrick Jenkins</a>, who wrote an instruction <a class="lien5" href="http://www.flipbook.info/typology.php#hot" style="color: black;">manual</a> for children to explain how to make their own flip books, <a class="lien5" href="http://www.flipbook.info/typology.php#hot" style="color: black;">Ruth Hayes</a> (<a class="lien5" href="http://www.flipbook.info/typology.php#hot" style="color: black;">see animation</a>) , were the most productive in the United States of the 80's, with very neo-surrealist works, <a class="lien5" href="http://www.flipbook.info/typology.php#hot" style="color: black;">Matt Pollard</a> and <a class="lien5" href="http://www.flipbook.info/typology.php#hot" style="color: black;">Joe Sharpnack</a> in the 90's and <a class="lien5" href="http://www.flipbook.info/typology.php#hot" style="color: black;">Massimo Indrio</a> in Italy (still published by Giunti group and also published again in <a class="lien5" href="http://www.flipbook.info/typology.php#hot" style="color: black;">Canada)</a>.</span><br />
<span style="background-color: white;">In France, two illustrators are producing their own flip books since the end of the 90's: <a class="lien5" href="http://www.flipbook.info/typology.php#hot" style="color: black;">Benoît Jacques </a>and <a class="lien5" href="http://www.flipbook.info/typology.php#hot" style="color: black;">Jean-Vincent Sénac</a>.</span><br />
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<strong style="background-color: white;"><a href="https://www.blogger.com/null" id="livresa" name="livresa"></a>ARTISTS' BOOKS</strong><br />
<img align="left" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/grayson.jpg" height="132" hspace="5" vspace="5" width="150" /><span style="background-color: white;">The definition of the artist's book is wide; it is an artist's creation introducing his work. We include in this category flip books that celebrate artists (Gilbert & George), flip books that show the inventiveness in form (for instance George Griffin and Christophe Boutin) and those directly realized by artists, illustrators or photographs in limited editions. Robert Breer realized a flip book entitled <a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;"><em>Image par images</em></a> for the exhibition “Le Mouvement” at the Galerie Denise in 1955. It is the first known artist's flip book. In 1970, during the Vietnam War, <a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">Georges Tscherny</a> draw a hand turning into the peace symbol.</span><br />
<span style="background-color: white;">In 1972, the British company Alecto International Limited produced under the name Flikker Book a series of nine flip books realized by artists, among them: <a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">Roy Grayson</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">Patrick Procktor</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">Eduardo Paolozzi</a> and<a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">François Dallegret</a>.</span><br />
<span style="background-color: white;">The same year, a <a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">John Balderassi</a> brochure is an example of artist's book that is not necessarily a flip book, but we can leaf it through and create an animation. John Baldessari made another flip book in 1998: <em><a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">Zorro</a></em>.</span><br />
<span style="background-color: white;">In 1976, Conrad Gleber produced a flip book, <span class="lien5"><a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;"><em>Raising a family</em></a></span> (<a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">see animation</a>), the picture of a family rises little by little. It is often mentioned as a perfect example.</span><br />
<span style="background-color: white;">In the 70's and 80's, George Griffin realized flip books from drawings (like <a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">L'Age Door</a> or <em><a class="lien5" href="http://www.flipbook.info/typology.php#livresa" style="color: black;">Face Phases</a> </em>) but also combining <a href="http://www.flipbook.info/typology.php#fg" style="color: black; font-size: 10px; font-weight: bold;"><img align="right" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/getg.jpg" height="200" hspace="5" vspace="5" width="135" /></a>drawings and photomontage (like <em><a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Urban Renewal</a> </em>).<a href="https://www.blogger.com/null" name="fg"></a></span><br />
<span style="background-color: white;">In 1980, Sol Lewitt published a photo book showing a cockfight entitled <em><a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Cock Fight Dance</a></em>. You simply flip through to see the cocks rushing to each other.</span><br />
