New GoPro Protune with Technicolor CineStyle color profile

GoPro Partners with Technicolor to Incorporate CineStyle into GoPro’s new Protune Firmware for HD HERO2 at NAB 2012

GoPro and Technicolor announced yesterday at the NAB 2012 Show in Las Vegas they have worked to embed Technicolor’s CineStyle™ color profile for the debut of the new GoPro Protune (a free firmware upgrade available for the HD HERO2 camera, available this summer).

Certified by Technicolor, and developed by GoPro, the Protune mode firmware upgrade is a significant development for the professional production and post-production market, which incorporates Technicolor color science into GoPro’s latest product launch. These new features combine to allow professional filmmakers a vastly improved and flexible workflow for seamless integration with other source material and post-production platforms.

Key features of the GoPro Protune mode include:

- 24fps frame rate, enabling GoPro HERO2 content to be easily intercut with other sources without a frame rate conversion;

- 35Mbps data rate for the industry’s highest quality compressed image with virtually zero artifacts;

- Neutral color profile, allowing for greater flexibility in a color correction workflow;

- Log curve encoding, offering more detail in shadows and highlights;

- Reduced sharpening and noise reduction for improved flexibility in professional post- production and color design workflows.

“GoPro Protune mode is an extraordinary development for the entire professional production market – from filmmakers, cinematographers and DITs, to editors and colorists who are increasingly relying on the HERO2 for cinematic productions,” said David Newman, senior director of software engineering for GoPro. “Developing this with Technicolor has provided us with a level of technological expertise that optimizes Protune for the professional market. Filmmakers are making critical decisions every day on the tools they’ll invest in for their cinematic productions, and we are confident our collaboration with Technicolor makes their decision that much easier.”

“Technicolor is thrilled to make its color science available to GoPro throughout its Protune upgraded firmware,” stated Technicolor’s Alejandro Guerrero, senior vice president, Technicolor Digital Productions. “With more than 130,000 (and counting) cinematographers already using our CineStyle color profile, we are committed to expanding the CineStyle toolkit and are thrilled to support GoPro as it expands its market base.”

Seamless Integration with GoPro CineForm Studio

GoPro Protune mode makes integration with GoPro CineForm Studio simple, automatically detecting Protune settings and applying the default adjustments to create stunning images. The workflow is further enhanced by a variety of color tuning presets, or ‘looks’ that further enhance the filmmakers’ story.

Using Protune with GoPro CineForm Studio Premium and GoPro CineForm Studio Professional provides additional benefits, offering extensive color correction controls and customizable presets to create professional, cinematic looks from the GoPro HERO2 captured content. Non-destructive 3D LUTs provide even more flexibility, enabling users to further tweak their images, manipulate saturation and contrast and color correction controls to create highly stylized content.

GoPro Protune mode is available as a free firmware upgrade through the GoPro CineForm Studio software, which is also available as a free download at www.gopro.com

Carl Zeiss New CP.2 Super Speed lenses presented at NAB 2012

Three new Super Speed cine lenses are presented by Carl Zeiss at NAB 2012 : the Compact Prime CP.2 35/T1.5, Compact Prime CP.2 50/T1.5, Compact Prime CP.2 85/T1.5 Super Speed

Three new Compact Prime CP.2 Super Speed lenses with a T-stop of 1.5
Photo: Courtesy of Carl Zeiss

Available with a fast T1.5 aperture and in focal lengths of 35mm, 50mm and 85mm, the new Compact Prime CP.2 Super Speed lenses offer filmmakers new opportunities for shooting in low-light conditions. Like the other Compact Prime CP.2 lenses, the new Super Speed lenses cover a full-frame sensor format and are equipped with the interchangeable lens mount system for use with a variety of cameras ranging from HDSLR to professional cinema cameras.

