Fujifilm FinePix S8100fd

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En juillet 2007 Fujifilm annonçait le Finepix S8000fd équipé d'un puissant zoom optique 18x et d´un capteur 8 Mégapixels. En avril 2008 sort son successeur : le FinePix S8100fd. Toujours équipé d´un zoom optique 18x, il propose un capteur 10 Megapixels assisté de la technologie de détection des visages et de nouveaux modes de prise de vues.

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Le zoom optique 18x (27 mm - 486 mm en équivalent 35 mm) permet de couvrir une large gamme de pratiques photographiques, de la photo d´architecture à celle de paysages, via son grand angle, jusqu'aux prises de vue animalières à travers son téléobjectif. Le mode super macro permet de prendre des photos à partir de 1 cm du sujet.

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Le stabilisateur d'image de l'appareil et la haute sensibilité (1600 ISO à pleine résolution et jusqu'à 6400 ISO à 5 mégapixels) permettent de réduire les risques de flous de bougé notamment lorsqu'il y a peu de lumière ou lorsque le sujet est en mouvement ou encore quand le zoom est exploité dans sa position d´extrême téléobjectif. La poignée ergonomique couverte de caoutchouc antidérapant permet aussi de sécuriser la prise en main.

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Le FinePix S8100fd propose trois nouveaux modes de prise de vues : l'Express Zoom, le Bracketing Zoom et le mode Rafale Optimisé. Activé, le mode Express Zoom offre, pour le cadrage, un angle de champ élargi permettant de suivre un sujet en mouvement. Il revient sur la position de zoom serré dès le déclenchement. Le Bracketing Zoom enregistre trois images différentes lors d´un seul déclenchement : la photo selon le cadrage voulu et deux autres, un peu plus zoomées, suivant, les facteurs d´agrandissement 1,4x et 2x.

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Le mode rafale permet l´enregistrement d'un maximum de 33 images (à une fréquence 13,5 images par seconde en 3 Mégapixels) et constitue une importante innovation par rapport à ce que proposait le FinePix S8000fd.

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Parmi les autres caractéristiques de cet appareil photo on relève également :

- Le lecteur de cartes mémoire compatible avec les cartes xD, SD et SDHC.

- La fonction de consultation en micro-vignettes (100 images dans un tableau de 10 x 10 afin de faciliter les recherches).

- Le mode vidéo VGA avec son à 30 images par seconde.

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Caractéristiques détaillées du Fujifilm FinePix S8100fd

. - Capteur : CCD 1/ 2.35“, 10,0 megapixels - Définition de l’image : 3648 x 2736, 3648 x 2432 Format 3:2, 640x480 - Résolution : 9,98 megapixels - Format d’enregistrement : JPEG (Exif Ver.2.2 ) ; Vidéo: AVI ; Audio: Wave - Support d’enregistrement : Mémoire interne (env. 58Mo) - Carte xD-Picture (16Mo-2Go) - Carte - mémoire SD, carte mémoire SDHC - Objectif : Fujinon avec zoom 18x - Longueur focale de l’objectif : f=4.7mm-84.2mm, équivalent à 27- 486 mm sur un appareil 35 mm - Bracketing : Auto focus (zone, multi, centré), illuminateur d’assistance AF - Distances de mise au point : Normal grand angle : env. 70 cm à l’infini - Normal Téléobjectif : env. 1,5 m à l’infini - Macro grand angle : env. 10 cm – 80 cm - Macro Téléobjectif : env. 1.2 m – 3.2 m - Super-Macro : env. 1cm – 1m - Ouverture : f/2,8-8, 10 paliers incrémentés par 1/3 de diaphragme - Obturateur : 4s. à 1/2000s (selon le programme de prise de vue) - Motorisation (rafale) : Top-3 (max 1,3 images/s), priorité obturateur (max.0,5 images/s) - Top-33, priorité vitesse (max 6,8 images/s, 5 megapixel) - Top-33, Ultra Highspeed max. 13.5 images/s 3 millions de pixels - Mode d’exposition : Programme AE automatique, priorité ouverture AE, priorité vitesse AE, manuelle - Sensibilité : Auto 1600, Auto 800, Auto 400 - Equivalent à 64, 100, 200, 400, 800, 1600, *3200, *6400, *ISO3200/6400 avec une résolution de 5 megapixels (Nb de pixels enregistrés) - Balance des blancs : Auto / 6 présélections, manuelle - Mesure de la lumière : Mesure TTL sur plus de 256 zones - Flash : Flash automatique, plage effective : (ISO AUTO (800)) : grand angle : env. 0.5 – 8.8m, Téléobjectif : env 0.5 – 5.6m, Macro : env. 0.3m - 3m. illuminateur d’assistance AF - Ecran : LCD 2,5 pouces – écran TFT en polysilicium basse température (env. 230.000 pixels), écran LCD couleur (WV), env. 97% de couverture - Fonctions : Mode rafale, fenêtre "assistant prise de vue“, mémorisation du numéro de vue, diaporama auto, histogramme, Stabilisateur d’image : CCD shift ; Auto Bracketing : ±1/3EV,±2/3EV,±1EV - Sorties : USB - Alimentation : 4 piles alcalines AA (fournies), AC-5VX (vendu séparément) - Dimensions (LxHxP) : 111,3 x 78,2 x 79,3 mm (sans accessoires) - Poids : env. 410g (sans accessoires, piles et carte mémoire)

. Début de commercialisation : mars-avril 2008

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Photo (c) Fujifilm Europe, Tous droits réservés.

