Meredith Danluck, Renwick Gallery, New York - Michael Jackson, Jesus Christ...Coca-Cola

Meredith Danluck

Michael Jackson, Jesus Christ...Coca-Cola

Renwick Gallery, New York

May 18 - June 23, 2007

Renwick Gallery presents the opening of MEREDITH DANLUCK's new film "Michael Jackson, Jesus Christ…Coca-Cola". This is the first show for Renwick Gallery and Danluck's first New York solo show in three years.

"Michael Jackson, Jesus Christ…Coca-Cola" is a 12-minute video capturing Danluck's experience attending a fan appreciation day hosted by Michael Jackson in Tokyo, Japan. Just 300 tickets for the exclusive event were priced at $3,500, for which attendees would get 30 seconds with the King of Pop. Meredith Danluck obtained ticket number 294, went to Tokyo to document the event, talk to zealot-like fans and film her allotted 30-second meeting with Michael Jackson himself. During the event there were numerous performances by local Japanese dance troupes and impersonators, primarily re-enactments of 80's classics Billie Jean and Thriller. Such blatant homage to the celebrated past of the superstar's enigma illuminated the undeniable contrast to his fallen present. Meredith Danluck returned to New York to film one of Michael Jackson's decoys, Joby Rogers, who is hired by Jackson's camp for events and concerts in the New England area. Joby, filmed by Meredith Danluck through a 2-way mirror, discusses his experiences as an impersonator, the culture of celebrity, and the iconic Michael Jackson, as he transforms into Jackson. Ultimately, the film explores ideas of worship, obsession and the current pathos of celebrity by reflecting on the world's most iconic and notorious performer.

MEREDITH DANLUCK graduated The School of Visual Art in NY in 1998 and has been living and working in NY as a visual artist, documentary film-maker, film editor and producer over the last several years. Meredith Danlucks work is currently on view in "Stuff" at the Museum of Contemporary Art Detroit. Her most recent solo show includes, "Toward Thee Infinite Beat" at Andrew Kreps Gallery, New York, 2003. Her most recent group shows include "Compulsive" at the Palais du Tokyo, Paris, 2007, "The Roots" as official selection of the Margaret Meade Film Festival, New York, 2006, and "Musicians, Criticism and Interpretation" at the Reina Sofia Museum, 2006.

RENWICK GALLERY

45 Renwick Street, New York, NY 10013

www.renwickgallery.com

Two Million ArtRage Downloads

Archive - ArtRage: the sucess of the free graphic software

In May 2007 the total number of downloads of ArtRage - Ambient Design’s free painting application - exceeded two million copies. Since its release in February 2004 more than two million copies of the free version of ArtRage have been downloaded from Ambient Design’s website. Schools, hobbyists, artists and anyone who just wants to mess around with paint have been downloading and using ArtRage Free version.

There have been several major updates to ArtRage Free since its initial release. "This is a fantastic milestone. We’re very pleased so many people have been enjoying using ArtRage. The quality of some of the artworks we’ve seen produced in ArtRage Free version is stunning. We’ve had great feedback from people who became disillusioned with the cost and hassle of using traditional art media but have started painting again in ArtRage." - Andy Bearsley, Technical Director of Ambient Design Ltd.

ArtRage Free version is a fully-featured natural painting application. It has tools which look and feel like their real-world counterpart. For example, the oil paints mix and smear like real oil paints on real canvas. They even leave bristle marks from the virtual brush in the paint strokes. It is easy to use for new users while having features and technology powerful enough for advanced users. The Free version of ArtRage is free to use with no time limits. It is also has no adware, spyware or other malware. It is available in English, French and German versions, for Windows and as a Universal Binary for MacOSX.

Updated Post / Archive

Liliana Porter at Valentina Bonomo Gallery, Roma - For Instance

Liliana Porter: For Instance

Valentina Bonomo Gallery, Roma

23 May – 20 September 2007

Pidgeons, plastic rabbits, little clay saints, elegant little ceramic statues, anonymous soldiers, miniscule glass animals, little men that trace gigantic designs or take forced works and divide the scene with a figure of Mickey Mouse, an altar boy, a Nazi. Toys belonging to the world of fairy-tales or taken in loan of reality populate the colored universe of Liliana Porter.