“With the new Compact Prime CP.2 Super Speed lenses with a fast T-stop of T1.5, we expand our family of CP.2 lenses with an even more powerful choice of lenses”, says Michael Schiehlen, Sales Director of the Carl Zeiss Camera Lens Division. “This opens up new creative possibilities in low-light situations, especially with the new high ISO HDSLR’s and HD video cameras. The Super Speed name has a long history at Carl Zeiss and these new lenses are a fitting tribute to their legacy”.

The faster T1.5 aperture is one of the key advantages to the Compact Prime CP.2 Super Speed lenses, especially for night-time shots or under low-light conditions. This helps to limit the need for artificial light, delivering more natural looking scenes with less effort and expense.

The cinematographer Sebastian Wiegärtner has tested the Compact Prime CP.2 Super Speed lenses and was very enthusiastic about the faster aperture while shooting a short film: “We filmed for three days in outdoor locations, with about eighty percent of the shots being taken at night. During the medieval-looking filming of two actors, the faster aperture was particularly effective by using lighting accents in the form of torchlight. The resulting images achieved the desired look and were appropriately stylish and soft.”

As with the rest of the CP.2 family, the Compact Prime CP.2 Super Speed lenses feature a 14-blade aperture, which creates a round iris opening and a natural, out of focus rendition. The standard cine-style housing with gearing allows the attachment of any standard follow-focus system. A long, 300 degree focus rotation and smooth action provides fine control, which is especially important given the shallow depth-of-field when using these lenses at wide open aperture. By using the interchangeable mounts for PL, EF, F, MFT and E, the Compact Prime CP.2 Super Speed lenses can be easily adapted to numerous camera systems and ensures compatibility with future cameras as technology changes. Carl Zeiss T* anti-reflection coating ensures the maximum contrast and color rendition by minimizing stray light and ghosting within the lens.

The Compact Prime CP.2 Super Speed lenses can be purchased individually, or combined as set with other Compact Prime CP.2 lenses in the product line.

The lenses will be shipped in August 2012. The recommended retail price for the Compact Prime CP.2 35/T1.5 Super Speed is €3,700 or US$4,900 (excluding VAT)*. The recommended retail price for the Compact Prime CP.2 50/T1.5 Super Speed and Compact Prime CP.2 85/T1.5 Super Speed is €3,300 or US$4,500 (excluding VAT)*.  * Status: 16 April, 2012

Allen DeBevoise and Teri Hatcher at the 2012 NAB Show, Las Vegas, Nevada

Video Game Network Developer Allen DeBevoise to Address 2012 NAB Show

Allen DeBevoise, chairman, co-founder and CEO of Machinima, one of the most popular entertainment networks for gamers around the world, will speak at the 2012 NAB Show, organized by the National Association of Broadcasters, in Las Vegas, Nevada. DeBevoise will offer his insight on community and content distribution in the digital age during his keynote address to the Disruptive Media Conference on Wednesday, April 18 from 10:30-11:30 am.

Allen DeBevoise

Photo courtesy the National Association of Broadcasters

Allen DeBevoise has established Machinima as a next generation video entertainment network for video gamers, providing comprehensive gaming-focused editorial and community programming as well as original entertainment programming geared at the young male demographic. Across Machinima's global network, over 166 million unique users viewed in excess of 1.4 billion videos in February 2012, making it the number one all-time Entertainment Channel on YouTube.

In 2011, Machinima used its flagship YouTube channel to distribute three high-profile video series - Kevin Tancharoen's Mortal Kombat: Legacy, Felicia Day's Dragon Age: Redemption and David van Eyssen's RCVR - all of which racked up millions of views and were nominated for numerous awards. Machinima can be found across the largest global platforms including YouTube, Facebook, Twitter, iOS and Android.

Machinima's global content network features official content from game publishers, television networks and film studios, fan-created gameplay videos and original content, including over 20 original weekly shows and "prime time" live-action episodic series. The company's content, community and applications motivate its audience to be highly engaged and active with a variety of games. The Machinima audience from around the world includes vibrant communities that engage around original programming and gaming content.