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Mise à jour : 07.2009

Sony récompensé par la TIPA

Reflex α200 et cadre photo DPF-V900 : deux récompenses de la TIPA décernées à Sony

L’innovation Sony en matière d’image numérique a été saluée par le jury de la TIPA (Technical Image Press Association) de cette année. Le panel rédactionnel du prix européen a nommé l’appareil photo Alpha 200 « Meilleur reflex numérique entrée de gamme d’Europe ». Voici ce qu'a noté le jury : « Facile à utiliser et à transporter et proposé à un prix très attractif avec son zoom 18-70 mm, le Sony Alpha 200 est une machine de rêve pour les débutants qui veulent commencer à profiter de tous les avantages de la photographie avec un reflex numérique. Son capteur de 10,2 millions de pixels produit des images haut de gamme jusqu’à 400 ISO et au-delà, et son système autofocus est rapide et précis. Son grand écran LCD offre un support net et lumineux pour regarder les photos et le stabilisateur d’image intégré comme le système anti-poussière sont très efficaces sur le terrain. Un superbe appareil photo économique facile à utiliser, un gagnant méritant pleinement cette récompense. »

Quant au DPF-V900, il remporte le titre du « Meilleur cadre photo d’Europe » de cette année. Le jury note que : « Le cadre photo numérique Sony DPF-V900 (écran 9 pouces) propose une résolution WVGA (800x480 pixels) avec un rapport d’aspect 15/9e. Le processeur BIONZ de Sony associé à la technologie de détection automatique des visages permet l’affichage rapide des plus lourds fichiers mais assure aussi des fonctions de correction de l’image comme l’amélioration de la mise au point, la réduction des yeux rouges et l’ajustement de l’exposition. Les photos numériques peuvent être chargées sur la mémoire interne à partir de différents types de cartes mémoire, d’un PC ou d’un appareil photo via le câble USB. Le cadre photo numérique DPF-V900 prend en charge les images aux formats JPEG, TIFF, BMP et RAW de Sony et les fonctions peuvent être contrôlées à distance à l’aide de la télécommande fournie. » Sony a aussi remporté un prix TIPA du ‘Meilleur kiosque photo d’Europe’.

Photos (c) Sony - Tous droits réservés - http://www.sony.com/

Winners of the TIPA Awards 2008

The Technical Image Press Association (TIPA) announces the winners of the XVIII edition of the TIPA Awards

The best imaging products of 2008 were voted on at the organization's General Assembly on April 11, 2008 in Rome. The editors of the 27 member photo and imaging magazines from 11 European countries met to discuss the association's projects, analyze the European photographic scene and vote for the best products launched by the industry in the last 12 months.

Taking into account innovation, ergonomics, design, ease-of-use, efficiency, price/performance ratio, as well as other guidelines, TIPA editors have been bestowing the TIPA Awards to imaging products in various categories since 1991 in order to help photo enthusiasts and professionals make the best purchasing choices. Since technology is constantly changing, the TIPA Awards categories consequently also change. The present categories vary from D-SLR to compact cameras, from printers to software, and from scanners to photo kiosks.

Together, the TIPA member magazines cover most of the aspects of the imaging industry and deal with different audiences and technologies. TIPA editors' expertise is a solid guarantee that when an award is given, it is for a product that is the best in its category at a certain time.

The association is widely known by the general public for its annual Awards and is famous blue logo, which has achieved great international recognition and prestige. “We are very proud”, said Thomas Gerwers, chairman of the association, “ that our awards are the most coveted in Europe and beyond. And this is because our blue TIPA logo is a very clear message of confidence to the final user based on the experience of so many technical journalists.” Additionally, TIPA activities include conducting surveys among the member magazine's readers, visiting companies and factories all over the world and staying in contact with research and development engineers in order to follow the evolution of imaging technology.

And the winners are...

• Photo Software : Apple Aperture 2
• Scanner : Canon CanoScan 8800F
• Interchangeable Lens : Canon EF-S 55-250mm f/4-5.6 IS
• Digital SLR Camera : Canon EOS 450D
• Photo Printer & Consumables : Canon PIXMA MP970
• Technology & Design : Casio EXILIM Pro EX-F1
• Photofinishing : Cewe Color Photobooks
• Photofinishing : Kodak Adaptive Picture Exchange (Apex)
• Film : Kodak Professional T-Max 400
• Digital Compact Camera : Fujifilm FinePix S100FS
• Photo Printer & Consumables : Ilford Galerie Gold Fibre Silk
• Photo Printer & Consumables : HP Photosmart A826
• Storage Solutions : LaCie 2big Triple
• Technology & Design : Manfrotto Modo Steady 585
• Accessory : Metz Mecablitz 48 AF-1 digital
• Interchangeable Lens : AF-S Nikkor 14-24mm f/2.8G ED
• Digital SLR Camera : Nikon D3
• Digital SLR Camera : Nikon D300
• Mobile Imaging : Nokia N82
• Interchangeable Lens : Zuiko DIGITAL ED 12-60mm f/2.8-4 SWD
• Camcorder : Panasonic HDC-SD9
• Digital Compact Camera : Panasonic Lumix DMC-FX500
• Digital Projector : Panasonic PT-AX200E
• Digital Compact Camera : Samsung NV24HD
• Computer Peripheral : Samsung SyncMaster XL30 LED BLU
• Storage Solutions : SanDisk Extreme Ducati Line
• Photo Printer & Consumables : Epson Stylus Photo R1900
• Photo Printer & Consumables : Epson Stylus Pro 11800
• Digital Compact Camera : Sigma DP1
• Digital Pro Camera System : Sinar Hy6
• Digital SLR Camera : Sony Alpha 200
• Photofinishing : Sony Compact Picture Station
• Accessory : Sony DPF V900, V700
• Digital Projector : JVC DLA-HD100
• Computer Peripheral : Wacom Cintiq 12WX
• Computer Peripheral : X-Rite ColorMunki

Gagnants du Sony World Photography Awards 2008

Vanessa Winship remporte le titre convoité de « photographe de l’année des Sony World Photography Awards », qui lui a été décerné lors de la cérémonie VIP Gala Awards à Cannes.
 

