Associated Press Images Photo Web Site

AP Images launches new photo Web site

AP Images, a division of The Associated Press has launched a new photo Web site. The new site is a centralized platform that makes it easier for buyers to search and download from millions of images available from The Associated Press and its diverse content partners.

A key feature of the site is an enhanced search engine that allows users to quickly find the images that meet their needs. Users can save searches and will be able to receive custom e-mail alerts when new images match their search parameters. The site also includes advanced lightbox features such as image grouping, drag-and-drop editing and user notation, all of which make it easier for users to manage their photo projects.

The new photo platform is part of AP Images’ strategy to offer customers greater access to a wide variety of content for editorial and commercial use from AP's award-winning photographers and its growing list of content partners, including the UK Press Association, VII, Women’s Wear Daily, and many newspapers around the country.

“The new AP Images site is a powerful distribution platform that gives our customers unparalleled access to the millions of images we offer,” said Ian Cameron, Vice President of AP Images. “This is just one of the many steps we are taking to offer image buyers greater access to the world’s best images.”

AP Images, a division of the Associated Press, is one of the world’s largest collections of historical and contemporary imagery. As an essential source of photographs and graphics for professional image buyers, AP Images strives to meet the needs of today’s global customer through superior image quality, selection and service. For more than a century, AP photographers have captured the greatest moments in history, news, sports and entertainment, receiving 29 Pulitzers and numerous other awards in honor of their contribution to the images that shape our world. Everyday, images from the Associated Press and its content partners are featured in thousands of newspapers, magazines and Web sites.

AP Images Web site: http://www.apimages.com

Carl Zeiss ZA Lenses for Sony Alpha DSRL

Zeiss ZA – High Performance Lenses for Sony Alpha Digital SLRs

Zeiss ZA lenses are the top-of-the-line range for the new Sony Alpha digital SLR camera system. Designed for the demanding photographer, the Zeiss ZA lenses provide the Sony Alpha DSLR with features superior to many of today’s zoom lenses and their typical bulk, moderate speed, susceptibility to flare and ghosting, poor contrast and unpleasant distortion.

The Zeiss ZA lenses offer very high image quality and rich detail due to their superior sharpness. The fast aperture provides the photographer with maximum versatility and a pleasing image quality due to the shape of the aperture blades. The lenses offer full auto-focus functionality with manual focus override and excellent durability for many years of dependable service.

The first three Zeiss ZA announced for the Sony Alpha camera are:

• Planar T* 1.4/85 ZA: a famous classic portrait lens design, covering the full 24 x 36 mm format.
• Sonnar T* 1.8/135 ZA: a very fast telephoto lens with stunning performance, also covering the full 24 x 36 mm format.
• Vario-Sonnar T* DT 3.5-4.5/16-80 ZA: a versatile, compact, lightweight travel companion, covering the APS-C format of the Sony Alpha CCD sensor.

Since the Zeiss ZA 1.4/85 and 1.8/135 lenses cover the standard 35mm format, these lenses have the added benefit of being compatible with previous film-based SLR’s using the Alpha lens mount.

Zeiss ZA lenses are distributed exclusively through Sony.

Photo: Zeiss ZA – High-performance lenses for the Sony Alpha System - (c) Carl Zeiss AG - All rights reserved

Apple Releases Aperture 1.5

Major Update Adds Open Library Option and Extends Workflow

PHOTOKINA 2006, COLOGNE, Germany—September 25, 2006—Apple® today released Aperture™ 1.5, a major update to the all-in-one post production tool for photographers that delivers enhancements across each phase of the entire workflow. Aperture 1.5 delivers a powerful new open library, seamless iLife® ‘06 and iWork™ ‘06 integration, XMP metadata support, powerful new adjustment tools and an export API that makes it easy to extend the Aperture workflow to third party applications and services.

“Aperture has given photographers around the globe the confidence to work in exciting new ways,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “Now with Aperture 1.5, we’ve opened the library and extended the workflow to provide a solution that is as flexible as it is powerful.”

Managing RAW, JPEG and TIFF images in Aperture 1.5 is incredibly flexible, with a new open library system that allows photographers to store image files wherever they want—either within the Aperture library itself, or in other disk locations, including external hard drives, CDs or DVDs. Aperture can now generate high-resolution previews of each image so that users can review, rate and organize images as well as perform slideshows—even when the master images are offline. The previews, which can be generated at a range of size and quality levels, make it possible for photographers to keep their original images safely stored on a desktop system at home or in the studio, while still being able to take a compact version of their entire photographic library on the road using a MacBook™ or MacBook Pro.

“In less than a year, Aperture has become as essential to me as my camera, lens and tripod,” said Steve Winter, contributing photographer for National Geographic. “At the end of a day’s shoot, it’s so easy to find photos in my Aperture library and use these amazing tools like the Light Table to quickly piece something together and figure out what I need to make the story complete.”