<span style="background-color: white;">There are three different titles of Gilbert & George, the two firsts were published again. For each of them, we can find a <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">sign and numbered version</a> that is obviously the most wanted. The first one,« <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;"><em>Oh, the Grand old Duke of York</em></a><em></em> » (see <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">animation</a>), before being published in a flip book format, was the catalog of an exhibition in Lucerne (Switzerland) in 1972.</span><br />
<span style="background-color: white;">Other artists such as Saburo Murakani in <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;"><em>Entrance, Sound</em></a><em></em> exhibit their works during art performances.</span><br />
<img align="left" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/bluemonday.jpg" height="150" hspace="5" vspace="5" width="159" /><span style="background-color: white;">In 1988, the <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Blue Monday</a> label invited Robert Breer to a video performance. It then realized a flip book with his drawings; Blue Monday published 350 copies and offered them at the end of the year.</span><br />
<span style="background-color: white;">In 1993, the gallery Camille Von Scholz realized what they called four “bibliofilms” packed in an old film box. Made from short movies shot by Patrick Covillon, he hand painted the flip books entitled « <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Les Visions d'Oskar Serti</a> ». The visual deficient writer could only see colours thanks to the pain special nailed shoes caused him. There are only 35 copies.</span><br />
<span style="background-color: white;">In the 90's, more and more artists used the flip book to express themselves. They often realized them alone. So did <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Matthew Gilson</a> he realized several flip books from his pictures of Chicago .<a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Anina Schenker</a>and <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Stephanie Ognar</a> portray themselves in their pictures. <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Patrick Kelley</a> adapts the everyday events . <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Lee D. Böhm</a> and <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Juliane Otterbach</a> use the illustration and <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Akiko Hada</a> or <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Hugh Connelly</a> the montage. <a class="lien5" href="http://www.flipbook.info/typology.php#fg" style="color: black;">Erick de Lyon</a> realized a box of seven flip books about bats.</span><br />
<span style="background-color: white;"><a href="https://www.blogger.com/null" name="evola"></a>The German photographer <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Volker Gerling</a>, who nicknamed himself the <em>Daumenkinograph</em>, has been realizing since 1998<a href="http://www.flipbook.info/typology.php#evola" style="color: black; font-size: 10px; font-weight: bold;"><img align="right" alt="Jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/fisher.jpg" height="82" hspace="5" vspace="5" width="170" /></a> flip books showing everyday life events or faces. He already exhibited them, mainly in Berlin.</span><br />
<span style="background-color: white;">The Austrian artist <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Judith P. Fischer</a> (<a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">see animation</a>) also uses the flip book to show her works that are video performance and photography at the same time.</span><br />
<span style="background-color: white;"><a href="http://www.flipbook.info/typology.php#evola" style="color: black; font-size: 10px; font-weight: bold;"><img align="left" alt="Jouez l'animation" border="0" src="http://www.flipbook.info/flipbooks/septetdemi.jpg" height="100" hspace="5" vspace="5" width="149" /></a>The American <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Julia Featheringill</a> (<a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">see animation</a>) realizes from photographs of everyday life very exceptional animations and uses all the resources of the flip book.</span><br />
<span style="background-color: white;">The French illustrator <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Paul Cox</a> also realized himself several very good flip books.</span><br />
<span style="background-color: white;">The French photographer, video director and writer <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Alain Fleischer</a> has been realizing for a long time photographic flip books. He displayed some of them during an exhibition in the Centre d'Art d'Ivry (Crédac) in 1998. They published one : <em>Le Voyage d'une main</em>.</span><br />
<span style="background-color: white;">In 2002, the issue n°39 of the Visionnaire magazine was a wood box with 16 photographic flip books inside – each issue is different and always an “objet d'art”. Different artists created each a flip book, among them <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Spike Jonze</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Pedro Almodovar</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Karl Lagerfeld</a> and<a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Mario Testino</a>.</span><br />