The artist brings life to her photographs, engravings, designs, creating the sensation that, liberated from the rules of real life, there is a grade of dialogue between the objects and their desires, and asks if they can tell us their stories as we watch. They establish in this way an empathy that destabilizes conventional relationships and suggests new confrontations, inviting us to immerse ourselves in a joyful dimension, without the space of time in which absence is coordinated to open us anew to horizons of perception.

The show is accompanied by a catalogue of essays by Irma Arestizàbal, cultural director of the Italian-Latin American Institute.

Born in Buenos Aires in 1941, LILIANA PORTER moved to New York in 1964, where she currently lives and works. In 1965 together with Luis Camnitzer and Jose Guillermo Castillo, she founded the New York Graphic workshop.

Liliana Porter has always followed a rigorous visual path, expressing herself through engravings, designs, paintings, collages and photography. The intuition of the artist, already defined by a series of engravings created in the ‘70s based on the reproduction of works by Magritte, resides in the consciousness with which the arrival of mass reproduction is thinly confined between images and broken reality; frequently in her works from the ‘80s the images are broken into pieces that move on the plane, never recombining together in coexistence in one insecure state. The works of Porter enrich the little figures, furnishings and toys that, in their first juxtaposition on the canvas, become followed by the protagonists in the photographic portrayals of the artist. At the end of the ‘90s Porter broadened her horizons of experimentation, creating “films” which are then transformed in video format.

Liliana Porter has exhibited in some of the most important museums of contemporary art, including the Museum of Modern Art (MOMA) in New York, the Museo de Arte Moderno in Bogotá, the Museo de Arte Contemporáneo in Panama, and at the Bronx Museum for the Arts in New York. Her works take part in important collections in Latin America, Europe, and the United States. She has received important international recognition from the Guggenheim Fellowship in 1980 and the New York Foundation for the Arts Scholarship in 1985.

With the collaboration of Nicole Mathysen-Gerst 

VALENTINA BONOMO

Via del Portico d'Ottavia 13 - 00186 Roma

www.galleriabonomo.com

Alain Kirili, Musée de l'Orangerie, Paris - Kirili et Les Nymphéas

Kirili et Les Nymphéas

Musée de l'Orangerie, Paris

16 mai - 17 septembre 2007

Le musée de l’Orangerie invite le sculpteur Alain Kirili à présenter dans ses murs un important ensemble de sculptures et de dessins, inédits pour la plupart, qui lui ont été inspirés par Les Nymphéas de Claude Monet.

De renommée internationale, ALAIN KIRILI (né en 1946) vit et travaille à Paris et à New York depuis le début des années 1970. Marquée par l’oeuvre du sculpteur David Smith, la production d’Alain Kirili s’inscrit d’abord dans le courant de l’art conceptuel et minimal américain. A partir de 1980, il crée ses premiers Commandements qui renouvellent profondément le vocabulaire de la sculpture monumentale. Ces “champs de signes” abstraits sont composés d’éléments multiples en fer forgé qui se présentent comme autant de “lettres” posées à même le sol à faible hauteur.

Présente dès l’origine, la référence aux Nymphéas de Claude Monet, qu’il admire profondément depuis son adolescence, s’est irrésistiblement imposée à l’artiste, mêlée à des influences aussi diverses que la calligraphie hébraïque, la spiritualité indienne ou la musique de jazz. Les nombreux dessins, souvent de grands formats, qui accompagnent les trois Commandements présentés dans l’exposition témoignent également de leur proximité avec l’aspect sériel et l’ « expansion horizontale » des Nymphéas.

Familier du Jardin des Tuileries, Alain Kirili y est présent depuis 1986 avec son Grand Commandement Blanc installé sur une pelouse à proximité immédiate du musée de l’Orangerie, en hommage déjà à Monet. C’est aussi Alain Kirili qui a été chargé du choix et de la mise en place des nombreuses sculptures des XXe et XXIe siècles qui ornent le jardin depuis plusieurs années à la demande du Ministère de la Culture et de la Communication.

