zondag 24 januari 2010

the Urban landscapes Photography by Bas Princen Architecture

by iconeye ... & lees verder ...

“I go out to find photographs [...] in which the artificial and the natural take each other’s forms and in which one is unable to see if things are being constructed or destroyed. I think that is the most interesting thing that can be said right now about the cities in which we live, and the landscapes in which we dwell (and vice versa).” Bas Princen explained in a conversation with Mark Pimplott...

Like islands, the buildings in photographer Bas Princen’s latest series are isolated objects in the landscape. Travelling to five Middle Eastern cities – Cairo, Istanbul, Dubai, Beirut and Amman – Princen was looking for urban refuges. Amid the sprawl he found extraordinary suburbs and gated communities but also monumental buildings. The ones we have selected over the following pages have an almost biblical quality to them – unquestionably modern and yet strangely ancient.

“I wanted to see how certain groups are excluding themselves, whether in refugee camps or gated communities,” says Princen. A luxury apartment block in Dubai looks like an early stage of the Tower of Babel but sits next to a mall car park. “The objects stand more or less alone because the people there want to be excluded,” he continues. “There is no clean road leading to this one because the people who live there have 4x4s and they want to be excluded from any infrastructure. They found a way to make it an object but to keep all their surveillance tactics – it’s a gated community with a three-storey wall instead of a fence.”

Another photograph depicts a water cooling plant for the Sheikh Zayed Road in Dubai surrounded by blue-boiler-suited labourers. Reminiscent of the Kaaba in Mecca, the image transfers some of that religious sanctity and mystery to the desalinated sea water that keeps Dubai alive.

In Cairo, a puritanically modernist city appears to rise out of a sugar cane field. The lack of windows on most facades anticipates new blocks being thrown up against them imminently. One structure in Istanbul, meanwhile, has accreted layers of construction like a fortified hill town. “You think these things have existed for ages but when you look at them they are super-contemporary without being technically advanced,” says Princen. It is this “doubleness” that he sought to capture in each of these places.

The whole series can be found in his book Five Cities Portfolio, by Sun Publishers. See also

Incredible ‘Garbage City’ Rises Outside of Cairo ...








zaterdag 23 januari 2010

the World a Gallery Women are Heroes by street artist JR Photography

With nearly a decade of public exhibitions behind him, renowned undercover photographer JR this week launched his newest public exhibit in one of Africa’s largest and poorest slums, Kibera, Kenya. Famous for transforming his photos into posters and using them to make “open space galleries out of our streets,” JR’s latest exhibit is not only his most ambitious to date, but also has no set end-date scheduled.

Covering 2,000 square feet of rooftops and train cars with the eyes and faces of Kibera women, JR’s latest action is visible from space and can be seen on Google Earth. The posters were printed on waterproof material, so in addition to beautifying the rooftops they will also protect inhabitants from the brutal downpours expected in the upcoming rainy season.

The exhibit is part of a multi-action project called Women Are Heros, which aims to highlight the dignity, courage and noble struggle of women around the world.

So far, Women has exhibited in Sierra Leone, Liberia, Kenya and Belgium, and plans for installations in various other Western countries are underway. In the coming year, JR also plans to develop Women Are Heros in India, Cambodia and Laos. He is currently in Brazil putting together another action for the project.







the World a Gallery Women are Heroes by street artist JR Photography

With nearly a decade of public exhibitions behind him, renowned undercover photographer JR this week launched his newest public exhibit in one of Africa’s largest and poorest slums, Kibera, Kenya. Famous for transforming his photos into posters and using them to make “open space galleries out of our streets,” JR’s latest exhibit is not only his most ambitious to date, but also has no set end-date scheduled.

Covering 2,000 square feet of rooftops and train cars with the eyes and faces of Kibera women, JR’s latest action is visible from space and can be seen on Google Earth. The posters were printed on waterproof material, so in addition to beautifying the rooftops they will also protect inhabitants from the brutal downpours expected in the upcoming rainy season.

The exhibit is part of a multi-action project called Women Are Heros, which aims to highlight the dignity, courage and noble struggle of women around the world.