<span style="background-color: white;">In 2003, De MO-Design produced under the name of Flip-O-Rama a box of 18 flip books: <em>Italia</em>. These are pictures of d'<a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Elliott Erwitt</a>showing Italian people.</span><br />
<span style="background-color: white;">Other artists such as <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Pierre Bismuth</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Jean-Charles Blais</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Christophe Boutin</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Kyle Bravo</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">François Curlet</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Keith Haring</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Vincent Julliard</a>,<a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">William Kentridge</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Jonathan Monk</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Bruce Naumann</a>, <a class="lien5" href="http://www.flipbook.info/typology.php#evola" style="color: black;">Tony Oursler</a> or <a class="lien5" href="http://www.flipbook.info/typology.php#%E2%82%ACvola" style="color: black;">Emmett Williams</a>, contributed significantly to that unknown genre with a great diversity of works.</span><br />
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<strong style="background-color: white;"><a href="https://www.blogger.com/null" name="livres"></a>BOOKS<a href="https://www.blogger.com/null" name="fs"></a></strong><br />
<img align="right" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/sexology.jpg" height="160" width="120" /><span style="background-color: white;">Many books have a part to flipping through in order to show an animation. It can be drawings or photographs in the margin of the pages. There are sometimes many in the same book.</span><br />
<span style="background-color: white;">The oldest well known is in the issue of November 1898 of <em>Hamsworth Magazine</em> (Vol.1, n°5). It is a series of 71 photographs of a brothers Lumière movie showing two dancing children to explain the principle of cinema to anybody who did not see it yet <a class="lien5" href="http://www.flipbook.info/typology.php#3" style="color: black;"><sup>3</sup></a>.</span><br />
<span style="background-color: white;">Some books, rarer, even present the illustrations as actual flip books bound in the book. It is the case in the book of Doctor Theodor Hendrik van de Velde, <em><a class="lien5" href="http://www.flipbook.info/typology.php#livres" style="color: black;">Sex efficiency through exercises</a> </em>published in London in 1933. He illustrates how a woman should exercise to train her body.</span><br />
<span style="background-color: white;">Sports' books are ideal to demonstrations. A series published in London by Blackie & Son and entitled « <a class="lien5" href="http://www.flipbook.info/typology.php#livres" style="color: black;">Blackie's Sports Series</a> » devoted books to many sports such as boxing or golf. The book due to the golf champion <a class="lien5" href="http://www.flipbook.info/typology.php#livres" style="color: black;">Pam Barton</a> has four flip books: <em>Drive</em>, <em>Mashie-niblick</em>, <em>Spoon </em>et <em>Bunker Shot</em>.</span><br />
<img align="left" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/freresennemis.jpg" height="171" hspace="5" vspace="5" width="200" /><span style="background-color: white;"><a href="https://www.blogger.com/null" name="ff"></a>More recently in 1968, Jean-Jacques Pauvert published a book about the humorists <a class="lien5" href="http://www.flipbook.info/typology.php#livres" style="color: black;">Les Frères Ennemis</a>. There are texts of their sketches and a flip book announced on the cover <em>: « Hold the corner of the book between thumb and forefinger, keep it tight, flip through and you will see Les Frères Ennemis live ».</em></span><br />
<span style="background-color: white;">In 1972, a book about <a class="lien5" href="http://www.flipbook.info/typology.php#livres" style="color: black;">Fred Astaire and Ginger Rogers</a>, has two extracts of two movies in which they danced together: <em>Swing Times </em>and <em>Follow the Fleet</em>.</span><br />
<span style="background-color: white;">Some comic strips such as <em><a class="lien5" href="http://www.flipbook.info/typology.php#livres" style="color: black;">Pif Poche</a> </em>, <em><a class="lien5" href="http://www.flipbook.info/typology.php#livres" style="color: black;">Placid et Muzo Poche</a> </em>and <em>Arthur Poche </em><a class="lien5" href="http://www.flipbook.info/typology.php#4" style="color: black;"><sup>4</sup></a> have a flip book on the margin like the American « <a class="lien5" href="http://www.flipbook.info/typology.php#livres" style="color: black;">Better Little Book</a> » that had a flip book in one of its series in the early 40's.</span><br />