Pour l’exposition du musée de l’Orangerie, Alain Kirili a spécialement conçu une oeuvre spectaculaire, Commandement, Hommage à Claude Monet, pièce pour laquelle il a eu accès aux technologies les plus avancées en matière de béton. Un patient travail dans les laboratoires de l’entreprise Naullet à La Roche-sur-Yon et de nombreux essais de coloration du matériau ont abouti à une nouvelle production de « signes » non plus en métal mais, pour la première fois, en béton subtilement coloré.

Par ailleurs, enthousiasmé par la salle de la collection Walter-Guillaume consacrée au peintre Chaïm Soutine (1893-1943), Alain Kirili a proposé de mettre en regard des œuvres de cet artiste plusieurs de ses propres terres cuites abstraites, qui comptent parmi ses créations modelées les plus saisissantes.

MUSEE DE L'ORANGERIE

Jardin des Tuileries, 75001 Paris

www.musee-orangerie.fr

SilverFast 6.5 Automatic IT8-Calibration

The latest SilverFast v6.5 by LaserSoft Imaging now includes the automatic IT8- calibration that ensures better color correctness of the scanner.

Both the ambitious amateur and the professional photographer as well as media service providers are immediately able to use the new function and to optimise the color correctness of their scanner - by merely two mouse clicks.

Once the (reflective or transparent) LaserSoft Imaging IT8-target is placed on the scanner, it only takes a single mouse click to start the process. Even if the target was not properly aligned on the scanner: the automatic frame alignment and rotation function will resolve the issue. The target is overlayed with a measuring grid and the corresponding reference data file is identified by means of the integrated barcode (patented procedure). This file contains the exact values of each color field on the target, followed by the calculation and creation of the ICC profile - the entire process is automatic and ends with the confirmation of the successful calibration.

This automatic IT8-Calibration function is available in all 6.5.0r6 (or later) SilverFast Studio versions SilverFast Ai, HDR and DCPro can be optionally upgraded.

National Art Gallery Singapore: Architectural Design competition shortlist

Five teams of architectural firms have been shortlisted for Stage II of the architectural design competition for Singapore’s National Art Gallery. The new National Art Gallery is proposed to be housed in two historic buildings in the heart of Singapore’s Civic District – City Hall and the former Supreme Court building. 

The competition, organised by the Ministry of Information, Communications and the Arts in association with the Singapore Institute of Architects, drew 111 entries from 29 countries worldwide. The entries are about equally divided among the following three regions: 

- Europe and North America, 
- Asia-Pacific (excluding Singapore), and 
- Singapore. 

Judging Process of the architectural design competition for Singapore’s National Art Gallery

The international jury panel of experts for this competition is chaired by Professor Tommy Koh, Singapore’s Ambassador-at-Large. The 7-member panel met in Singapore from 25- 27 April 2007. Over the three-day period, the 111 entries were reviewed based on their ability to demonstrate an understanding of the opportunities and constraints of the site and the buildings; the historical, urban and social context of the Gallery; and an appreciation of the future role the Gallery will play in the Civic District and in Singapore’s cultural landscape. 

Entries at Stage 1 were submitted and judged anonymously, identified only by a computer-generated identification number. Details including the competitors’ past experience and track record were revealed to the jury only after the shortlist had been agreed to.  

The Shortlist

The five shortlisted design teams are (in alphabetical order)

- Chan Sau Yan Associates, in collaboration with Lekker Design, Singapore

- DP Architects, Singapore

- Ho + Hou Studio Architects, Taiwan

- Smart Design Studio, Australia 

- Studio Milou Architecture, France 

In response to this, Professor Tommy Koh said, “The jury was pleased with the outcome. The Stage 1 judging was conducted ‘blind’, so it was gratifying to see that the five shortlisted firms represented a good geographical spread - two Singaporean firms and one each from France, Australia and Taiwan. Their proposed schemes showed great potential to be developed further into feasible design solutions for the new National Art Gallery. Also, each competitor will bring a unique range of artistic and cultural insights to the Stage II of the competition. We look forward to seeing what the five competitors have to offer, in helping us build an iconic National Art Gallery that will propel Singapore forward as a global city for the arts."   