La Britannique Vanessa Winship a reçu le titre de photographe de l'année des Sony World Photography Awards, titre qui lui a étédécerné lors de la cérémonie VIP Gala Awards à Cannes. Sa photographie, proposée dans la catégorie Portrait, et choisie parmi des milliers d'oeuvres de photographes amateurs et professionnels, lui a permis de remporter ce titre prestigieux ainsi qu'un prix de 25.000 $. 

Tranchée quelques heures seulement avant la cérémonie, la décision a été rendue par le Conseil Honoraire, composé de quelques unes des plus grandes figures du monde de la photographie, parmi lesquelles Nan Goldin, Bruce Davidson, Tom Stoddart, Elliott Erwitt et Martine Franck. Au cours des dernières semaines, les membres du conseil ont longuement délibéré pour élire le meilleur parmi la liste des candidats sélectionnés par la World Photographic Academy, et ont arrêté leur verdict lors d'une ultime réunion qui s'est tenue le jour même de la remise des récompenses.

Vanessa Winship a déclaré « Merci, merci beaucoup, je dédie ce prix aux petites filles de l’Est de la Turquie.»

Vanessa Winship s'est vu remettre sa récompense des mains de Elliott Erwitt, membre du Conseil Honoraire, au Palais des Festivals, devant 700 personnes triées sur le volet, appartenant toutes au monde de la photographie. Les onze gagnants des catégories professionnelles, représentant au total huit pays, ont eux aussi reçus leur prix, tandis que Arup Ghosh, le gagnant amateur toutes catégories confondues a été acclamé par le public bien qu'il n'ait malheureusement pas été en mesure d'assister à la cérémonie. 

Un prix d'Héritage patrimonial a été remis à Phil Stern pour sa contribution hors du commun au développement du secteur de la photographie au cours des 10 dernières années. En recevant son prix, il a déclaré : « Je suis très flatté d'avoir été choisipour ce prix. J'aimerais adresser mes remerciements à tous ceux qui ont pris cette décision, et je souhaite longue vie à ce concours. »

La cérémonie des récompenses a été le point d'orgue d'une série d'événements qui se sont tenus à Cannes ces derniers jours, tous organisés sur le thème de l'héritage. Axées sur le passé, le présent et l'avenir de la photographie, plusieurs manifestations ont eu lieu dans ce cadre, notamment l'exposition Sony Legacy, organisée par Magnum Photos, un sommet de la photographie lors duquel lesparticipants ont pu débattre des questions d'actualité du secteur, et enfin, le forum « University Shoot Out », une initiative étudiante destinée à encourager la prochaine génération de photographes.

James Kennedy, directeur général Marketing et Communications, chez Sony Digital Imaging Europe déclare : « Ces récompensessont véritablement une vitrine montrant le meilleur du secteur de la photographie. J'ai trouvé passionnant de participer à unévénement qui rassemble tant de talents exceptionnels ». Fondateur des World Photography Awards, Scott Gray ajoute, « Cet événement vient couronner en beauté une première année fantastique pour les Sony World Photography Awards. Nous remercions tous les candidats qui y ont participé et attendons avec impatience la prochaine édition. »

Gagnants de la catégorie professionnelle  

• Abstrait – Anita Cruz-Eberhard (Etats-Unis)

• Publicité - Fabrizio Cestari (Italie)

• Architecture – Livia Corona (Mexique)

• Mode – Valeska Achenbach & Isabela Pacini (Allemagne)

• Musique/Spectacle – Eduard Meltzer (Suisse)

• Nature – Giacomo Brunelli (Italie)

• Nu – Natalie Bothur – (Allemagne)

• Photo journalistique/documentaire - Moises Saman (Etats-Unis)

• Portrait – Vanessa Winship (Angleterre)

• Science – Thomas Deerinck (Etats-Unis)

• Sport – Robin Utrecht (Pays-Bas) 

A propos des WPA
L’idée de départ des World Photography Awards a été lancée lors d’un déjeuner à Cannes, à l’automne 2005. Le fondateur, Scott Gray, et le directeur commercial du Palais des Festivals ont, ensemble, mis le doigt sur un manque important du marché de la photographie, et ont souhaité rendre hommage à cette dernière décennie qui a révolutionné le secteur. De cette constatation est née la cérémonie des récompenses, qui accorde une forte reconnaissance aux photographes, tant professionnels qu’amateurs, et ouvre la voie pour les décennies à venir.

Philip Guston: Works on Paper, The Morgan Library & Museum, New York

Philip Guston: Works on Paper 

The Morgan Library & Museum, New York 

May 2 - August 31, 2008 

Philip Guston

Untitled, 1950

Ink on parchment paper, 47.6 x 60.3 cm (18 ¾ x 23 ¾ in)

Private Collection

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Photo Credit: Sara Wells, New York

Philip Guston

Drawing Related to Zone (Drawing No. 19), 1954

Ink on paper, 44.5 x 59.1 cm (17 ½ x 23 ¼ in)

Private Collection

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Photo Credit: Michael Korol, New York

Philip Guston

Untitled, 1958

Ink on paper, 43.2 x 56.6 cm (17 x 22 ¼ in)

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Philip Guston

Celebration, 1961

Ink on paper, 65.4 x 77.5 cm (25 ¾ x 30 ½ in)

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Photo Credit: Sara Wells, New York

“It is the nakedness of drawing that I like. The act of drawing is what locates, suggests, discovers. . .”

⎯ Philip Guston

The extraordinary drawings of Philip Guston (1913–1980) are the subject of a major exhibition at The Morgan Library & Museum. Together with Jackson Pollock and Willem de Kooning, Philip Guston is recognized as one of the most influential American artists of the twentieth century. The exhibition marks the first retrospective of his drawings in twenty years and the Morgan is the only American venue. 