“Aperture has been a rock for me, and I'm now using it to build an archive of all my professional work—25 years’ worth,” said Bill Frakes, staff photographer for Sports Illustrated. “With everything tagged and organized, including my current projects, I can retrieve any photo I want in a matter of seconds.”

Aperture 1.5 is now supported across Apple’s full line of Macintosh® computers, from Mac® mini to Mac Pro, and offers powerful new integration with the iLife ’06 suite of digital lifestyle applications and iWork ’06 productivity software. The tight integration means that photographers can build complete websites with iWeb™, create self-contained slide presentations with Keynote™, or produce stunning DVD slideshows with iDVD®, all using JPEG versions of photos directly from their Aperture library, which is never more than a click away. Integration also includes syncing to iPod® using iTunes® 7 and the ability to access and copy Aperture photos from within iPhoto®.

Aperture 1.5 dramatically streamlines the process of adding metadata to photo shoots with new pre-filled IPTC Metadata Presets. Captions, credits and other critical metadata that photographers rely on can be added on import automatically or via a batch process at any point in the workflow. Another major enhancement to metadata support within Aperture is the ability to export RAW images with IPTC data stored in XMP sidecar files for easy use with other applications like Adobe Photoshop and even the ability to generate XMP files automatically through AppleScript®.

Powerful new adjustment options in Aperture 1.5 include a sophisticated luminance-based Edge Sharpen filter for extremely high-quality sharpening results and a new Color tool that lets photographers tune the hue, saturation and luminance of specific color ranges within each image. Aperture’s popular Loupe magnifier has been dramatically enhanced with a set of onscreen controls, smooth zooming with up to 1600 percent magnification and a new option that enables it to be detached from the cursor while making adjustments. Individual image adjustment settings can now be saved as presets that can be automatically applied through a menu command, so that photographers can quickly and easily make standard adjustments.

An innovative new export API plug-in architecture in Aperture 1.5 allows third party developers to tap into the expanding Aperture user community with plug-ins that seamlessly connect Aperture’s workflow to complementary applications and services. Plug-ins from industry leading companies, including Getty Images, iStockphoto, Pictage, Flickr, PhotoShelter, DigitalFusion, Soundslides and Connected Flow, will be demonstrated at photokina 2006. These plug-ins will demonstrate a range of printing, publishing and storage workflows that take advantage of this new architecture.

Pricing & Availability - Aperture 1.5 is available this week in English, French, German and Japanese as a free Software Update to current Aperture 1.0 customers. Aperture 1.5 is available to order for new customers for a suggested retail price of $299 (US) through the Apple Store® (www.apple.com), Apple’s retail stores and through Apple Authorized Resellers. Full system requirements and more information on Aperture can be found at www.apple.com/aperture.

Apple ignited the personal computer revolution in the 1970s with the Apple II and reinvented the personal computer in the 1980s with the Macintosh. Today, Apple continues to lead the industry in innovation with its award-winning desktop and notebook computers, OS X operating system, and iLife and professional applications. Apple is also spearheading the digital music revolution with its iPod portable music players and iTunes online music store.

APPLE - PRESS RELEASE - 25.09.2006

Dana Schutz, MOCA Cleveland, Exhibition Dana Schutz: Paintings 2002-2006

Dana Schutz: Paintings 2002-2006

Museum of Contemporary Art Cleveland

September 29 - December 30, 2006

The Museum of Contemporary Art Cleveland (MOCA) presents the work of 30-year-old painter Dana Schutz, whose “ecstatically imaginative paintings” have rapidly established her as one of the art stars of the contemporary art world.

Dana Schutz: Paintings 2002-2006, the first comprehensive solo museum exhibition of the artist’s work, features eighteen paintings created over the last four years, including three new works shown for the first time which were created specifically for MOCA Cleveland’s presentation of the exhibition.

The works, with their thick, lush surfaces and expressive palette of gaudy yellows, reds, deep greens and purples, explore social, emotional and political themes. The exhibition was curated by Raphaela Platow and organized by The Rose Art Museum, Brandeis University, Waltham, Massachusetts. MOCA’s presentation of the exhibition and related programming was coordinated by Senior Curator Margo Crutchfield.

Dana Schutz describes her work as “pictures that float in and out of pictorial genres. Still-lifes become personified, portraits become events and landscapes become constructions. I embrace the area between which the subject is composed and decomposing, formed and formless, inanimate and alive.” Dana Schutz: Paintings 2002-2006 demonstrates this approach to painting through significant examples of Schutz’s different bodies of work, including selections from the series, “Frank From Observation” and “Self-Eaters.”