<span style="background-color: white;">There are also some books designed to explain to children how to make optical toys, among them flip books. Patrick Jenkins even devoted one almost exclusively to the art of making flip books : <em><a class="lien5" href="http://www.flipbook.info/typology.php#livres" style="color: black;">Flip Book Animation</a> </em>in 1991.</span><br />
<br />
<strong style="background-color: white;"><a href="https://www.blogger.com/null" name="feuillets"></a><strong>CUT OUT LEAVES OR STICKERS' PLATE</strong></strong><br />
<span style="background-color: white;">Flip books in cut out leaves or in stickers' plate are most of the time commercial items that brands insert in products. </span><img align="right" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/mickeyplanche.jpg" height="182" hspace="5" vspace="5" width="250" /><span style="background-color: white;">Smarties, McDonald's, Lu, <a class="lien5" href="http://www.flipbook.info/typology.php#feuillets" style="color: black;">Kinder</a> or <a class="lien5" href="http://www.flipbook.info/typology.php#feuillets" style="color: black;">Kellogg's</a> made some in the 90's.</span><br />
<span style="background-color: white;">We can find others, like the boxes of four flip books for children devoted to <a class="lien5" href="http://www.flipbook.info/typology.php#feuillets" style="color: black;">Popeye</a> or<a class="lien5" href="http://www.flipbook.info/typology.php#feuillets" style="color: black;">Huckleberry Hound</a> and published in 1961. Children cut the pictures and put them together.</span><br />
<img align="left" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/pluto.jpg" height="150" hspace="5" vspace="5" width="174" /><span style="background-color: white;"><a href="https://www.blogger.com/null" name="fp"></a>Same thing a bit later for the two series of flip books published by Thumbflix, they show <a class="lien5" href="http://www.flipbook.info/typology.php#fp" style="color: black;">Mickey</a> and <a class="lien5" href="http://www.flipbook.info/typology.php#fp" style="color: black;">Donald</a>.</span><br />
<span style="background-color: white;">We also found cartoons copied on the margin of pages or cut out leaves inserted in periodicals for children such as the magazine <a class="lien5" href="http://www.flipbook.info/typology.php#fp" style="color: black;">Child life</a> in the 30's, in an issue of <em>Tintin </em>in 1965, <em>Le Journal de Mickey </em>many times in 1991, <em>Youpi </em>in June 1995 and<em><a class="lien5" href="http://www.flipbook.info/typology.php#fp" style="color: black;">Toupie</a> </em>in 2000.</span><br />
<span style="background-color: white;">There is even a stamps' plate published by the <a class="lien5" href="http://www.flipbook.info/typology.php#fp" style="color: black;">Maldives</a> to commemorate the 100 th anniversary of cinema in 1995. The cut out stamps make a (short) flip book.</span><br />
<br />
<br />
<strong style="background-color: white;"><a href="https://www.blogger.com/null" name="internet"></a>WEB</strong><br />
<img align="left" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/fire.jpg" height="146" hspace="5" vspace="5" width="160" /><span style="background-color: white;">Since the arrival of the internet, it is possible to find on some websites pictures that once printed and put together, make a flip book</span><br />
<span style="background-color: white;">One of the most famous is surely <em><a class="lien5" href="http://www.flipbook.info/typology.php#internet" style="color: black;">The News Tribune's Kingdome to Kingdoom ! Flip Book</a> </em>. You could simply print it from the <em>News Tribune </em>website and then staple the pictures together. It depicted the implosion of the Seattle Kingdome on 26 th March 2000.</span><br />
<span style="background-color: white;">The flip book found on the website of the Cité des Sciences et de l'Industrie in Paris is more educational. At the occasion of its exhibition <a class="lien5" href="http://www.flipbook.info/typology.php#internet" style="color: black;">Opération Carbone</a> in 2004, it put on line a flip book called “Regardez une plante (Tabebuia) pousser à toute allure” (it was possible to flip through the <a class="lien5" href="http://www.flipbook.info/typology.php#feuillets" style="color: black;">original</a> at the exhibition). It is about a series of pictures depicting the growth of a plant.</span><br />
<span style="background-color: white;">As well as that kind of news events, the intention of flip books that we find on the web is to offer to children the </span><img align="right" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/trumpet.jpg" height="112" width="160" /><span style="background-color: white;">opportunity to make them. For instance, the <span class="lien5"><a class="lien5" href="http://www.flipbook.info/typology.php#internet" style="color: black;"><em>Bat Flip Book</em></a><em></em></span> or the <em><a class="lien5" href="http://www.flipbook.info/typology.php#internet" style="color: black;">Whale Flip Book</a> </em>is easy to put together.<a href="https://www.blogger.com/null" name="ft"></a></span><br />