Next Milestone for Shortlisted Firms

The five shortlisted teams will now proceed to Stage II of the competition, which kicks off on 14 May. Within a span of three months, the design teams will be tasked to develop their initial concept into feasible design solutions for the new National Art Gallery. The teams will meet with a Technical Advisory Group, comprising representatives from Singapore’s Preservation of Monuments Board, National Heritage Board, Urban Redevelopment Authority, Land Transport Authority and the Ministry of Information, Communications and the Arts. They will visit the existing museums under the wings of the National Heritage Board, as well as the Heritage Conservation Centre.  They will also be given more information on site conditions and authorities’ requirements, and a more detailed design brief.  

The submission deadline for Stage II is 3 August 2007. The jury panel will meet again in Singapore at the end of August, when the finalists will present their schemes to the jury panel. The jury will select the three winners. 

About the Jury Panel of the architectural design competition for Singapore’s National Art Gallery

In addition to the Chairman, Professor Tommy Koh, the jury panel consists of the following six members:  

Cheong-Chua Koon Hean
CEO, Urban Redevelopment Authority, Singapore

Mrs Cheong, an architect and urban planner, has extensive experience in strateplanning as well as in urban design and conservation of built heritage. She is Deputy Secretary (Special Duties) in the Ministry of National Development. 

Jean-Francois Jarrige
President, Guimet Musée National des Arts Asiatiques

In addition to being the Director of Guimet Museum  since 1986, Jean-Francois Jarriage is concurrently a member of the National Council of Scientific Research and Director of the French Archaeological Mission to Pakistan, where he has carried out excavations since 1963. 

Koh Seow Chuan
Chairman, Singapore Art Museum and Board Member of the National Heritage Board

Koh Seow Chuan is the retired founder of DP Architects. He is a prominent art collector and was a key figure in the landmark arts development, The Esplanade – Theatres on the Bay.

Julian Raby Director, Freer Gallery of Art & Arthur M Sackler Gallery, Smithsonian Institution

Julian Raby had been Director of the Freer and Sackler galleries since 2002. He is a well-known scholar of Islamic art and is equally well-versed in Oriental Studies.

Rita Soh
Immediate Past President, Singapore Institute of Architects

Ms Rita Soh was the President of the Singapore Institute of Architects from 2004 – 2007. She has been instrumental in establishing a Blueprint for the architectural profession in its pursuit of Architectural Excellence as well as a Pro-Enterprise approach to architecture. 

Peter Wilson Project Director, Royal Shakespeare Company Transformation Project

Peter Wilson is currently Project Director for a £100 million redevelopment project of the famous Royal Shakespeare Theatre at Stratford-upon-Avon, UK. He also played a key role in the development of the Tate as building project director for both the Tate Modern and the Tate Britain Centenary Development.  

Source:  MICA - Ministry of Information, Communications and the Arts of Singapore. 

Next related posts

- Top 3 winning designs for the NAG Singapore architecture, August 2007
- Appointment of Architect for Singapore’s National Art Gallery, May 2008
- Strategic directions set for National Art Gallery, Singapore, March 2009

Stephan Balkenhol at Galleri Lars Bohman, Stockholm

Stephan Balkenhol
Galleri Lars Bohman, Stockholm
May 12 - June 17, 2007

Galleri Lars Bohman presents an exhibition with new works by Stephan Balkenhol, one of the foremost sculptors of our time.

Stephan Balkenhol’s work stand in contrast with a long tradition of three-dimensional art. Instead of continuing along the traditional path with sculptures representing the heroism and specifics of one man’s actions, Stephan Balkenhol celebrates with his sculptures the every day person, someone that he refers to as Everyman. Ordinary people have climbed up on the artist’s pedestals and with blank facial expressions they meet the viewers passing by. Stephan Balkenhol lets his people wear normal and plain clothes that reveal nothing about their function in society, their social group or profession.

It is not only with the ordinary appearances of his sculptures that Stephan Balkenhol has broken with a sculptural figurative tradition. Instead of casting his work in bronze, he most often carves them out of soft wood, such as wava or poplars. The figures come out of large pieces of wood and the artist leave clear and visible marks of the chisel that he uses in the working process. The traces in the wood leave the finished work with the artist’s ever lasting presence which makes the sculptures exude their sense of humanism. Instead of telling a story of a specific person or a specific moment, Stephan Balkenhol makes his men and women into our neighbours, our relatives or maybe most importantly, into all the people we will never meet or get to know. In doing so he creates a universal but yet personal presence with his sculptures.