Says Rose Curator Raphaela Platow, “In many of her dynamic works, Schutz attempts to paint things that one almost cannot imagine.” With the Frank From Observation series, Schutz creates a world in which Frank is the last man on earth, a “castaway” who is seen alternately engaged in activity or reposed and contemplative. In the Self-Eaters series, Dana Schutz paints figures who are calmly depicted in the acts of devouring, dismembering and recreating themselves. Other paintings in Dana Schutz: Paintings 2002-2006, such as Party (2004), which portrays the Bush Administration Cabinet wandering through a jungle, are more politically-charged and overtly satirical.

About Schutz, whose influences include the German Expressionists, Henri Matisse and the Fauves, Paul Gauguin and the Symbolists, and Philip Guston, among others, Raphaela Platow has said she “creates her figurative paintings in thick, glutting strokes, similar to sculpting the image from paint. Many of her works depict hypothetical scenarios that are based on reality, but extended into the imaginary based on the parameters the artist sets for her narratives.”

Born in Livonia, Michigan in 1976, Dana Schutz currently lives and works in New York. She earned a BFA from the Cleveland Institute of Art (2000) and an MFA from the Columbia University School of Fine Arts in New York (2002). Her paintings have been featured in one-person shows in New York, Boston, Paris, Berlin, and Santa Fe, and in many group exhibitions, such as the Prague and Venice Biennials. Dana Schutz’s work is in numerous private and public collections including The Progressive Collection in Cleveland, OH; the Saatchi Collection in London; and the Whitney Museum of American Art, The Museum of Modern Art and The Solomon R. Guggenheim Museum, all in New York.

MOCA - MUSEUM OF CONTEMPORARY ART CLEVELAND

11400 Euclid Avenue, Cleveland, OH 44106

www.mocacleveland.org

Kodak Image Sensor Powers Leica M8 Digital Camera

Eastman Kodak Company is extending its partnership with Leica Camera AG to provide image sensors for the newly announced LEICA M8

The new KODAK KAF-10500 image sensor was developed specifically for use with the M8, and marks Kodak’s second collaboration with Leica, building on the success of Kodak’s interaction with Leica on the LEICA DIGITAL-MODULE-R. The first digital camera to use the Leica viewfinder system, the LEICA M8 extends the Leica M series into the digital world. By working closely with Leica, Kodak designed and optimized the new image sensor to meet the demanding needs of Leica photographers.

With a resolution of over 10 million pixels, the KAF-10500 continues Kodak’s legacy of offering high performance imaging devices that leverage Kodak’s Indium Tin Oxide (ITO) technology for low noise, high sensitivity, and wide dynamic range. Utilizing a 6.8µm pixel architecture, the sensor uses an optimized microlens configuration to maximize center to corner uniformity for improved image quality, particularly important for the broad incident light angles associated with M series lenses. The sensor also includes anti-blooming protection to prevent against image corruption during high light level conditions. 

“We are excited to be broadening our relationship with Leica by supplying sensors for the M8 digital camera – the newest member of the Leica M system,” said Chris McNiffe, General Manager of Kodak’s Image Sensor Solutions group. “Kodak will continue to work with camera manufacturers such as Leica to provide industry leading imaging technology that meets the evolving demands of today’s photographers -- from professionals who demand the highest in resolution and performance, to consumers looking for advanced imaging devices such as digital still cameras and camera phones.”

Kodak - Image Sensor Solutions 
www.kodak.com

Reflex numérique Pentax K10D

Ce nouveau reflex numérique présente des caractéristiques techniques et physiques haut de gamme (système de stabilisation mécanique, boîtier tropicalisé, nettoyage antipoussière du capteur par vibration, convertisseur A/D 22 bits, capteur de 10,2 mégapixels), permettant de réaliser des photos de haute qualité. Avec le nouvel objectif ultrafin Pentax DA 70mm F2.4, qui viendra étoffer la gamme d’optiques dédiées numériques Pentax, il a de quoi séduire les photographes "amateurs avertis". Il a été récompensé par la TIPA et l'EISA dont on reconnait généralement le niveau d'exigence. Une très bonne qualité d’image

Avec son capteur CCD de 10,2 megapixels effectifs et de 23,5 x 15,7 mm, le K10D vous permet de réaliser des photos au grain exceptionnellement fin, d’un remarquable réalisme, qui supporteront tous les agrandissements et recadrages que vous souhaitez. Le K10D intègre le système de stabilisation mécanique « Shake Reduction » breveté par Pentax, qui permet de limiter les risques de flou dans les conditions difficiles : prises de vues nocturnes sans flash, usage d’un téléobjectif, temps d’exposition particulièrement longs... Parce que cette fonctionnalité est directement intégrée dans le boîtier lui même, vos photos risquent moins d'être floues quel que soit l’objectif Pentax que vous utiliserez (aujourd’hui, 24 millions d’optiques sont compatibles avec ce système, et 340 types d’objectifs exactement, correspondant au nombre d’optiques à monture M42 et K produites.) Le système de nettoyage du capteur par vibration élimine toutes les poussières qui peuvent persister sur le capteur, en les faisant tomber sur un support adhésif qui les capture. Ce système mécanique efficace agit en complément du traitement spécial SP « Special Protect » du capteur, garantissant que les grains de poussière ne collent pas à sa surface. Le K10D présente également un tout nouveau convertisseur analogique / numérique (A/N) 22 bits (4,2 millions d’incréments colorés) soit 1024 fois plus performant que les convertisseurs classiques 12 bits - pour une meilleure gradation des couleurs de vos photos. Un boîtier rapide