<span style="background-color: white;">Notice them because completely different, a cartoonist, <a class="lien5" href="http://www.flipbook.info/typology.php#internet" style="color: black;">Mark Sinclair</a>, who found this way since 1997 to show his hand made flip books on Post-it®; these are unique copies. He uses the web to animate them on his site (<a class="lien5" href="http://www.bigempire.com/postittheater" style="color: black;" target="_blank">www.bigempire.com/postittheater</a>).</span><br />
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<strong style="background-color: white;"><a href="https://www.blogger.com/null" name="inclassables"></a><strong>UNCLASSIFIABLE</strong></strong><br />
<img align="left" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/felix.jpg" height="134" hspace="5" vspace="5" width="166" /><span style="background-color: white;">Playing cards' back used of flip books. When they are in the right order, they unfold and </span><img align="right" alt="Flipbook" border="0" src="http://www.flipbook.info/flipbooks/monkee.jpg" height="240" hspace="5" width="180" /><span style="background-color: white;">animate a story. The oldest we found is a Spanish game with drawings of <a class="lien5" href="http://www.flipbook.info/typology.php#inclassables" style="color: black;">Felix le chat</a>.</span><br />
<span style="background-color: white;">In 1967, the Chewing Gums Topps realized a series of 16 flip books devoted to a pop group <a class="lien5" href="http://www.flipbook.info/typology.php#inclassables" style="color: black;">The Monkees</a> that became popular in the 60's thanks to a TV series. Each flip book is in a Wrapper (you cannot see inside the envelope). Therefore, you sometimes had to buy many to get the whole 16 flip books.</span><br />
<span style="background-color: white;">The flip books realized by a young couple to announce their <a class="lien5" href="http://www.flipbook.info/typology.php#inclassables" style="color: black;">wedding</a> and another for the <a class="lien5" href="http://www.flipbook.info/typology.php#inclassables" style="color: black;">birth</a> of their daughter are funny and ludic.</span><br />
<span style="background-color: white;">To notice too, in 1991, the <em><a class="lien5" href="http://www.flipbook.info/typology.php#inclassables" style="color: black;">Mémoires d'un bègue</a> </em>Henri Delhemmes realized in 99 copies. The only way to read it is to flick it through.</span><br />
<span style="background-color: white;">Original too, the flip book for colouring in that <a class="lien5" href="http://www.flipbook.info/typology.php#inclassables" style="color: black;">British Airways</a> distributed with pencils to children in their planes.<br /><br />We could mention many others, but you can discover them in our database.</span><br />
<br />
<span style="background-color: white;"><a href="https://www.blogger.com/null" name="1"></a>1 : « The Flick Book Story » in <em>Where film comes to life</em>, Centenary of Cinema, Museum of the Moving Image, 1995.</span><br />
<span style="background-color: white;"><a href="https://www.blogger.com/null" name="2"></a>2 : Jérôme Delgado, « Un passionné du dessin d'animation au SAC. Jean-Pierre Trépanier », web site of the newspaper Forum, Université de Montréal, 11-2-98, vol.33, année universitaire 1998-1999.</span><br />
<span style="background-color: white;"><a href="https://www.blogger.com/null" name="3"></a>3 : Depicted in Maurice Rickards, <em>The Encyclopedia of Ephemera</em>, The British Library, 2000.</span><br />
<span style="background-color: white;"><a href="https://www.blogger.com/null" name="4"></a>4 : About commercial toys, see the article of Pascal Pontremoli, « Donner pour vendre : éléments pour une typologie du jeu et du jouet publicitaire », 15e partie, <em>Le Vieux Papier</em>, fascicule 350, octobre 1998 (pp.158-159)</span><br />
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Bint photoBooks on INTernethttp://www.blogger.com/profile/02860952910982557153noreply@blogger.com0tag:blogger.com,1999:blog-5028121922441637074.post-29133784902433841042019-08-31T22:50:00.000-07:002019-08-31T22:50:04.030-07:00Exile on Main Street The Rolling Stones Layout Design John Van Hamersveld and Norman Sheef Concept and Photos Robert Frank Photography<div class="separator" style="clear: both; text-align: center;">
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<b>The Rolling Stones - Exile on Main Street</b><br />
This work is derived from the cover of the album Exile on Main Street by The Rolling Stones.<br />
Original album covert art design credits: concept and photos by Robert Frank, layout design by John Van Hamersveld and Norman Sheef. Album produced by Jimmy Miller. Rolling Stones 1972.<br />
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(Frank’s orignal photo)<br />