Teri Hatcher to host the 2012 NAB Show General Session 

Teri Hatcher

Photo credit: ABC/Matthew Rolston

Courtesy of the NAB

Today, Monday, April 16, Golden Globe-winning actress Teri Hatcher will host the General Session at the 2012 NAB Show.

Teri Hatcher currently stars as Susan Mayer on the ABC comedy-drama series "Desperate Housewives." Her acting on the show has earned her a 2005 Golden Globe Award (Best Actress in a Leading Role, Musical or Comedy, Television), a 2005 Screen Actors Guild Award (Outstanding Performance by a Female Actor in a Comedy Series), a 2006 Golden Globe Award nomination, a 2005 Television Critics Award nomination and a 2005 Emmy Award nomination for Outstanding Lead Actress in a Comedy. Hatcher previously starred as Lois Lane in the ABC series "Lois & Clark: The New Adventures of Superman" from 1993 to 1997, and recently guest starred as Lois Lane's mother, Ella Lane, on an episode of "Smallville." Other television credits include roles on "The Love Boat," "MacGyver," "Star Trek: The Next Generation," "Murphy Brown," "Fraiser" and "Seinfeld."

Teri Hatcher made her film debut in the Christopher Guest-directed "The Big Picture" (1989). She has also made appearances in films such as "Soapdish" (1991), "2 Days in the Valley" (1996), "Tomorrow Never Dies" (1997) and "Spy Kids" (2001). She also had the starring role as Sally Bowels in the Sam Mendes-directed touring company of "Cabaret" in 1999. In 2006, Hatcher wrote "Burnt Toast and Other Philosophies of Life," which remained on The New York Times Best Seller list for four weeks.

NAB Show Website: www.nabshow.com

Larry Rivers at Tibor de Nagy Gallery, NYC

Larry Rivers [1923 - 2002]

Later works
Tibor de Nagy Gallery, New York
April 26 - June 15, 2012

The Tibor de Nagy Gallery presents an exhibition of late paintings and works on paper by the celebrated artist Larry Rivers. It marks the second exhibition since the gallery started to represent his Estate in 2008.

The majority of the works assembled were done in the last two decades of the artist’s life, between the 1980s and late 1990s. They follow his ongoing exploration of a wide and disparate range of subject matter, including the legacy of the Holocaust and themes of remembrance. He completed a series of works on his family, and portraits of artists he admired, Balthus, Picasso, Mondrian, among them. He also paid homage to his heroes from the Golden Age of cinema in a group of affectionate portraits of Fred Astaire, Groucho Marx, and Charlie Chaplin.

Larry Rivers’s late works are highly personal and biographical and show an artist who explored new subject matter with energy and passion. Rivers, always a veracious reader, was something of an autodidact. His habit of steeping himself in whatever subject caught his interest only grew with age: history, the Russian Revolution, plight of the Jews in Europe, film, art history. He jumped headlong into a subject, learning as much as he could, and then set out to create a series about it. His interest in history and art history, as examples, allowed the artist to connect with his past. Increasingly present in the work are references to memory and mortality. John Yau writes in the catalogue essay:

"Rivers understood time’s devastations and in many of his late works he registered them with a firm but sensitive eye and hand. He explored the pleasure and sorrow of memory, even as he acknowledged time would eventually erase them. He understood that the present buried the past, and that it was up to us to remember the Holocaust for the next generation, however difficult and painful that might be. This is what we have to recognize about Rivers’s late work. He wasn’t thinking about his reputation, and whether or not he would be forgotten. He was chronicling what it meant to be an aged man living in time—both personal and historical—and all that it stirred up in him.

Larry Rivers was born in the Bronx as Yitzhok Loiza Grossberg. He changed his name to Larry Rivers in 1940 as he worked as a jazz musician while studying music theory and composition at the Juilliard School of Music. He began painting in 1945, studying with Hans Hofmann, and at New York University. The artist’s work has been exhibited and collected widely throughout the United States. His paintings are included in major museum collections, including the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, the de Young Museum, and the Solomon R. Guggenheim Museum. Within the last two years, seminal works of his were included in a major survey on Abstract Expressionism at the Museum of Modern Art, the Smithsonian Museum, and the Brooklyn Museum.