L'appareil bénéficie d'un nouveau DSP « PRIME » (Pentax Real Image Engine), doté d’une mémoire DDR2 (Double Data Rate 2) permettant d'optimiser la rapidité du traitement et du transfert des images. Fonctionnant à 800 Mo / seconde (contre 133 Mo / seconde pour le système SDR - Single Data Rate équipant classiquement les boîtiers reflex). Prises de vues en rafale à 3 images JPEG par seconde, de façon illimité (uniquement limité par la capacité totale de la carte SD) Un design robuste

Le boîtier tropicalisé du K10D, doté de 72 joints toriques internes au boîtier et 38 joints d’étanchéité dans la poignée d’alimentation optionnelle, permet de l’utiliser dans les conditions les plus extrêmes, notamment les environnements saturés de poussière ou d’humidité. Grâce à son châssis en acier inoxydable, il est très robuste et s’emporte partout avec vous. Son grand écran LCD 2,5’’, 210.000 pixels, à vision extralarge 140°, vous permet de visualiser toutes vos photos, sans souci de visibilité. En outre, son viseur pentaprisme de qualité professionnelle, offre un champ de vision de 95% et un grossissement de 0,95x, permettant un très bon confort de visée. De nouveaux dépolis de visée interchangeables sont proposés en option. Autres caractéristiques clés

- Compatibilité avec les futures optiques Supersonic (système d’AF silencieux dans les optiques) - Poignée d’alimentation en option, tropicalisée - Enregistrement simultanément d’images RAW et JPEG - Enregistrement en format DNG (RAW non propriétaire) - Capacité maximale d’environ 730 images grâce à sa batterie Lithiumion rechargeable DLI50 - Système d’exposition multizones 16 segments - Système autofocus Safox VIII ISO 11 points, dont 9 croisés au centre - Fonction de Préaperçu numérique (comme sur le K100D) - Ajustement manuel de la balance des blancs 32 fonctions personnalisables - Compatible cartes SD et nouvelles cartes SD hautes capacités (2 Go et plus) - 6 filtres numériques intégrés : noir & blanc, sépia, doux, minceur, luminosité et couleur - Logiciels Pentax Photo Browser 3.0 (pour la navigation) et Pentax Photo Laboratory 3.0 (pour le traitement des images RAW) - Interfaces haut débit USB 2.0 et AV (compatible NTSC et PAL) - Compatible PictBridge, DPOF, Exif Print et Print Image Matching III - Dimensions : 141,5 x 101 x 70 mm - Poids : 710 g - boîtier nu Début de commercialisation du reflex numérique Pentax K10D : octobre 2006 au prix de vente conseillé de 999 euros en kit avec le DA 18-55mm. Début de commercialisation de l’objectif Pentax DA 70 mm f/2.4 : octobre 2006 au prix de vente conseillé de 599 euros.

Photos (c) 2006 - Pentax - Tous droits réservés

Sony Pictures Animation welcome audiences to the Hotel Transylvania

The Mummy wants new sheets in his room and he wants lots of them! Dracula had a bloody rough night with all that noise coming from the Werewolf's room and Frankenstein keeps bumping his head on the low ceilings. It's just another night at HOTEL TRANSYLVANIA, the ultimate get away for the misunderstood among us who are just looking for a little R and R and the chance to avoid contact with pesky humans. Sony Pictures Animation Executive Vice Presidents Sandra Rabins and Penney Finkelman Cox have announced HOTEL TRANSYLVANIA as the company's third animated project. Sony Pictures Animation's first feature, OPEN SEASON, debuts September 29, 2006, followed by Surf's Up!, which is scheduled for a June 8, 2007 release. Both films will be released by Columbia Pictures, as will HOTEL TRANSYLVANIA. Based on an original story, HOTEL TRANSYLVANIA takes a 21st Century look at the stories of the classic monsters Frankenstein, The Mummy, Dracula and The Werewolf. Anthony Stacchi and David Feiss, both veterans of OPEN SEASON, have been tapped to direct the new project. OPEN SEASON producer Michelle Murdocca and co-producer Amy Jupiter will also make the transition from Timberline to Transylvania. "Both Tony and Dave bring a great understanding of story and character development, as well as impeccable comedic timing, to this project" said Finkelman Cox. "We are very proud of the talent that has grown up with us at Sony Pictures Animation," added Rabins. About HOTEL TRANSYLVANIA The world is a scary place...even for the iconic monsters that have endured through the centuries. Wary of the human race, they have secluded themselves in a remote location on the outskirts of Transylvania. Leading a comfortable and safe existence, their lives are turned upside down when the rightful heir to their castle arrives to stake his claim. HOTEL TRANSYLVANIA is directed by Anthony Stacchi (co-director OPEN SEASON, additional credits include ANTZ) and David Feiss (credits include creator "Cow and Chicken," OPEN SEASON). The screenplay is by Don Rhymer (DECK THE HALLS, BIG MOMMA'S HOUSE). The producer is Michelle Murdocca (OPEN SEASON, additional credits include STUART LITTLE 2, STUART LITTLE). The co-producer is Amy Jupiter (OPEN SEASON). The CG animation will be created by Sony Pictures Imageworks.