Organized by the KunstMuseum Bonn, and the Staatliche Graphische Sammlung Munich, in cooperation with the artist’s estate, Philip Guston: Works on Paper examines the importance of drawing throughout key periods of Guston’s career, from the mid-1940s to 1980. While the artist is primarily known for his paintings, his drawings occupy a special place in his oeuvre as they influenced new phases of creativity and served to articulate radically different approaches. 

The Morgan Library & Museum’s presentation of the exhibition features more than one-hundred drawings, including many rarely seen works that were left in the artist’s studio after his death as well as major loans from museums and private collections.

“The Morgan Library & Museum is thrilled to be the only American venue for this outstanding exhibition,” said Morgan director William M. Griswold. “This is one of the Morgan’s first exhibitions devoted to a twentieth-century artist and Guston is one of the greats of the modern era. This show demonstrates the amazing range and versatility of his work. It is truly remarkable to see so many of his drawings together in one show.” 

Philip Guston was a prolific draftsman who often turned to drawing to explore new directions in his art before applying them to painting. Several times during the course of his career he stopped painting altogether to concentrate on drawing. Such phases mark the dramatic changes that characterized Philip Guston’s art from figuration to abstraction and vice versa.

“Philip Guston’s work expresses the tensions and conflicts of the modern world with a sense of urgency that still resonates today,” said Isabelle Dervaux, curator of modern drawings at the Morgan. “The relevance of his work to this day can be seen in its wide influence on contemporary artists.” 

In the 1950s, when Philip Guston was a central figure of the abstract expressionist movement, he developed a form of abstract, linear drawings characterized by a great concern with structure and balance, in contrast with the more spontaneous gesture typical of the New York school. A prime example of his style during this period is Drawing Related to Zone (Drawing No. 19; 1954) which derives its wonderful rhythm from its balanced composition as well as from variations in the thickness and pressure of the ink strokes.

Philip Guston

Untitled, 1966

Ink on paper, 48.3 x 60.6 cm (19 x 23 7/8 in)

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Photo Credit: Richard P. Goodbody, Inc., New York

Philip Guston

Untitled, 1967

Ink on paper, 44.5 x 57 cm (17 ½ x 22 ½ in)

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Photo Credit: Sara Wells, New York

For a two-year period, from 1966 to 1968, Philip Guston stopped painting and produced only drawings of startling economy. Even in his most abstract drawings, however, he did not exclude references to the real world. Simple forms evoke primitive renderings of common objects, as in Untitled (1967), where an oval shape can be read as a stone or a head. It was through the hundreds of drawings created during this period that Philip Guston would find inspiration to move away from abstraction and embrace a figurative, almost cartoonlike imagery that would typify his work during the last decade of his life. 

Philip Guston

Untitled (Book), 1968

Gouache on paper board, 51 x 76 cm (20 x 30 in)

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Photo Credit Richard P. Goodbody Inc., New York

Philip Guston

Untitled, 1968

Charcoal on paper, 45.4 x 57 cm (17 7/8 x 22 ½ in)

Private Collection

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Photo Credit: Sara Wells

Philip Guston

Figure in Interior, 1970

Pencil on paper, 35.6 x 43.2 cm (14 x 17 in)

Private Collection

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Philip Guston

Web, 1975

Ink on paper, 48.3 x 61 cm (19 x 24 in)

Private Collection

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Photo Credit: Michael Korol, New York

It was a transformation that shocked the art world in 1970, as Philip Guston turned to depictions of everyday objects such as shoes, books, and irons. At the same time, disturbed by the social and political upheavals of the late 1960s, Philip Guston addressed the violence of the contemporary world through images of hooded figures reminiscent of the Ku-Klux-Klan.

From the mid-1970s on, autobiographical references became more frequent in Philip Guston’s drawings which included images of himself and his wife, Musa, often in situations reflecting the artist’s anxieties. In Web (1975), for instance, the two figures, half-hidden under a pile of shoes, are caught in a spider web. Philip Guston’s late drawings combine allegorical imagery, dominated by body fragments and accumulations of detritus, with more direct evocations of simple objects from his surroundings, as in Untitled (Cherries), 1980. 

Philip Guston

Untitled, 1980

Ink on paper, 47.6 x 66.7 cm (18 3/4 x 26 1/4 in)

Private Collection

© Estate of Philip Guston

Courtesy McKee Gallery, New York

Photo Credit: Richard P. Goodbody Inc., New York

Philip Guston

Untitled (Cherries), 1980

Ink and acrylic on board, 50.8 x 76.2 cm (20 x 30 in)

Private Collection

© Estate of Philip Guston

Philip Guston: Works on Paper is organized by the KunstMuseum Bonn and the Staatliche Graphische Sammlung, Munich. The exhibition premiered at the KunstMuseum Bonn (March 1 - May 20, 2007) and traveled to the Louisiana Museum of Modern Art in Humlebaek, Denmark (May 31 – August 26, 2007), the Albertina in Vienna (September 7 - November 25, 2007) and most recently the Staatliche Graphische Sammlung in Munich (December 13, 2007 - March 2, 2008). 

A fully illustrated hardcover catalogue for Philip Guston: Works on Paper, published by Hatje Cantz in 2007, features essays by Michael Semff, Christoph Schreier, Isabelle Dervaux, and Poul Erik Tøjner (216 pages, 116 illustrations, 76 in color). 