TIBOR DE NAGY GALLERY
www.tibordenagy.com

Art and Design of Contemporary Jewellery at the National Gallery of Victoria, Australia - NGV International, St Kilda

Unexpected Pleasures: The Art and Design of Contemporary Jewellery
National Gallery of Victoria, Melbourne 
21 April - 26 August 2012

The exhibition explores the essential meanings of jewellery, bypassing traditional perceptions and instead tracing the radical experiments of contemporary jewellers who have challenged the conventions of jewellery design.

The exhibition is curated through a number of themes:  Worn Out – celebrating the experience of wearing jewellery; Linking Links – looking at the ways in which ‘meaning’ and narratives are invested and expressed through sub-themes such as Social Expressions and Creative Systems, and; A Fine Line – offering insight into the origins of contemporary jewellery today, highlighting key instigators of the Contemporary Jewellery Movement that started in the late 1970s.

Among the exhibited artists is the Danish artist Camilla Prasch.

Camilla Prasch
MEGA 2009
red dyed snap fasteness, nylon thread, silicone discs
31 x 11 cm
Collection of the artist
© Camilla Prasch
Photo : Dorte Krogh

Each theme within the exhibition provides an outline of current thinking and offers a unique view on how people use and interact with objects, through which design and production processes come to light. Photography in this context becomes a vital instrument for expressing the ‘wearability’ and the performative aspects of jewellery, and a selection of photographic works are also included in the exhibition.

New techniques and experimentation continue to question the relevance of preciousness, highlighting the shifting values from material worth to the personal associations that jewellery holds. The exhibition celebrates jewellery from the point of view of both the maker and the wearer. It considers the pleasures of wearing jewellery and the many meanings associated with jewellery which are at times unpredictable and, in turn, unexpected.

Unexpected Pleasures displays over 200 works by important Australian and international contemporary jewellers who have pushed conceptual and material boundaries within their practices.

Gerard Vaughan, Director, NGV said: “This is a remarkable and exciting exhibition, brilliantly installed in the Gallery’s newly redeveloped Contemporary Exhibitions space at NGV International.”

This Design Museum, London touring exhibition is curated by Guest Curator and Melbourne jeweller Susan Cohn, and is complemented by a selection of NGV Collection works and private loans.

National Gallery of Victoria
NGV International
180 St Kilda Road
Museum's website: www.ngv.vic.gov.au

Edition Video Pro : Adobe Production Premium CS6 au NAB 2012

Adobe présentera la semaine prochaine la nouvelle version de sa suite de logiciels dédiés à la vidéo professionnelle incluant Adobe Premiere Pro. La Creative Suite 6 Production Premium sera présentée au NAB 2012 (National Association of Broadcasters) qui se tient du 16 au 19 avril au Las Vegas Convention Center. Dans son communiqué de presse, Adobe qualifie de "majeures" les mises à niveau apportées à la suite de logiciels qui sera disponible dans le courant de se premier semestre 2012.

La CS6 Production Premium inclus SpeedGrade CS6 pour l'étalonnage et Prelude CS6 qui améliore l’assimilation, la journalisation et le transcodage. Premiere Pro CS6 est doté d'une nouvelle interface utilisateur et son moteur de lecture Adobe Mercury permet la prise en charge d'OpenCL. After Effects CS6 voit les fonctionnalités 3D du logiciel améliorées.

Pour plus d’infos (en anglais) :

 http://success.adobe.com/en/na/programs/events/1203_16108_nab.html..

Pentax K5 Edition spéciale limitée à 1500 exemplaires en couleurs noir & argent

Suivant une pratique déjà adoptée pour d’autres modèles, Pentax a sortie une édition spéciale de son reflex numérique K-5 en couleur argentée : le Pentax K5 Silver Special Edition. Cette édition spéciale est limitée puisque l'appareil photo n'a été produit qu'à 1500 exemplaires pour l'ensemble du marché mondial.