Expo Photo Nature Quentin Chevrier MNEI Grenoble

 

A la Maison de la Nature et de l'Environnement de l'Isère (MNEI) du 8 au 29 septembre 2006, C'est tout naturel, une exposition de photographies de... nature réalisées par Quentin Chevrier.

MNEI
5, place Bir-Hakeim
38000 Grenoble

Expo Aksouh Galerie Demange Paris

Exposition exceptionnelle des peintures d’Aksouh

Galerie Marie Demange, Paris

13 septembre - 7 octobre 2006

 

Mohamed AKSOUH, OEuvre de 2002 – format : 130 cm x 145 cm
Photo by Philippe de Salabert
Photo courtesy de l'artiste et de la gallerie Claire Demange, Paris

La lumière semble être le maître mot de l’œuvre de Mohamed AKSOUH ; non la lumière éblouissante et sans échappatoire du soleil sur les terres ocre de son Algérie natale, mais celle filtrée, jouant sur la toile, dans le lacis des formes abstraites, évoquant la blancheur de la Casbah et quelque profond labyrinthe de rues enchevêtrées, à l’architecture babéliene, qui furent le théâtre de son enfance.

La « quête de cette lumière de nacre et de perle qui est celle d’Alger, telle qu’il la découvrait de la petite maison de sa mère sur les coteaux de Belcourt », (Jean de Maisonseul, Conservateur de 1962 à 1970 du Musée d’Alger), parcourt l’œuvre d’Aksouh. De ces souvenirs abstraits, de ces sensations bien plus fortes que les images, naissent des paysages opalins, visions méditatives baignées de toutes les nuances de bleus, de sables et d’ivoires.

La peinture d’Aksouh est une peinture contemplative, sereine et vivante. Elle vibre d’une émotion très particulière, tant pour ceux dont cette rive de la Méditerranée traverse l’histoire, que pour ceux qui, perçoivent de loin l’écho millénaire d’une des plus anciennes civilisations méditerranéennes. L’artiste joue avec subtilité entre l’abstraction symbolique – fortement ancrée dans les traditions plastiques arabes - et une œuvre au seuil de la modernité picturale.

 

Mohamed AKSOUH, OEuvre de 2003 – format : 160 cm x 195 cm.
Photo by Philippe de Salabert
Photo courtesy de l'artiste et de la gallerie Claire Demange

 

Eléments biographiques sur MOHAMED AKSOUH

Mohamed Aksouh est né en 1934 en Algérie. Apprenti forgeron dès l’âge de quatorze ans, il s’initie d’abord, à la fin des années cinquante, à la poterie, à la céramique, à la sculpture, puis à la peinture. Aujourd’hui, il travaille également la gravure sur métal. Il est considéré, avec Mohammed Khadda, Baya, Guermaz ou Benanteur, comme un des fondateurs de la peinture algérienne moderne (dite « la génération de 1930 »), s’inscrivant avec force hors du courant figuratif et souvent orientaliste induit par l’académisme français. Après avoir participé à quelques expositions organisées à Alger après l’Indépendance, et réalisé une première exposition personnelle, Aksouh, attiré par l’effervescence culturelle et l’École de Paris, s’installe en 1965 dans la région parisienne. Durant quelques années la Galerie 54 animée par Jean Senac, et la Galerie de l’éditeur Edmond Charlot, qui publia Camus, l’exposent, aux côtés de Galliéro, Bénisti, Jean de Maisonseul, Louis Nallard et Maria Manton, Marcel Bouqueton (artiste également représenté par la Galerie Marie Demange à Paris). Plusieurs de ses œuvres sont alors acquises par le Musée des Beaux-Arts d’Alger. Depuis 1964, Aksouh a exposé partout en France, mais aussi aux Pays-Bas, en Suisse, en Corée, en Espagne. En 1972 et 1974, Aksouh créa deux médailles pour la « Monnaie de Paris ». Membre du Salon des Réalités Nouvelles, il y expose régulièrement. Son œuvre a été le sujet de nombreuses publications. Très récemment, en 2006, le documentariste Hamid Benamra lui a consacré un film : « Aksouh, Jardin des toiles »,(Imagenèse Paris). Aujourd’hui, il vit et travaille toujours à Ivry-sur-Seine.