THE MORGAN LIBRARY & MUSEUM

225 Madison Avenue, New York, NY 10016

www.themorgan.org

Alaska Positive 2008 Winners

Alaska Positive is the statewide photography-as-art exhibition organized every two years by the Alaska State Museum. The juror for Alaska Positive 2008 was Bill Owens, a photographer known for his depictions of American lifestyles, most notably in the landmark book Suburbia that was published in 1972, depicting life in a new California tract-house development. Owens selected 56 photographs by 42 photographers for the Alaska Positive exhibit. Overall, 80 Alaska photographers from 10 Alaska communities submitted 267 photographs for the competition. The top award, the Juror’s Choice Award, went to Bonnie Landis of Anchorage for a photograph titled “Rooftop.” Second and third place cash awards went to Ben Huff of Fairbanks and Deanna Lampe of Juneau. Brandon Hauser of Juneau received a Fourth Place award. In addition, ten other photographers were given Honorable Mentions. They are: William Heath, Kenai; Ben Huff, Fairbanks; Jayne Jones, Kenai; Pat Kalbaugh, Juneau; Barbara Kelly, Juneau; Clark James Mishler, Anchorage; Tama Phelps, Anchorage; John Schwieder, Anchorage; Nathaniel Wilder, Anchorage; and Carol J. Zeien, Seldovia.

Commenting on the exhibition, Bill Owens said, “There were about 270 photographs to look at and from that number I had to select the best 1st, 2nd, 3rd, & 4th place, and 10 Honorable Mentions. As a photographer who is always involved in the documentary image, I was looking for the winners to be people who had a big vision of Alaska, and the winner was a landscape image with an abandoned building that had the composition and color, the mountains, and the mist and spoke to me over other images where the photographer failed to get the composition right, the subject material was not interesting, or the making of the image wasn’t really thought through. One thing that was conspicuously absent from the group of photographs were photos relating to other humans – a dynamic portrait. There were only a handful of portraits of people in their environment. The images tended to be random, not really giving me the photographer’s point of view of concern for the environment, or concern – passion – for other human beings… It is time for photographers to move on to photographing our environment and to show the impact that we have on the land and the sea. Today, with global warming being real, it is time for us to evaluate our lifestyles and to become concerned about how we live. Photographers should show this environment.”

Examples of Bill Owens’ work can be seen on his Web site: http://www.billowens.com/

Alaska State Museum: http://www.museums.state.ak.us/

Chinese Contemporary Art at Groninger Museum, Groningen - New World Order. Contemporary Installation Art and Photography from China

New World Order. Contemporary Installation Art and Photography from China

Groninger Museum, Groningen

27 April - 23 November 2008

The Groninger Museum presents the exhibition entitled New World Order. Contemporary Installation Art and Photography from China. In this exhibition, emphasis is placed upon photography and installations created since 2000. At this moment, China is undergoing a process of rapid change and contemporary Chinese art has assumed an exceptional position in the art world, where attention for this particular art has grown exponentially in a very short period.

The issue of how Chinese artists are responding to the new reality in China, full of contrasts and constant changes, was the reason to launch this New World Order exhibition. How does their work reflect the explosive growth of the cities, the expanding consumer society, and the new freedom of choice?

In which way do they make use of renowned Chinese craftsmanship and which roles, if any, do cultural traditions and the former Communist propaganda and symbolism currently play? How has Western culture influenced these Chinese artists?

The tradition of modern art in China is scarcely thirty years old and, as a consequence, Chinese artists seemed to be less burdened by the yoke of a long history of autonomous art. In some of the artists’ work, various styles, choices of material, and themes succeed one another at a very rapid rate.

Artists in China seem to be able to switch between various disciplines more easily than here. For example, the artist Li Songsong creates paintings and installations, and examples of both these disciplines are on display in the exhibition. The same applies to Liu Jianhua, an artist who was educated in traditional porcelain techniques and who uses this material to create installations referring to the current consumer society, while his installation entitled Yiwu Survey shows that he can opt for completely different materials with equal ease.

The enormous urbanization and the astonishing speed at which this is being realized appear to be a direct source of inspiration to many. Various artists are explicitly attempting to gain a grasp of these developments via their work. The photographer Shi Guorui, for example, records the present time with the camera obscura, which seems to reduce reality to its essence, whereas the photographer Miao Xiaochun contrastingly displays a densification of reality in his hilarious work entitled Surplus.

Besides the fact that the Museum has deliberately opted for installations, the exhibition is also oriented toward work that is characterized by a certain degree of conceptualism – something that is not self-evident in Chinese art, which is largely dominated by naturalistic or even somewhat caricatural painting.

The Groninger Museum has invited 27 artists to participate in the exhibition. The selection of the works has been done in close consultation with the artists, and some works have even been specially produced for this exhibition. Effort has also been made to display as much recent work as possible. Each artist has been assigned his or her own room wherever possible, so that visitors are allowed the opportunity to immerse themselves in the world the artist generates. With the selected artists, the Groninger Museum wishes to give an impression of the great diversity of precontemporary Chinese visual art, which is a reflection of individual artistry as well as of social dynamics, and of the new international position that China currently occupies in the world of art.

Participants

The exhibition presents work by: Bai Yiluo, Chi Peng, Jin Jiangbo, Jin Shan, Leung Mee-Ping, Li Songsong, Liu Ding, Liu Jianhua, Liu Wei, Miao Xiaochun, Muchen & Shao Yinong, Peng Yu & Sun Yuan, Qiu Xiaofei, Shen Shaomin, Shi Guorui, Shi Jinsong, Stanley Wong, Sui Jianguo, Wang Gongxin, Weng Fen, Xiao Yu, Xing Danwen, Yin Xiuzhen, Zhan Wang, Zhuang Hui.

Catalogue: To accompany this exhibition, the book New World Order. Hedendaagse Installatiekunst en Fotografie uit China (New World Order. Contemporary Installation Art and Photography) will be published in conjunction with NAi Publishers. Authors: Carol Yinghua Lu, Sue-an van der Zijpp. Dutch edition, ISBN 978-90-5662-240-4. English edition, ISBN 978-90-5662-251-0 Format: 29 x 23 cm. 200 pp. €24.50.