Photo de l’édition spéciale du Pentax K-5 produit à 1500 exemplaires. Courtesy © Pentax Ricoh Imaging Company, Ltd.  

Le kit inclus l'objectif Pentax DA 40 mm F2.8 XS. Cet objectif lumineux de qualité, d'un poids de 52 g, est l'objectif interchangeable à focale fixe pour reflex numérique le plus court du marché puisqu'il mesure moins de 1 cm de longueur : 9,2 mm. Il a été dessiné par le designer Marc Newson, une des figures connue du design industriel.

Comme vous pouvez le voir sur la photo, le design est sobre, harmonieux. Il situe le design de l'appareil photo numérique en continuité avec les plus beaux des appareils argentiques classiques avec une touche plus contemporaine pour la partie recevant l'objectif. Le Pentax K-5 se distingue ainsi du look plus retro de l’édition limitée du Pentax Q (l’aspect retro ressort davantage du modèle en version limitée en gris métallisé qu’en version standard) et du caractère un peu plus ostentatoire (couleur) de l’édition spéciale du moyen-format 645D. Comme pour les précédentes éditions spéciales, la finition est très soignée et a de quoi séduire les amoureux de la marque et, parmi eux, ceux qui sont collectionneurs.

Cette édition limitée du Pentax K-5 aux couleurs argent et noir a d'un point de vue technique les mêmes caractéristiques que le modèle standard. Son firmware est le dernier en date : version 1.13.

Photo de l’édition spéciale du Pentax Q produit à 1600 exemplaires. Courtesy © Pentax Ricoh Imaging Company, Ltd.

 

Photo de la très belle édition spéciale du Pentax Moyen Format 645D. Courtesy © Pentax Ricoh Imaging Company, Ltd.

Bernard Dufour: Manipulations, Maison des Arts Georges Pompidou, Carjac

Bernard Dufour: Manipulations

Maison des Arts Georges Pompidou, Carjac

8 avril — 3 juin 2012

Il est connu pour être peintre. Mais ses photographies éclairent autrement son travail d’artiste attaché à la représentation de sa propre vie. Ce sera la première exposition de photographies au Centre d’art contemporain… par un non-photographe, mais par un grand artiste. L’œuvre d’un quotidien où intime, infime et grandiose se croisent et s’apprivoisent.

« Tout mêler ou plutôt tout se faire succéder pour tout empiler, à la façon du temps dans son incoercible écoulement. Faire : ne rien retenir, ne rien privilégier… Comme si ce que je fais à l’atelier, quand j’y suis, n’était rien d’autre que l’image de ma vie. Devait n’être rien d’autre que l’image de ma vie. »

Dans cet esprit, et depuis plus de 60 ans, Bernard Dufour pratique régulièrement et presque quotidiennement la photographie. Ce corpus, présenté pour la première fois comme un véritable ensemble au Centre d’art contemporain à Cajarc, constitue rétrospectivement un grand corps composite, qui du noir et blanc argentique des années soixante, aux clichés numériques en couleur des années 2000-2011, témoigne, comme avec la peinture, de sa vie et du souci de vérité de Bernard Dufour.

Au même titre que la polarité peinture-littérature, repérée très tôt dans son œuvre, celle de photographie-peinture occupe une place importante. À l’exception de la présentation des clichés-verre à la Maison Européenne de la Photographie à Paris en 2000, c’est le plus souvent ce lien photographie-peinture qui a été évoqué dans différentes expositions. Or, nous souhaitons montrer ici comment l’intérêt de Bernard Dufour pour la photographie dépasse ce propos d’usage. Comment sa pratique permanente et sensible de la photographie est complexe. Comment il met en tension et accuse l’écart entre le réel et l’image. Comment les photographies échappent, malgré les tentatives d’organisation de leur auteur, à toute classification thématique qui les enfermerait dans un genre : la photo de nu, d’architecture, de voyage… Et comment donc, cet ensemble, « véritable bordel de la réalité, de la vie, son désordre perturbateur » est insoumis à tout pouvoir, à toute direction.