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In 1972, Mick Jagger reached out to Frank and ask him to come to the Bel Air villa, the Los Angeles home where Mick and his band was staying while they finished their new album. Their new album was something unlike anything they’ve done yet, something raw and uniquely American. Jagger wanted its album cover to reflect the band as runaway outlaws using the blues as its weapon against the world. The album’s cover had to reflect this feeling of joyful isolation, grinning in the face of a scary and unknown future. It had to be perfect.<br />
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Frank was originally meant to shoot the band as they walked along the seedy Main St. of LA that they were supposedly exiled from, and those photos are all on the album’s back side where the band looks just as strange as the freaks from Frank’s photo. You can see more footage of those sessions here. However, his tattoo parlor photo caught the attention of John Van Hamersveld, who was hired by the Stones to put together the album package. Hamersveld had already worked with the Beatles and Hendrix and had already designed the classic poster for the 1966 surf documentary The Endless Summer, but Hamersveld knew right away that Frank’s photo, which he found among his many American outtakes, was destined to be used for this new album. Impressed with the photo, Hamersveld took Frank’s work and turned it into the famous album cover that we all know and love.<br />
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The final product is below:<br />
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It’s fitting that Frank, an exile himself, would create the image of one of the greatest works about exile and American life. Frank was also a filmmaker, and he filmed the band on their 1972 tour supporting the album he photographed. His filmed was called Cocksucker Blues and it was never officially released due to it being too obscene. Imagine that.<br />
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<a href="https://www.theguardian.com/artanddesign/2015/jul/10/the-photographers-revolutionised-pop-album-artwork"><span style="color: red; font-size: large;"><b>The photographers who revolutionised album art</b></span></a><br />
Man Ray nearly did a Rolling Stones cover, Big Star went for William Eggleston’s most famous ceiling shot, and George Michael lifted a Weegee photograph. A curious new exhibition for nerds and fans alike shows the hits and misses of album artwork – and the covers too rude to use<br />
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Sean O'Hagan<br />
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Fri 10 Jul 2015 18.19 BST Last modified on Sat 11 Jul 2015 00.13 BST<br />
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<i>The Rolling Stones album cover design by Man Ray.</i><br />
<i>The greatest record cover that never was? ... Man Ray’s original Rolling Stones cover for Exile on Main Street. All photographs courtesy Les Rencontres d’Arles</i><br />
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In 1972 Charlie Watts, drummer of the Rolling Stones, met with Man Ray and asked if he would design the cover for the group’s new album, Exile on Main Street. The 82-year-old artist agreed and produced a design in which the faces of the five Rolling Stones appeared inside black circles on a white background. The inspiration, he said, was the song Tumbling Dice, the first single from the album.<br />
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Man Ray’s design is one of the great record covers that never happened. The album appeared instead with a sleeve by the great American photographer Robert Frank, whose black-and-white collage of Super 8 images (shot in a tattoo parlour somewhere on Route 66 while he made his groundbreaking book The Americans) is now considered one of the classic rock album sleeves.<br />
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<i>Radio City by Big Star, with William Eggleston photography</i><br />
<i>Radio City by Big Star, which uses William Eggleston’s classic red ceiling shot</i><br />
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Man Ray’s proposed cover for the Stones is one of the highlights of a sprawling, but always intriguing, exhibition at Les Rencontres d’Arles called Total Records: The Great Adventure of Album Cover Photography.<br />
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It traces pop’s relationship with photography using album sleeves that span the history of vinyl recordings, and includes work by pioneering photographers who were either commissioned by labels to shape the identity of an artist or else allowed existing images to be used, often at the musician’s request. That was how Anders Petersen’s picture of an embracing couple from his gritty series Cafe Lehmitz ended up on the cover of Rain Dogs by Tom Waits, an almost perfect reflection of the melancholic music therein. (Intriguingly, the man in the photograph bears a resemblance to the young Tom Waits, both physically and in terms of the beatnik-barfly image Waits once projected.)<br />