GRONINGER MUSEUM

Museumeiland 1, 9711 ME Groningen, The Netherlands

www.groningermuseum.nl

Richard Serra : Clara Clara, 1983 au Jardin des Tuileries, Paris

Richard Serra : Clara Clara, 1983 

Musée du Louvre, Jardin des Tuileries, Paris

14 avril – 3 novembre 2008 

Richard Serra 

Clara Clara, 1983

Acier corten

Collection FMAC, Ville de Paris

© Dirk Reinartz

Le Louvre accueille dans le jardin des Tuileries, Clara Clara, oeuvre célèbre de Richard Serra, à l'occasion de Monumenta 2008 : Richard Serra / Promenade. La sculpture est installée pour six mois à l'entrée du jardin des Tuileries, au fer à cheval. Elle retrouve aujourd'hui l'emplacement pour lequel elle a été conçue en 1983, à la faveur de la rétrospective consacrée à l'artiste par le Centre Pompidou. 

Richard Serra est né à San Francisco en 1939. Après des études de littérature anglaise, il étudie les beaux-arts à l’université de Yale. Pour financer ses études, il travaille dans une aciérie, ce qui aura une grande influence sur ses travaux futurs. Il passe ensuite deux années à Paris et en Italie avant de s'installer à New York en 1966. En 1967 et 1968, l'artiste développe une liste de verbes tels que “éparpiller”, “enrouler”, “appuyer”, “couper” et “plier” pour décrire la plupart des processus qu'il mettra en œuvre tout le long de sa carrière. 

L’œuvre de Richard Serra marque la fin de la représentation en sculpture et le début de l’abstraction. La matière n’est plus prétexte à la forme, mais est valorisée pour elle-même. C’est une des raisons pour lesquelles Richard Serra choisit l’usine comme lieu de fabrication de ses œuvres et renouvelle ainsi l’idée d’un art sculptural dans lequel les matériaux prennent une place prépondérante. Ainsi ses immenses structures de métal s’inscrivent sur des sites tels que la cour extérieure du MoMA à New York.

  

Crée en 1983 pour le jardin des Tuileries la sculpture monumentale fut installée un temps au parc de Choisy, à Paris, puis conservée dans une réserve du Fonds municipal d’art contemporain. De retour, à l’occasion de Monumenta, dans les jardins de Le Nôtre l'oeuvre retrouve sa perspective, sa cohérence et de fait tout son sens.

Richard Serra interroge un espace, en modifie la perception. Il offre au spectateur l'opportunité de vivre l'oeuvre, de l'appréhender tant visuellement que physiquement. L’interaction du public avec l’oeuvre se manifeste par sa mobilité autour et à l'intérieur de la sculpture. 

Clara Clara, haute de 3,40 mètres et longue de 36 mètres, est une oeuvre véritablement monumentale. Les deux grandes courbes d'acier qui la composent sont légèrement inclinées et matérialisent l'axe royal. Les jeux d'équilibre entre les plaques, répondant aux courbes des rampes de Le Nôtre et s'inscrivant dans la perspective du palais du Louvre et de l'Arc de Triomphe, suscitent toujours une forte émotion. Clara Clara laissera de nouveau un souvenir marquant aux promeneurs du jardin des Tuileries.

« Ce que je veux, c'est que mon œuvre ne soit pas perçue uniquement comme une production esthétique de plus. Si elle devient un lieu de référence pour les gens de toutes opinions et si c'est ma sculpture qui constitue l'expérience leur permettant de se rencontrer, génial. Je voudrais que cette installation soit un espace public, ouvert, où tout le monde peut venir, surtout les jeunes.» Richard Serra 

L'installation est organisée en partenariat avec Monumenta 2008, avec le soutien de The Broad Art Foundation et grâce à la participation de la Gagosian Gallery.

« Faces à Faces »

Richard Serra : films

En conversation avec Yve-Alain Bois, Institute For Advanced Studies, Princeton

Vendredi 9 mai, à l’auditorium du Louvre à 20h

En partenariat avec Monumenta 2008

Richard Serra 

Hand catching lead, 1968, film noir et blanc

© Richard Serra

Dans une série de films courts en plan fixe datés de 1968-1969, Richard Serra explore les éléments constitutifs de sa pratique de sculpteur : l’action de ses mains en rapport concret avec le matériau, les notions de poids et de résistance, les illusions optiques générées par l’échelle, le cadre, le point de vue. Ce dialogue avec l’image en mouvement, établi dans la première phase de son oeuvre, inaugure un travail sur la monumentalité qui implique intimement le corps actif et perceptif du spectateur.

Entrée libre dans la mesure des places disponibles.

Richard Serra, Hands scraping (1968), Film noir et blanc, silencieux, 3’40

Richard Serra, Hand catching Lead (1968), Film noir et blanc, silencieux, 3’

Richard Serra, Frame (1968), Film 16 mm noir et blanc, sonore, 20’

Richard Serra, Hands tied (1968), Film 16 mm noir et blanc, silencieux, 6’

Richard Serra, Hand Lead Fulcrum (1969), Film 16 mm noir et blanc, silencieux, 2’ 

MUSÉE DU LOUVRE - JARDIN DES TUILLERIES

www.louvre.fr

Profils ICC Ilford gratuits a telecharger

Ilford propose plus de 145 profils gratuits, spécialement développés pour les lignes de produits Premium Plus et Premium Photo, toutes deux issues de la gamme de papiers Ilford Inkjet Photo Paper Range.

L'emploi des pilotes standard d'imprimantes donne de bons résultats, toutefois, les profils ICC (fichiers spécifiques optimisant votre imprimante et ses encres d'origine pour l'obtention d'épreuves d'une qualité optimale) permettent une meilleure impression.

Il suffit d'aller sur le site Ilford - http://www.ilford.fr/ - de sélectionner l'imprimante et le papier utilisés puis de télécharger le profil.