« Il me plaît beaucoup que l’usage crée chez moi de nouvelles choses, de même que l’usage de telle ou telle technique, inventent comme moi, autant que moi, au même titre que moi, dans une multiplication enchaînée et rebondissante des contraintes, des matériaux, donc de mes mains. »

Le titre Manipulations évoque ce jeu avec les matières, les gestes et les formes : le plaisir sensuel du laboratoire comme celui, aigu, du déclenchement, qu’une simple pression du doigt permet de capter. Saisissement du réel, de « ces très exacts reflets optiques de la réalité immobilisés dans l’instant. »

Commencée comme la tenue d’un journal, la photographie a connu différentes acceptions pour Bernard Dufour, dont la vie amoureuse et les amitiés constituent le socle du travail.

D’abord accumulées dans des boîtes, les images deviennent les modèles pour des peintures dans les années 70. Il amorce ce lien photo-peinture avec une série d’autoportraits réalisés au Pradier en 1972, quand, retiré dans la campagne aveyronnaise, il n’a plus l’occasion de draguer dans la rue les filles qui sont ses modèles à l’atelier.

Il va donc rechercher dans ses planches de contact, le corps des femmes qu’il représente dans ses peintures. « Les photos sont pour moi des supermodèles complexes, multiples, inépuisables et immuables : du réel à tout jamais mémorisé et disponible. »

Les séances de travail avec les modèles mais surtout avec sa femme Martine (des « photos sexuelles sans pudeur ni retenue »), puis son amante Laure, lui permettent de saisir « des situations scabreuses avec le maximum d’objectivité sans sombrer dans le naturalisme ».

Sa connaissance de l’histoire de la photographie et son admiration pour les photographes américains, notamment Weegee et Walker Evans, lui procurent une grande modestie quant à sa propre pratique, ce qui est sans doute une des raisons de ce relatif silence sur cet aspect de son œuvre. Il est fasciné par « ces machines efficaces, précises, ardentes et extrêmement belles » qui suffisent à impressionner l’événement sans qu’il soit nécessaire au photographe d’intervenir. Il fustige le photographe auteur qui veut imposer sa marque, son point de vue alors qu’il adule celui qui, à l’instar d’un Walker Evans, se suffit à fabriquer une gigantesque « leçon de choses : ni édifiant, ni critique : il constate, il enregistre : précisément. » Il retrouve cette pratique dans celle des photographes de la police criminelle (Identité Judiciaire), qu’il avait analysée pendant deux ans, pour finalement se voir interdire la publication de cette étude. Interdiction qu’il vécut douloureusement.

Ainsi Bernard Dufour écrit dans son œuvre polymorphe une sorte de poème épique où la subversion des images est un horizon à portée de mains.

Martine Michard

Janvier 2012

Manipulations Bernard Dufour

Co-produit avec Galerie Pictura, Cesson-Sévigné,

Centre d’art et de photographie de Lectoure

Les Éditions de Juillet

Textes : Éric Bodin, Marie-Sophie Carron de la Carrière, 

Benoît Decron, Martine Michard, Laurent Perez.

MAISON DES ARTS GEORGES POMPIDOU

CENTRE D'ART CONTEMPORAIN

Route de Gréalou, 46160 Cajarc

www.magp.fr

August Sander @ Edwynn Houk Gallery, NYC - Citizens of the Twentieth Century

August Sander: Citizens of the Twentieth Century
Edwynn Houk Gallery, New York
5 April - 26 May, 2012

Edwynn Houk Gallery announces its representation of the August Sander family collection. In celebration, the gallery is presenting a retrospective look at August Sander’s career from the series Citizens of the Twentieth Century.