So far, Women has exhibited in Sierra Leone, Liberia, Kenya and Belgium, and plans for installations in various other Western countries are underway. In the coming year, JR also plans to develop Women Are Heros in India, Cambodia and Laos. He is currently in Brazil putting together another action for the project.







vrijdag 22 januari 2010

Piet Zwart Graphic Design IBB: n.v. Ingenieurs-Bureau voor Bouwnijverheid Oegstgeest Company Photography Cas Oorthuys, Jaap d' Oliveira




IBB: n.v. Ingenieurs-Bureau voor Bouwnijverheid Oegstgeest. Photography Cas Oorthuys, Jaap d' Oliveira. Illustrations: Theo Kurpershoek. Layout Piet Zwart.
Oegstgeest / 1950 / 72 p. / hb. / 33x25cm / 188 b&w photographs, in opdracht en uit bedrijfsarchief / bedrijfsreportage en documentaire foto's / gerealiseerde gebouwen, heien gewapend betonwerken). - Ill. 6 b&w photographs, 1 color / frontispice, tekening, topografisch overzicht, beeldmerk / bouwactiviteit van bouwwerken). / NN / Firmenschrift, Festschrift / Photographie - Anthology - Auftragsphotographie, commissioned photography - Nederland, Niederlande - 20. Jahrh. / Printed by Koch & Knuttel, Gouda (boekdruk). - Opdrachtgever: NV Ingenieurs-Bureau voor Bouwnijverheid (25-jarig bestaan). - Foto-typo-taal. In de opmaak wordt voortgebouwd op de functionele typografie. IBB is voornamelijk een catalogus van opgeleverde gebouwen.




Piet Zwart's work was multi-disciplinary and spanned the gamut of industrial design, typography, photography, and most notably graphic design. As an industrial designer, Zwart is best known for his design of the Bruynzeel modular kitchen in 1937, which is still available today. As a graphic designer, the work he produced for Nederlandse Kabelfabriek Delft (Dutch Cable Factory in Delft) and Dutch Postal Telegraph and Telephone Company (PTT) is arguably among the best known Dutch graphic design of the 20th century. His graphic design work clearly shows the influence of Constructivism and, though he was not a part of the De Stijl, his work reflects elements of this movement. Recurring themes are the use of repetitious patterns, lines, circles, primary colors, photomontage and explorations of experimental typography.



In 2000, Zwart was posthumously awarded the "Designer of the Century" award by the Association of Dutch Designers. See for more ...







donderdag 21 januari 2010

Trail into the Unknown. Fifty Years of Koninklijke Shell Laboratorium Amsterdam Carel Blazer Gerard Wernars Company Graphic Design Photography



Verkenning in het onbekende: Vijftig jaar Koninklijke Shell Laboratorium Amsterdam. [Text Sybren Polet (essay). Photography Carel Blazer. Layout Gerard Wernars.

Amsterdam / 1964 / 60 p. / pb. (sewn) / 25x32cm / 60 b&w photographs, in opdracht en uit bedrijfsarchief / bedrijfsreportage / laboratorium opstellingen, researchafdeling en personeel. - Ill. 3 b&w photographs / schematische tekeningen. / NN / Firmenschrift / Photographie - Anthologie - Auftragsphotographie, commissioned photography - Nederland, Niederlande - 20. Jahrh. / Printed by Drukkerij Meijer NV, Wormerveer (boekdruk). - Opdrachtgever: Koninklijke Shell Laboratorium (50-jarig bestaan). - Woord-beeld-equivalent. Een wetenschappelijk procédé wordt op informele wijze verklaard. Het tekstgedeelte is doorschoten met foto's. Onder de titel Trail into the Unknown. Fifty Years of Koninklijke Shell Laboratorium Amsterdam is een Engelstalige editie verschenen.












woensdag 20 januari 2010

Dennis Stock's Woodstock Generation Photography

August 28, 2009


By Claire O'Neill

Dennis Stock is a living testament to the fact that dropping out of school may not be the worst idea. Still sharp as a tack at 81 -- maybe even sharper -- he says euphemistically, "Formal education is not my cup of tea." In his youth, he probably wasn't even the tea-drinking type. Stock's idea of rejuvenation involved road trips, camp-outs, cultural immersion and long-term photo essays for Life and other publications. Nowadays, his archive is a treasure trove to the Americana-loving historian. And it's largely because he had the guts to quit school and hit the road. In the late 1960s, he was photographing the Woodstock Generation, but he was also one of its free-spirited, anarchistic exemplars.