Galerie Marie Demange, Paris

Jessica Jackson Hutchins, Peace at Home: The war never left at Small A Projects, Portland

Jessica Jackson Hutchins, Peace at Home: The war never left
Small A Projects, Portland, Oregon, USA
September 8 - October 7, 2006

Small A Projects, Laurel Gitlen's gallery in Portland, Oregon, presents a solo exhibition of new work by JESSICA JACKSON HUTCHINS.  The exhibition will include works on paper, sculpture and video. 

Jessica Jackson Hutchins’ work creates occurrences that recognize the urgency and difficulty in our continuing attempts to connect to the world.  Her forms are indications of how we try to read ourselves through the places and things that we encounter and how these humorous and heroic efforts are sites of compassion. Discrete elements drawn from landscapes (both wild and domestic) and pop culture — forms that are contingent on the greater environment — suggest the inevitable failure that accompanies attempts at definition. 

JESSICA JACKSON HUTCHINS has shown widely in the United States and Europe.  Recent exhibitions include Gone Formalism, at the ICA Philadelphia; Make It Now, at the Sculpture Center in Long Island City; and a solo exhibition at Derek Eller Gallery, New York. Jessica Jackson Hutchins lives and works in New York and Portland.  This is the first solo exhibition of her work in the Northwest.

Small A Projects, Laurel Gitlen
Portland, OR 97214, USA
www.smallaprojects.com

Jean-Marc Bustamante at Timothy Taylor Gallery, London

Jean-Marc Bustamante

Timothy Taylor Gallery, London

6 September - 6 October 2006

Timothy Taylor Gallery presents an exhibition of new work by Jean-Marc Bustamante. For his third solo exhibition at the Timothy Taylor Gallery, Jean-Marc Bustamante exhibits a series of jewel-like, sculptural plexiglass objects which were first shown earlier this year in the ground-breaking exhibition -beautifuldays- at KUB Kunsthaus Bregenz, Austria. Jean-Marc Bustamante has also created ‘Contraposto II’, a previously unseen sculpture of galvanized steel with ink on plexiglass.

“The elements cut out of the material also form impediments or passages for the obstructed gaze that collides…with printing inks on Perspex, that throws light back at us like a delicious pain. The paradox of the reflecting materials, the sand-blasted steel, perspexy-sexy with its transparency and curved highlights.” Jean-Marc Bustamante

A series of ‘Trophées’ form a major part of the exhibition. Operating simultaneously as painting and relief sculpture, free-hand forms are cut out of steel plates, opening up to reveal a brilliant surface of underlying coloured Perspex, creating deep pools of reflection. Diverse materials are used to capture light to be either reflected or absorbed. Further works titled ‘Panorama’ and ‘Perfect Dream’, utilise the same method of silkscreen printed on plexiglass to achieve bold, abstract yet familiar images. ‘Panorama Okinawa’, (2005), evokes a tropical landscape and ‘Panorama Lion’, (2005) suggests the mane of a lion. Surfaces vacillate between being opaque and transparent. Colours entice, yet remain intangible.

In the late 1970’s Jean-Marc Bustamante changed the perception of photography in French art with his monumental ‘Tableaux’ blurring the boundary between painting and photography. Following his 1983-87 collaboration with Bernard Bazile, his practice became yet more complex with an exploration of the relationship between photography and sculpture, and between photography and painting. When chosen to represent France at the 2003 Venice Biennale, Jean-Marc Bustamante explored these three media in more depth with his Sérigraphiés on plexiglass, juxtaposed with photographs and sculpture. For this solo exhibition at the Timothy Taylor Gallery in 2006, the artist continues to push the boundaries between the three disciplines which fascinate him and challenge the viewer.

This exhibition is part of ‘Paris Calling’, a season of Contemporary art from France initiated by the French Embassy and the Afaa/ Culturesfrance. 

TIMOTHY TAYLOR GALLERY

24 Dering Street, London W1S 1AN

www.timothytaylorgallery.com

Gamme Lexmark C77Xn-C770n-C772n

Lexmark créée une nouvelle gamme d’imprimantes laser couleur réseau pour les entreprises recherchant la fiabilité, la rapidité et la polyvalence et propose : la gamme Lexmark C77Xn qui comprend les imprimantes laser couleur Lexmark C770n et C772n.