Illustration (c) Ilford - All rights reserved. A propos d'Ilford

Carl Zeiss medium format lenses ZV Classic

Carl Zeiss ZV Classic Lenses – Limited Special Edition for the V System

With a limited high-quality special edition of lenses for three different focal lengths, Carl Zeiss offers enthusiasts of the Hasselblad V system a special treat. The series is limited to 1,000 lenses for each of the focal lengths. Each lens receives a certificate with the edition number and is delivered with a leather case and an attractive presentation box. The company thus honors one of the most popular professional systems for traditional medium format photography.

Dr. Winfried Scherle, Vice President of the Camera Lens Division at Carl Zeiss, emphasizes that “the Hasselblad system holds a special place at the summit of camera technology. We are proud to have been active contributors to this success for more than 50 years. With this special series, enthusiasts of this proven system receive three high-quality products that recall the first ZEISS lenses for the V bayonet, but are state-of-the-art medium format lenses."

This special series covers three of the most popular focal lengths of this system: the wide-angle classic Distagon T* 4/50 ZV, the universal macro lens Makro-Planar T* 4/120 ZV and the Sonnar T* 4/180 ZV, popular for portrait photography.

They are outstanding examples of value-retaining, high-performance optics featuring extraordinary, elegant stability. Thanks to their excellent imaging properties, these lenses are also ideal for digital photography. The robust, all-metal mounts guarantee mechanical precision. The noble, silver satin finish underscores the high-quality of these lenses and recalls memories of the first Carl Zeiss lens for the V system introduced in 1957.

The lenses of the ZV Classic series will be incrementally available at authorized dealers from May 2008 and on the Carl Zeiss homepage www.zeiss.com/photo

Distagon T* 4/50 ZV €4150 Makro-Planar T* 4/120 ZV €3850 Sonnar T* 4/180 ZV €3850 (All prices include German sales tax.)

Photo: Carl Zeiss AG - All rights reserved

Hahnemuhle - Trophee SMAC 2008

Moulin du coq / Hahnemühle, gagnant du Trophée SMAC de la Création 2008

A l’occasion du salon SMAC 2008, la société Moulin du Coq / Hahnemühle s’est vu décerné, pour sa démarche d’entreprise responsable, le grand prix du Trophée SMAC de la Création dans la catégorie des fournisseurs Beaux-Arts & Loisirs Créatifs.

C’est particulièrement l’initiative environnementale de Hahnemühle Green-Rooster que le SMAC a voulu honorer par ce prix prestigieux.

Ce projet a particulièrement séduit par l’originalité de son concept. En effet, Hahnemühle s’engage à verser une partie importante des bénéfices (1 euro par bloc) provenant des ventes de chaque produit Bamboo à un projet de protection de l’environnement. Les artistes et les utilisateurs des papiers Hahnemühle peuvent sélectionner les projets à financer en votant sur le site www.green-rooster.com.

Fabriqué à partir d’herbes de bambou, une ressource facilement renouvelable cultivée sans engrais ni pesticides, le papier Bamboo est le fruit du savoir-faire traditionnel de la manufacture de papier Beaux-Arts Hahnemühle FineArt. Bamboo est utilisé pour toutes les techniques artistiques traditionnelles (dessin, aquarelle..). Les artistes sont séduits par ce papier au ton chaud et au toucher exceptionnellement soyeux. La société Moulin du Coq/Hahnmühle avait déjà été recompensée pour le papier photo Bamboo au salon Paper World 2008 par les prix Creative Impulse du « Produit Créatif » et de l’ « Action Marketing » de l’année.

Joshua Liner Gallery’s Inaugural Exhibition in NY Chelsea District

Contemporary Art Exhibition > New York > NYC > Group Exhibition (artists list in the post)
Contemporary Art Exhibition > New York > NYC > Joshua Liner Gallery

 

Locked & Loaded

Group Exhibition

Joshua Liner Gallery, NYC

April 11 - May 10, 2008

 

 

  © and courtesy Joshua Liner Gallery

 

Joshua Liner Gallery, in celebration of the opening of its new space in New York’s Chelsea district, presents its inaugural exhibition, Locked & Loaded. This group exhibition of young, emerging artists presents work in diverse media—a panoply of contemporary art practices reflecting the interests and vision of owner and founding gallery director, Joshua Liner.

Locked & Loaded features 28 new voices: Shawn Barber, Crash One, Mike Davis, Ron English, Jeremy Fish, Blaine Fontana, Futura, Robert Hardgrave, Naoto Hattori, Kenji Hirata, Jessica Joslin, Josh Keyes, Koralie, Kris Kuksi, David Choong Lee, Travis Louie, Tomokazu Matsuyama, Chris Mendoza, Aiko Nakagawa, Pat Rocha, Greg Simkins, Damon Soule, Heidi Taillefer, Ben Tour, Mark Dean Veca, and Oliver Vernon. For most, the exhibition represents a first outing before New York gallery audiences, but each artist is poised to go off with a bang—"locked and loaded,” if you will.

Honing their talents in the court of public opinion—the urban street—Crash One, Futura, and Koralie display the energy and immediacy of graffiti-based art. Fish, Fontana, Hattori, Louie, and Simkins tap into the wildly imaginative and often unsettling content of contemporary fairytales, fantasy illustration, and tattoo traditions. Hardgrave, Hirata, and Vernon are abstract painters drawing inspiration from world cultures as well as current digital design trends. Barber, English, Keyes, Lee, and Rocha all depict the figure, but their painting styles and subject matter take vastly different approaches. Other artists featured in Locked & Loaded bring new approaches to model making, architecture-inspired drawings, depictions of futuristic creatures, and work addressing environmental issues.