A collection of Stock's photographs from the late '60s is now on display in his hometown, at the Center for Photography at Woodstock in New York. It's a timely exhibit, coinciding with the free-loving festival's 40th anniversary this month, and it was also a good excuse to get the renowned Magnum photographer on the phone.


In workshops and lessons, Stock teaches what he calls the "articulate image" -- that is, an image that conveys the "essence of a situation." He's certainly more comfortable explaining what makes a good photograph than, say, his infamously taciturn predecessor Henri Cartier-Bresson, who influenced nearly every photographer in the late 20th century but refused to admit it.


It seems that there's an inherent intuition to great photographers -- something that cannot be taught, and something that Stock just has. There are a few photos I've encountered in life, for example, that have really resonated -- images that, for whatever reason, I cannot get out of my mind. And one of them is Stock'sVenice Beach Rock Festival, 1968



























Hear Stock discuss his photo:


It was taken, as the title says, at a rock festival in California, when a girl jumped in front of Stock's camera on stage. It was a fleeting, accidental moment, and yet the photo itself is timeless. Perhaps it's because Stock was both curious about and accepting of his (counter) culture that, when it comes to articulate images, his are some of the most eloquent. If there's one lesson to be learned from Stock, it has nothing to do with composition or lighting or f-stops -- it's about being adventurous and observant and, heaven forbid, maybe even a bit rebellious.


Hear Stock discuss some of his greatest photos on Magnum's Web site: James Dean, jazz musicians, his award-winning immigrant series and, most importantly, hippies. Lees verder ...





Dennis Stock's Woodstock Generation Photography

August 28, 2009


By Claire O'Neill

Dennis Stock is a living testament to the fact that dropping out of school may not be the worst idea. Still sharp as a tack at 81 -- maybe even sharper -- he says euphemistically, "Formal education is not my cup of tea." In his youth, he probably wasn't even the tea-drinking type. Stock's idea of rejuvenation involved road trips, camp-outs, cultural immersion and long-term photo essays for Life and other publications. Nowadays, his archive is a treasure trove to the Americana-loving historian. And it's largely because he had the guts to quit school and hit the road. In the late 1960s, he was photographing the Woodstock Generation, but he was also one of its free-spirited, anarchistic exemplars.


A collection of Stock's photographs from the late '60s is now on display in his hometown, at the Center for Photography at Woodstock in New York. It's a timely exhibit, coinciding with the free-loving festival's 40th anniversary this month, and it was also a good excuse to get the renowned Magnum photographer on the phone.


In workshops and lessons, Stock teaches what he calls the "articulate image" -- that is, an image that conveys the "essence of a situation." He's certainly more comfortable explaining what makes a good photograph than, say, his infamously taciturn predecessor Henri Cartier-Bresson, who influenced nearly every photographer in the late 20th century but refused to admit it.


It seems that there's an inherent intuition to great photographers -- something that cannot be taught, and something that Stock just has. There are a few photos I've encountered in life, for example, that have really resonated -- images that, for whatever reason, I cannot get out of my mind. And one of them is Stock'sVenice Beach Rock Festival, 1968



























Hear Stock discuss his photo:


It was taken, as the title says, at a rock festival in California, when a girl jumped in front of Stock's camera on stage. It was a fleeting, accidental moment, and yet the photo itself is timeless. Perhaps it's because Stock was both curious about and accepting of his (counter) culture that, when it comes to articulate images, his are some of the most eloquent. If there's one lesson to be learned from Stock, it has nothing to do with composition or lighting or f-stops -- it's about being adventurous and observant and, heaven forbid, maybe even a bit rebellious.


Hear Stock discuss some of his greatest photos on Magnum's Web site: James Dean, jazz musicians, his award-winning immigrant series and, most importantly, hippies. Lees verder ...