August Sander is widely considered to be one of the leading photographers of the twentieth century, and a master of modern photographic portraiture. He is most celebrated for his iconic Citizens of the Twentieth Century, a project that aspired to be a comprehensive inventory of the German people during the Weimar Republic, and which became his lifelong endeavor. Parts of it were first published in the volume Face of Our Time (1929). His photographs are lucid and honest portraits from every strata of that society: peasants, students, laborers, businessmen, bankers, artists, children, the disabled and the unemployed. Each finds his or her proper place within the seven portfolios into which Sander arranged his Citizens of the Twentieth Century: The Farmer, The Skilled Tradesman, The Woman, Classes and Professions, The Artist, The City and The Last People. The project remains a moving celebration of the diversity of national life, yet for the Nazis it was far too rich and various, and it refused to conform to their narrow Aryan ideals: in 1934 they confiscated all the copies of August Sander’s books and prints that they could find, and banned him from continuing to take portraits.

August Sander remained a firm exponent of the universal language of photography as an uncensored communicator of truth and reality. A photograph, he believed, should be free of any manipulation or trickery and should serve as a true document. As he once put it, “nothing seemed to me more important than to project an image of our time with absolute fidelity to nature by means of photography.” His portraits beautifully demonstrate his meticulous sense of observation, his eye for the surrounding environment, for occupation and social class. Dress and posture and backdrop all do the work of revealing identity. For Sander, the inner essence of a human being could always be read from their outward appearance. His direct - but by no means detached - style of portraiture has been a major influence on photographers ever since, including Paul Strand, Richard Avedon, Irving Penn, Walker Evans, and Diane Arbus.

The exhibition consists of over forty images from Citizens of the Twentieth Century, including some of the most famous, such as Three Farmers and Pastry Chef, and the less seen images of persecuted Jews. Rare enlargement prints are also on view. This exhibition follows Houk Gallery’s Diane Arbus /August Sander exhibition last fall at the Zurich gallery.

EDWYNN HOUK GALLERY
745 Fifth Avenue, New York, NY 10151
www.houkgallery.com

Women on the verge at Empty Quarter, Dubai, featured women photographers from the Middle East

Women on the verge
Empty Quarter gallery, Dubai, UAE
March 20 - April 30, 2012

        The Empty Quarter, Fine Art Photography, Dubai, UAE

Women on the Verge is an expansive group show held concurrent with Art Dubai and Art Week at the Empty Quarter gallery in Dubai, UAE. The Empty Quarter is devoted to fine art photography, with an emphasis on works exploring the photographic dimensions of the Arab world. Within this framework, the gallery salutes the achievements of the world’s finest photographers, and aims to highlight the talent of photographers from the Middle East.

"My dear women! you have revolted from all over the country of Yemen, Tunisia, Egypt, Libya and Syria in order to construct a dignified life and a better future. Therefore, there is no way that we should bend down or go back. [...]

I do believe that the prosperous future is for women, and it is we who make the dreams come true and a better future. It is she who creates dignity and liberty. Thus, whatever that has accomplished was a collaboration between men and women alike. One of the necessities of partnership is for the woman to obtain her full rights. No dignity and no liberty for a nation which oppresses women and take away their rights." - Tawakkol Karman, Noble Peace Prize Laureate, 2011.

Fourteen sharp, courageous, talented, passionate and inspirational women photographers from the Middle East take center stage in Women on the Verge:

Larissa Sansour - Palestine
Laura El Tantawy - Egypt
Boushra Almutawakel - Yemen
Newsha Tavakolian - Iran
Leila Alaoui - Morocco
Rania Matar - Lebanon
Waheeda Malullah - Bahrein
Tanya Habjouqa - Jordania
Laura Boushnak - Palestine
Tanya Traboulsi - Lebanon
Hind Mezaina - UAE
Dalia Khamissy - Lebanon
Myriam Abdelaziz - Egypt
Eman Mohammed - Palestinian National Authority

THE EMPTY QUARTER GALLERY, DUBAI, UAE
www.theemptyquarter.com