Stephan Balkenhol was born in 1957 in Fritzlar, Hessen, Germany. He lives and works in Miesenthal, France and in Karlsruhe, Germany where he is also professor at the Akademie der Bildenden Künste. He received his artistic education at the Hochschule für Bildende Künste in Hamburg, where he studied for Ulrich Rückriem.

GALLERI LARS BOHMAN
Karlavägen 16, 114 31 Stockholm
www.gallerilarsbohman.com

OKI Printing Solutions progresse significativement sur le marche de l’ impression laser couleur

Alors que la millionième imprimante couleur sort de ses usines, le constructeur japonais se place en 2006 au 2ème rang sur le marché mondial de l’impression laser couleur professionnelle (source IDC 2006 Q4).

Autres résultats communiqués par IDC : OKI Printing Solutions se positionne en France au 4ème rang des constructeurs sur les imprimantes laser couleur tous segments confondus. Il atteint la 2ème position pour le segment A3, cette percée significative confirmant l’excellent positionnement de la dernière-née des imprimantes A3 OKI, la C8600, lancée sur le marché en novembre dernier.

En parallèle à ces résultats prometteurs pour l’année 2007, OKI Printing Solutions, annonce également avoir atteint le million d’imprimantes couleur LED conçues au sein de ses usines.

Cette millionième imprimante couleur – l’imprimante A4 C3400 – est sortie de l’usine thaïlandaise d’OKI Printing Solutions, aujourd’hui à l’origine de 47% de la production mondiale du constructeur.

Cet événement constitue l’un des facteurs qui explique la progression du groupe au 2ème rang mondial des imprimantes laser couleur sur le marché des entreprises sur l’ensemble de l’année 2006 (source IDC 2006 Q4).

Ce résultat exceptionnel s’explique notamment par une croissance avoisinant les 20% sur le segment des +10 ppm, chiffre qui augmente chaque année depuis ces 4 dernières années (source IDC). Grâce à sa technologie LED monopasse, OKI Printing Solutions a réussi à s’imposer au 2ème rang mondial sur ce segment très porteur, ce dont témoigne le succès mondial des séries C5000, première imprimantes couleur +10 ppm à moins de 1000,00 € commercialisées en France en 2003. OKI Printing Solutions occupe également la 2ème place en France sur ce même segment avec 14.1 % des parts de marché.

Parallèlement à la production de ce million d’imprimantes couleur, OKI Printing Solutions a également fabriqué 7 millions d’unités monochromes, 22 millions d’imprimantes matricielles et plus de 100 millions de rubans pour ces imprimantes. « Un résultat significatif, si l’on rappelle que OKI adresse uniquement le marché des entreprises », commente Mikihiko Maeno, Président Directeur Général d’OKI Data Corporation.

Il ajoute : « En 2006, nous avons étendu notre production avec de nouvelles usines en Asie et en Amérique centrale, afin de pouvoir répondre à une croissance considérable de 600% des ventes de produits couleur depuis ces trois dernières années. Et nous allons poursuivre cette extension avec de nouvelles implantations au cours de l’année 2007 ».

OKI Printing Solutions a par ailleurs pour objectif de renforcer sa gamme de produits avec cette année le lancement de nouveaux produits couleur basés sur la technologie High Definition Color.

www.oki.fr

Oki Printing Solutions - Communiqué de presse - 11.05.2007

Imprimante Canon SELPHY CP740

Caractéristiques techniques détaillées de l'imprimante photo compacte Canon Selphi CP740

SYSTEME D'IMPRESSION

Méthode : Système d'impression par sublimation thermique

Résolution : 300 x 300 dpi

Couleurs : 3 couleurs et couche de protection, 256 niveaux par couleur (profondeur de couleurs sur 24 bits)

SUPPORTS ET CARTOUCHES

Carte postale : 148 x 100 mm - [KP-36IP, KP-72IP, KP-108IP]

Grand format : 100 x 200 mm - [KW-24IP] (1)

Format L : 119 x 89 mm - [KL-36IP] (1)

Carte de visite : 86 x 54 mm - [KC-36IP] (1)

Étiquettes format carte de visite : 86 x 54 mm - [KC-18IF] (1)

Mini-autocollants : 22 x 17,3 mm (8 autocollants sur une même feuille) - [KC-18IL] (1)