 

Joshua Liner Gallery
548 West 28th Street
New York, NY 10001

Blood on Paper: The Art of the Book at V&A Museum, London

BLOOD ON PAPER: 

THE ART OF THE BOOK
Victoria and Albert Museum, London
15 April - 29 June 2008

Blood on Paper: The Art of the Book reveals the astonishing inventiveness with which the book has been treated by some of the most influential and respected artists of our time. Blood on Paper presents a selection of works from Matisse, Miró and Pablo Picasso to Anthony Caro, Damien Hirst and Anish Kapoor and includes a major new work by Anselm Kiefer. On show will be beautifully bound volumes, sculptural works and installations.

Many notable artists of the 20th and 21st centuries have produced books, or works that refer to books. The exhibition displays 60 works by 38 artists and focuses on new and contemporary work but also looks back to the artists working in Paris shortly after World War II, who gave a new breath of life to the genre of the ‘livre d’artiste’.

Anselm Kiefer’s monumental book The secret life of plants (2008) has been commissioned for Blood on Paper. Created in lead and cardboard and standing almost two metres tall, it will be installed at the entrance to the exhibition. Three other large-scale works by Anselm Kiefer will also be exhibited. 

Anish Kapoor’s intimately disturbing Wound (2005) is a work in four parts, the third of which is a book sculpture with a ‘wound’ laser-cut through hundreds of sheets of paper. All four parts including drawings will be on display.

Two cabinets from Damien Hirst’s New Religion (2005) will be on show. The first is a black leather cabinet entitled Jesus Christ and the second a white leather cabinet named Saint Philip. The cabinets open to reveal five satin lined compartments each holding Damien Hirst sculptures, The Crucifix, The Fate of Man, The Eucharist, The Sacred Heart and a single butterfly painting. A set of drawers house 44 silkscreen prints in cloth-bound portfolios. Each cabinet reflects Damien Hirst’s concern with issues such as belief, mortality, love, seduction and consumption.

Pablo Picasso’s Deux Contes (1947) and Matisse’s Jazz (1947) are among works which set an international standard for the ‘livre d’artiste’. Artists have reacted in different ways to the possibilities offered by books as a means of expression. Powerful interpreters of texts include Balthus and his dramatic illustrations for the narrative of Wuthering Heights (1993), while Louise Bourgeois’ spiders in Ode à Ma Mère (1995) almost creep out of the page.

Set against these finely-printed editions are commercially produced publications by Edward Ruscha and Jeff Koons. Copies of Ed Ruscha’s Twenty six gasoline stations (1962) were sold for $1 at supermarkets to avoid the gallery and art-publishing network. The Jeff Koons Handbook (1992) is the first book where Koons himself presents his work and is billed as an ‘indispensable paper-back guide to his art and ideas’.

Blood on Paper aims to show books as a unique way of seeing artists’ creative processes. The results range from the humble to the sophisticated, from traditional fine printing to advanced computer-based methods of design and craftsmanship. Martin Parr’s Benidorm Album (1997) uses the simple solution of a standard mount for his book of colour photographs. The creative partnership between artist and publisher is highlighted in Anthony Caro’s Open Secret (2004). Caro and Ivory Press worked closely together using advanced technology in metal fabrication to create books in stainless steel and bronze.

Blood on Paper: The Art of the Book is co-curated by Rowan Watson, Senior Curator in the National Art Library, part of the Word & Image Department at the V&A and Elena Foster, founder and director of Ivory Press, publisher of limited edition books containing original works of art by contemporary artists. Nine works are on loan from Ivory Press for this exhibition including Anish Kapoor’s Wound and Anthony Caro’s Open Secret.

Rowan Watson said, “In all their myriad formats, books continue as among the most potent means of artistic expression. This exhibition examines what happens when major artists of today – all of whom have established their presence through other media – consider the matter of making books. In many, such is the fusion between text and image that subsequent readings of either text or image in different contexts appear impoverished.”

Elena Foster said, “Passion and energy are the creative blood which permeates all of these works. Yet Blood on Paper aims to break away from the conventions of the artists’ book, to show how the genre has developed from the historically important ‘livre d’artiste’ of Matisse and Picasso to powerful contemporary interpretations of Kiefer and Caro who have used lead and metal instead of paper.”

Art works are on show by: Francis Bacon, Balthus, Georg Baselitz, Joseph Beuys, Louise Bourgeois, Daniel Buren, Jean-Marc Bustamante, Cai Guo-Qiang, Anthony Caro, Eduardo Chillida, Francesco Clemente, Jean Dubuffet, Sam Francis, Alberto Giacometti, Damien Hirst, Iliazd, Anish Kapoor, Anselm Kiefer, Jeff Koons, Pierre Lecuire, Sol LeWitt, Roy Lichtenstein, Richard Long, Paul McCarthy, Henri Matisse, Joan Miró, Robert Motherwell, Isamu Noguchi, Martin Parr, Tom Phillips, Pablo Picasso, Robert Rauschenberg, Paula Rego, Dieter Roth, Edward Ruscha, Antoni Tàpies, Richard Tuttle and Not Vital.

The National Art Library: The V&A has collected books as objects since 1851. 40 per cent of the exhibition comes from the holdings at the National Art Library. The National Art Library holds the largest collection of artists' books in the UK. The collection is international in scope and is particularly strong in examples from the British Isles and the United States. The Library also has significant holdings from other western European countries, as well as some examples from Russia, Australia, Latin America, Japan and a number of other countries. The collection includes both multiples and unique works. New acquisitions of works are made on a highly selective basis.

Blood on Paper: The Art of the Book is sponsored by Deutsche Bank.

Blood on Paper: The Art of the Book
Victoria and Albert Museum, London
15 April - 29 June 2008
Posts about other 2008 exhibitions at A&V London
Cold War Modern: Design 1945-1970
The Story of The Supremes from the Mary Wilson Collection
China Design Now
The Golden Age of Couture: Paris and London 1947-1957
The Art of Lee Miller