La gamme Lexmark C77Xn est une solution économique pour les entreprises souhaitant économiser du temps et réduire les coûts en imprimant leurs documents, brochures et enseignes en interne. En effet, grâce à ces nouvelles solutions d’impression couleur de Lexmark, il leur est possible d’imprimer des documents tels que des bannières de 120 cm sur des supports allant des cartes en papier couché aux étiquettes vinyle.

Les nouvelles imprimantes laser couleur de la gamme Lexmark C77Xn disposent de nombreux atouts :

• elles enregistrent, en format A4, des vitesses d’impression couleur ou monochrome atteignant les 24 pages par minute

• elles sont dotées d’un processeur puissant de 800 MHz, qui permet l’exécution des travaux les plus complexes en un temps record

• elles sont équipées d’une connexion en réseau en standard pour le partage de l’impression couleur au sein des petits groupes de travail

Des applications couleur uniques

Grâce à leur grande polyvalence, les imprimantes de la gamme Lexmark C77Xn peuvent être utilisées sur tout type de support pour une grande variété d’applications professionnelles. Elles permettent ainsi aux entreprises de toute taille - multinationale, PME/TPE ou point de vente – de faire le meilleur usage de l’impression couleur pour leur métier.

Simplicité d’utilisation

La gamme Lexmark C77Xn possède également un écran qui en simplifie le fonctionnement. Il affiche, en outre, des messages d’aide graphiques qui guident les utilisateurs dans l’exécution des opérations courantes, réduisant ainsi les appels à l’assistance téléphonique. L’écran dispose également d’un port USB, très pratique pour l’impression directe des fichiers PDF et image à partir d’une mémoire flash et d’un clavier à 10 chiffres pour la saisie des codes PIN nécessaires pour l’impression de travaux confidentiels.

Lexmark C770n/dn/dtn

L’imprimante Lexmark C770n, qui peut accueillir jusqu’à 1100 feuilles, convient parfaitement aux entreprises :

• qui souhaitent contrôler leurs coûts d’impression,• qui n’ont pas besoin d’options supplémentaires

• et qui impriment de petites quantités de documents couleur et monochromes.

Des cartouches d’encre d’une capacité de 6000 ** ou 10.000 pages** sont également disponibles pour cette imprimante.

Lexmark C772n/dn/dtn

Pour les entreprises susceptibles d’imprimer des volumes plus importants, l’imprimante Lexmark C772n propose une cartouche d’encre d’une capacité pouvant aller jusqu'à 15.000 pages réduisant le coût d’impression par page. Elles peuvent également ajouter des options supplémentaires augmentant ainsi la capacité jusqu’à 3100 feuilles, et transformer ultérieurement l’imprimante en produit multifonctions en rajoutant un scanner modulaire.

Disponibilité du produit : Les imprimantes Lexmark C770n/dn/dtn et C772n/dn/dtn sont disponibles chez les distributeurs Lexmark, respectivement aux prix publics indicatifs de 1003 Euros HT et de 1638 Euros HT. [A la date de publication de ce message]

Informations complémentaires sur : http://www.lexmark.fr/

Don Doe, Dylan Graham, Sally Smart at Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY

Dangerous Waters: Three Solo Shows

Don Doe, Dylan Graham, and Sally Smart

Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY

September 1 - October 22, 2006

The Herbert F. Johnson Museum of Art at Cornell University presents Dangerous Waters: Three Solo Shows. The exhibition brings together the work of Australian artist Sally Smart, Dutch artist Dylan Graham, and North American artist Don Doe, who share similar concerns about globalization and new identities. Their work is linked by an iconography of maritime themes that simultaneously engage the languages of Romanticism and popular culture.

“Using images of frigates in full sail, flags flying high in the wind, and swashbuckling pirates in colorful costumes, the works featured in Dangerous Waters concern themselves with a different world,” said Andrea Inselmann, curator of modern and contemporary art at the Johnson Museum. “These three artists revive the Romantic spirit seen in the current popular imagination, with pirates symbolizing the subversion of authority and the rejection of accepted social mores.”

SALLY SMART has created gallery-size installations for the past ten years using cutting, staining, sewing, stitching, collage, and photomontage. Her new installation at the Johnson Museum, The Exquisite Pirate (Coral Sea), is the most recent incarnation of a project the artist has been developing since 2004, which began with the question of whether or not women pirates existed, and then uses the image to upset our expectations of sexual roles. Sally Smart was in residence for five days to install her piece at the Johnson, and will speak about her work on Wednesday, August 30.

DYLAN GRAHAM addresses colonialism and immigration in intricate paper cutouts of frigates and maps, metaphors for conflict and refuge-seeking. Graham not only incorporates imagery culled from many folk traditions, his technique itself is modeled on the Mexican folk art papel picado, which in turn is a blend of Asian and Hispanic influences. Cutting paper to minute details involves painstaking craftsmanship and intensity appropriate for the loaded relationships that Dylan Graham illustrates in his installation, Conquests & Endeavors. Dylan Graham will speak about his work on Thursday, September 14.