Cartouche d'encre : Fournie avec le papier

Durée de vie des images : 100 ans (6)

CHARGEMENT : Alimentation automatique depuis la cassette papier

VITESSES D'IMPRESSION

Carte postale : Environ 58 sec. (4)

Grand format : Environ 73 sec. (4)

Format L : Environ 50 sec. (4)

Carte de visite : Environ 31 sec. (4)

Etiquettes format carte de visite : Environ 31 sec. (4)

Mini-autocollants : Environ 31 sec. (4)

IMPRESSION - Modes d'impression : Impression de toutes les images (2), impression sans marge, impression avec marge, impression de la date (2), impression DPOF (2), impression du nom du fichier (2), format défini (2), impression photo CV (2), optimisation d'image (2), impression vidéo (2), correction des yeux rouges (2), impression d'une seule image (2), impression avec mise en pages (2, 4 ou 8 images) (2), impression d'index

METHODE D'IMPRESSION

Impression directe depuis un appareil photo : Compatibilité Canon Direct Print, compatibilité PictBridge

Impression directe depuis une carte : Types de cartes mémoire compatibles : carte Compact Flash, Memory Stick, Memory Stick PRO, Memory Stick PRO Duo, Memory Stick DUO, Microdrive, carte miniSD, carte mémoire mini SDHC, carte MultimediaCard, Multimedia Card plus, Multimedia Card mobile, carte mémoire SD, carte mémoire SDHC, RS-MMC, carte mémoire microSD (5), carte mémoire microSDHC (5), Multimedia Card micro (5), Memory stick micro (5), carte xD-Picture (5)

Impression directe depuis un téléphone portable avec appareil photo intégré : Adaptateur Bluetooth BU-20 disponible en option (impression depuis certains téléphones portables avec appareil photo intégré et PDA) (7)

Impression depuis un ordinateur : Oui, nécessite un câble USB standard

INTERFACE

Appareil photo : Câble USB intégré (Mini-B), port USB de type A sur imprimante, WiFi IEEE 802.11b (avec Digital IXUS WIRELESS et adaptateur d'impression sans fil WA-1E)

Ordinateur : Port USB de type B sur l'imprimante

Ecran LCD couleur 2 pouces avec interface utilisateur graphique

SYSTEME D'EXPLOITATION

PC : Windows 2000 SP4 / XP (SP1-2) / Vista

Macintosh : Mac OS X v10.3 - v10.4

LOGICIELS

Gestion des images et impression : PC : ZoomBrowser EX, Easy-PhotoPrint, PhotoStitch, EOS Utility -- Mac : ImageBrowser, PhotoStitch, EOS Utility

Pilotes : PC / Mac

ALIMENTATION

Alimentation secteur : Oui, fournie

Consommation : Environ 4 W (veille), environ 60 W (impression)

ACCESSOIRES

Sacoche de transport pour imprimante DCC-CP1

Cassette papier format carte postale [PCP-CP200], cassette papier grand format [PCW-CP100], cassette papier format L [PCL-CP200], cassette papier format carte de visite [PCC-CP100]

Alimentation et chargeur de batterie : Adaptateur CA-CP200

Unité Bluetooth BU-20 pour l'impression depuis les téléphones portables avec appareil photo intégré et les PDA compatibles (7)

CARACTÉRISTIQUES PHYSIQUES

Environnement de fonctionnement : 5 – 40 °C, 20 – 80% d'humidité

Dimensions : 179 x 127,1 x 63 mm

Poids : 940 g (hors cassette papier et cartouches d'encre)

NOTES

(1) Nécessite une cassette papier en option.

(2) Les modes/fonctions disponibles peuvent varier selon le modèle de l'appareil ou l'utilisation de la carte mémoire pour impression.

(3) Les photos doivent être prises au format JPEG et transférées selon le protocole IrOBEX.(4) La vitesse d'impression peut varier en fonction de la quantité de données, de la méthode d'impression et de la carte mémoire.

(5) Nécessite un adaptateur (vendu séparément).