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Another photograph that effortlessly evokes the music is Cat Power’s use of an Emmet Gowin portrait for Headlights – the boy’s rapt expression at one with Power’s dreamy, dislocated songs. Likewise, the Memphis cult band Big Star’s use of their fellow southerner William Eggleston’s famous red ceiling (Greenwood, Mississippi, 1973) for their 1974 album Radio City. Oddly, Eggleston does not receive a section to himself here, with only Big Star and two Primal Scream covers on show – the Dixie Narco EP and the Give Out But Don’t Give Up cover. There’s no sign of Alex Chilton’s Like Flies on Sherbert, or Here Come the Snakes by Green on Red, or two other Primal Scream sleeves – Country Girl and Dolls – all of which used the great man’s images.<br />
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<i>Cat Power's Headlights cover artwork by Emmet Gowin. </i><br />
<i>Cat Power’s Headlights cover uses an Emmet Gowin photograph.</i><br />
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Among the biggest surprises here is the discovery that Richard Avedon shot the dramatic cover for Fresh by Sly and the Family Stone and the stark portrait of Simon and Garfunkel for Bookends. In each instance, Avedon’s black-and-white images utterly compliment the music, the one energetic and exuberant, the other intimate and sad.<br />
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The great Lee Friedlander receives his dues for his pioneering work for Atlantic Records in the 1960s, including unforgettable portraits of John Coltrane and Charles Mingus. At the risk of sounding like a vinyl nerd – which I am – it would have been good to see his cover portrait of Loudon Wainwright III for the singer’s debut album, not least because it is one of the photographer’s few non-jazz album covers and because, again, it so perfectly captures the rawness of Wainwright’s world-weary songs.<br />
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Alongside Freidlander, Francis Wolff gets worthy attention for his timeless portrait photography for Blue Note Records, which all but established its identity as a label made by, and for, the knowledgeable.<br />
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<i>A single from Sly and the Family Stone's Fresh with photography by Richard Avedon</i><br />
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More problematic is the use of great photographs in contexts that seem barely appropriate to either the music or the artist’s image – why a Weegee image adorns a George Michael album is anyone’s guess. Likewise the characteristically enigmatic Josef Sudek diptych that somehow ended up on a Beautiful South album. Here, musicians may be parading their good taste in visuals, but the images suffer by being reduced to something akin to tasteful adornments.<br />
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That Beautiful South album also features in a short series on censored covers – the woman with a gun in her mouth was replaced in some countries by teddy bears. Stranger still is the cover for a Mamas and Papas album in which they lounge, fully clothed, in a bath tub. In the censored version, an offending toilet bowl has been removed. One wonders how the Butthole Surfers ever got a record released.<br />
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One of the more intriguing mini-narratives is a wall devoted to photographs by Linda McCartney of the shoot for the Beatles’ final album, Abbey Road. Iain Macmillan’s cover shot – which was achieved in a 10-minute shoot from atop a ladder while policemen stopped traffic – has since become one of the most debated record sleeves of all time. A conspiracy theory had it that Paul McCartney was dead because he appeared barefoot. Here, he is pictured in one shot wearing sandals and, in another, chatting to an old lady on the pavement by the famous zebra crossing.<br />
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<i>The Weegee photograph used by George Michael for his album Listen Without Prejudice</i><br />
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Next to the series is a raft of other covers that pastiche or pay homage to the iconic Abbey Road shot, including Armitage Road by the Heshoo Beshoo Group and Soulful Road by New York City. No Booker T and the MGs though!<br />
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As with any show as ambitious as this, there are inevitable omissions – incredibly, no Dylan, whose shape-shifting musical journey through the 60s can be traced in his album covers, from trad folkie to hipster poet and beyond.<br />
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And where are the Smiths’ covers selected by none other than Morrissey himself for their mix of quintessential northern Englishness and iconic pop cultural resonance. What an omission – even for an exhibition that is, at times, unapologetically and understandably Francophile (lots of Johnny Hallyday but, oddly, no Françoise Hardy.)<br />
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But there is more than enough here to keep the curious and the nerdish enthralled – and show that sometimes images really do speak as loudly as songs.</div>
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