In his installation of watercolors and paintings of women pirates, Heroines & Hellions, DON DOE critiques the male gaze while addressing complex issues related to authorship. Spoofing kitschy illustration, crossing the boundary between high art and pulp fiction, Don Doe’s work proposes a new sexual identity as it displays a bawdy sense of irony. At once sexist and feminist, real and surreal, unsettling and seductive, Don Doe’s fiercely independent pirate chicks are in control of the male gaze, empowering (most) female viewers while putting (some) male spectators on edge. Doe will speak about his work on Thursday, September 28.

HERBERT F. JOHNSON MUSEUM OF ART

Cornell University, Ithaca, NY 14853-4001

www.museum.cornell.edu

Rhona Bitner Photographs Stage

In the series called Stage, Rhona Bitner goes further in her observation of the live show and transcends the interface between photography and theatricality. After working on circus and its actors in the Circus (1991-2001) and Clown (2001-2002) series the artist moves from the sandy circus ring to the worn-out stage floor. Now she no longer focuses on the people who make the show but instead on the very place where the show takes place: the stage. When empty, it is the very essence of theatre as a space for representation unfolding its own vocabulary: a unique decorum made of drapes, crimson velvet curtains, choreographed bunches of spotlights, colossal centre lights, a deep, heavy, silent and unsettling darkness.

. Rhona Bitner focuses on both the few moments opening the show and the seconds closing it. The lights in the room have been turned off, the stage is bathed in the light of the spots, the members of the audience are holding their breath and the actors are about to appear on the stage.

. In this big format series, the artist unveils the poetic and intense dimension to theatre as a space for experiences in view of the various human perceptions that photography tries to capture.

. Rhona Bitner lives and works in New York. In Paris she is represented by Galerie Xippas, in Boston by Howard Yezerski Gallery and in New York par CRG Gallery. Her photographs appear in the collections of the New York Whitney Museum of American Art, of the Fonds National d'Art Contemporain in Paris, of the Maison Européenne de la Photographie in Paris.

. BFAS Blondeau Fine Arts Services will present 14 photographs by Rhona Bitner during the upcoming common opening with the “quARTier des Bains” galleries group in Geneva on September 14, 2006.

. A catalogue will be published before the end of the year in collaboration with Galerie Xippas, Paris, who presented this series in May-June 2006.

. BFAS - Blondeau Fine Art Services - 5, rue de la Muse - CH-1205 Genève Exhibition: THU-FRI 14h-18h30 and SAT 11h-17h

Rhona Bitner Photographies Stage

Dans la série intitulée Stage, Rhona Bitner poursuit son observation du monde du spectacle, transcendant l’interface entre photographie et théâtralité. Après s’être intéressée au cirque et à ses acteurs dans les séries Circus (1991-2001) et Clown (2001-2002), l’artiste abandonne le sable de la piste pour le plancher usé de la scène. Elle ne se concentre dès lors plus sur ceux qui font le spectacle mais sur le lieu même où celui-ci se joue : la scène. Vide, elle est l’essence même du théâtre en tant qu’espace de représentation déclinant son propre vocabulaire: décorum unique de drapés, rideaux de velours pourpre, groupements chorégraphiés de spots, lustres colossaux, obscurité profonde, pesante, muette et inquiétante.

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Rhona Bitner focalise son attention sur les quelques secondes qui précèdent le début de la représentation ainsi que celles qui la clôturent. La salle est plongée dans le noir, les projecteurs illuminent la scène, les spectateurs retiennent leur souffle et les acteurs s’apprêtent à faire leur apparition.

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Dans cette série de grands formats l’artiste dévoile la dimension poétique et intense du théâtre comme lieu d’expérience face aux diverses perceptions humaines que la photographie cherche à décrire.

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Rhona Bitner vit et travaille à New York. Elle est représentée à Paris par la Galerie Xippas, à Boston par la Howard Yezerski Gallery et à New York par CRG Gallery. Ses photographies font partie des collections du Whitney Museum of American Art à New York, du Fonds National d'Art Contemporain à Paris, de la Maison Européenne de la Photographie à Paris.

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A l’occasion du prochain vernissage commun du « quARTier des Bains » à Genève le 14 septembre 2006, BFAS Blondeau Fine Art Services présentera 14 photographies de Rhona Bitner.

. Un catalogue sera publié avant la fin de l’année en collaboration avec la Galerie Xippas, Paris qui a présenté cette série en mai-juin 2006.

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BFAS - Blondeau Fine Art Services - 5, rue de la Muse - CH-1205 Genève Exposition les jeudi-vendredi de 14h à 18h30 et le samedi de 11h à 17h