(6) Pour tester la durée de vie des tirages imprimés et archivés dans un album, Canon utilise la méthode de test accéléré dans des conditions de stockage équivalentes à des tirages argentiques conservés dans des lieux sombres. Des échantillons sont imprimés avec une densité optique de 1 (avec les encres noire, cyan, magenta et jaune). Ces échantillons sont conservés dans des conditions de fortes températures et d'hygrométrie de 50%. Les taux de baisse de la densité et de décoloration du jaune sont enregistrés. Les résultats enregistrés sont ensuite convertis sur la durée dans des conditions de conservation de l'image à 23°C/50% d'humidité. Critère pour l'estimation de la longévité des tirages : le point pour lequel la densité optique monochromatique / réfléchissante montre une perte de 30% par rapport à la densité de départ égale à 1.

(7) Les téléphones portables et assistants personnels doivent être équipés de la fonction Bluetooth et prendre en charge l'impression photo Bluetooth version 1.1 ou ultérieure. Les photos doivent être au format JPEG.

(8) 21 langues sont prises en charge : anglais, allemand, français, néerlandais, danois, finnois, italien, norvégien, suédois, espagnol, russe, portugais, hongrois, polonais, tchèque, grec, turc, chinois, chinois simplifié, coréen et le japonais.

Toutes les données sont basées sur les méthodes de test standard Canon. Elles peuvent être modifiées sans préavis. Copyright : Toutes ses informations ainsi que la photo d'illustration ont été fournies par Canon. Tous droits réservés.

AP Images distribute Ebony and Jet Photos

Johnson Publishing Company, Inc. (JPC) has chosen the AP Images division of the Associated Press to distribute content from EBONY and JET magazines’ extensive archive of photography. The archive is considered one of the most definitive collections of visual content depicting the lives of blacks in America and around the globe.

JPC has remained the world's largest African-American-owned publishing company for more than 60 years. The first issue of its cornerstone publication, EBONY magazine, hit newsstands in 1945. Jet Magazine, the No. 1 newsweekly for African-Americans, was first published in 1951.

“Thousands of poignant images have been featured in the pages of EBONY and JET magazines, chronicling the black American experience like no other,” said Johnson Publishing Co. President and CEO Linda Johnson Rice. "We are pleased to share this wealth of visual history to remind some and to educate others about the rich contributions of blacks in America and the events that changed the face of this country and beyond."

AP Images, with 3.5 million photos, is one of the world's largest collections of historical and contemporary imagery.

"When you consider the depth of AP's photo archive and the breadth of EBONY and JET magazines' definitive pictorial history of black America, this distribution arrangement brings unparalleled content to the picture-buying public," said AP Images Vice President Ian Cameron.

AP President and CEO Tom Curley announced the partnership at the AP Annual Meeting in New York.

http://www.apimages.com/

ABOUT JOHNSON PUBLISHING CO. - Johnson Publishing Company, Inc., founded in 1942 by the late media pioneer John H. Johnson, is the world's largest African-American-owned and-operated publishing company. The company, headed by President and CEO Linda Johnson Rice, has established businesses in publishing, cosmetics, television production and fashion, including EBONY and JET magazines, Ebony Fashion Fair and Fashion Fair Cosmetics. Eunice W. Johnson is secretary-treasurer.

Other posts on this blog about AP Images

• About Associated Press Images December, 2008]
• AP Images launches new photo Web site [September, 2006]
• Ian Cameron appointed vice president of AP Images [June, 2006]
• AP photojournalists win Pulitzer Prize [April, 2005]
• The international photojournalist collective VII and the world's largest news cooperative, The Associated Press, have agreed on a distribution deal [September, 2004]

Last Update: 08.12.2008

Introduction to Photographic Light

Steven Biver, Fil Hunter, Paul Fuqua, Light: Science and Magic. An Introduction to Photographic Lighting, Focal Press, 3rd edition, 2007, 320 p.

An amazing (and some would say magical) resource on photographic lighting that has been talked about in the community and recommended for years. This highly respected guide has been thoroughly updated and revised for content and design - it is now produced in full color! It introduces a logical theory of photographic lighting so if you are starting out in photography you will learn how to predict results before setting up lights. This is not primarily a how-to book with only set examples for you to copy. Rather, Light: Science and Magic provides you with a comprehensive theory of the nature and principles of light to allow you to use lighting to express your own creativity.

Steven Biver, Virginia, USA, Commercial photographer, former clients include Adobe, Mobil, Newsweek, Black and Decker

Paul Fuqua, Virginia, USA, started his own audiovisual production company in 1970. Dedicated to teaching through visuals, he has written and produced educational and training material in a variety of fields, including law, science, and nature. His photography takes him all over the world, but he makes his home in Arlington, VA.

Fil Hunter is a highly respected commercial photographer specializing in still life and special effects photographs for advertising and editorial illustration. During a career spanning over three decades, he has worked for such clients as America Online, US News, Time-Life Books, Life Magazine (27 covers), the National Science Foundation, and National Geographic. He has taught photography at the university level and has served as technical consultant on a number of photographic publications. Mr. Hunter has won the Virginia Professional Photographer's GraPhotographic Award three times. He lives in Alexandria, VA.

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Ignacio Pardo: Senescencia at CGAC

 

IGNACIO PARDO

SENESCENCIA

Centro Galego de Arte Contemporanea

 

A pair of pupils, a woman’s breasts, wanderers on a beach, and musical instruments – these are the protagonist icons in the work of video artist Ignacio Pardo (Lugo, 1947). Simple iconography, though derived from richness in its formal use as well as in expressive aspects. Senescencia: Ignacio Pardo, the exhibition organized by the CGAC and curated by Cristina Prego, will gather the video artist’s production since the 1980s, and a new work will be completed in situ for the Center. 

Ignacio Pardo’s utilization of video as a means of expression, his objects of visual desire, and his personal option when it comes to facing the world of art have forced his works to stay, since the 80s, on the margins of exhibition circuits. However, despite the fact that he is currently a docent, Ignacio Pardo has not stopped experimenting with the camera, to which he attached himself (artistically speaking) in the times of the Super 8 in the 1960s. Loyal to an undoubtedly personal aesthetic, Pardo, who takes his influence from the historical avant-garde models, tends towards extravagance, shadows, and the apparently occult.

Senescencia: Ignacio Pardo will take us along the continuous line, up to the present, of the artistic production that began in the 1980s when the artist adopted video as a means of creation and began making up his own rules. After early theoretical efforts in the 1960s, when the role of video in art was conceptually and historically analyzed, and after its marginalization in the 1970s in favor of a pictorial resurgence, it was in the 1980s that video advanced into multimedia territory and appeared on the international scene, often associated with music. Singular in this context, the experimental works of Ignacio Pardo are represented with the piece Parpadeo from the exhibit La imagen sublime (1987), promoted by the museum Reina Sofía and curated by Manuel Palacio, together with standard video artists such as Antoni Muntadas and Carles Pujol; occasional artists, like El Hortelano and Juan Navarro Baldeweg, and apprentices of the unpredictable future like Xavier Villaverde and Anton Reixa. In those years, Ignacio Pardo won the Certamen Nacional de Video in Vitoria (1986) and was present at ARCO (1988-89), as well as at other international events such as the Documenta de Kassel and the Sao Paulo Biennial.

Later, his work was included in the show Senales de Video (which was curated by Eugeni Bonet in 1995 for the Reina Sofía, and which traveled to other Spanish centers) and in Novos Caminos: Ameazas y promesas da arte electronica (Casa das Artes, Vigo, 1998). Eroticism and new technologies joined together in Igncio Pardo’s works in the 90s, and he became considered one of the country’s pioneers in digital animation with works like Ninfografia (1992). In recent years, Ignacio Pardo has used 3D animation to alter scenes in works like Paseantes (2003), in his obsession with affirming that darkness and death, can, at any moment, break with the fragility of life. At the CGAC, we can also see recent works such as Vientre, Agua, y Fuego, created in 2007.

This exhibition is a unique opportunity to examine the career path of one of the pioneers of video art in Galicia who, as the exhibit’s title suggests, redefines concepts like darkness, aging, and the anguish of life with his images. In conjunction with the exhibition, a catalog will be published, including texts from curator Cristina Prego, CGAC director Manuel Olveira, and specialist in Spanish video art Eugeni Bonet. 

 

Senescencia: Ignacio Pardo
May 3 - July 1, 2007

Centro Galego de Arte Contemporanea
Galician Center for Contemporary Art
Valle Inclan s/n - 15704 Santiago de Compostela

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