Exhibition dates: 20th November 2015 – 23rd March 2016 My apologies, I am feeling very poorly at the moment, so just a small comment on this exhibition. After the trilogy of 19th century photography, now for something completely different two consecutive postings on contemporary photography. In this art, the photograph becomes a conceptual “speech” act, where the artists speak with photographs, working with the context of the image – the image as concept, as talk. It’s not just that the artists make photographic objects, they push what the medium can do.

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As the press release observes, “Theirs is a sort of “photo poetics,” an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object.” It is art that requires contemplation and meditation on source by Self. I have included several videos and extra text to illuminate aspects of the work in the posting. I like the intertextuality that the artists employ when pushing the boundaries of photographic practice and representation, particularly Claudia Angelmaier’s series Works on Paper (2008-) and Lisa Oppenheim’s series The Sun is Always Setting Somewhere Else (2006). Many thankx to the Solomon R. Guggenheim Museum for allowing me to publish the photographs in the posting.

Please click on the photographs for a larger version of the image. 99 SECONDS OF: PHOTO-POETICS: An Anthology / Guggenheim New York “The exhibition and its accompanying catalogue examine an important new development in contemporary photography, offering an opportunity to define the concerns of a younger generation of artists and contextualize their work within the history of art and visual culture. Drawing on the legacies of Conceptualism, these artists pursue a largely studio-based approach to still-life photography that centers on the representation of objects, often printed matter such as books, magazines, and record covers. The result is an image imbued with poetic and evocative personal significance – a sort of displaced self-portraiture – that resonates with larger cultural and historical meanings. Driven by a profound engagement with the medium of photography, these artists investigate the nature, traditions, and magic of photography at a moment characterized by rapid digital transformation. They attempt to rematerialize the photograph through meticulous printing, using film and other disappearing photo technologies, and creating artist’s books, installations, and photo-sculptures. Hauppauge Wintv Alternative Software more. While they are invested in exploring the processes, supports, and techniques of photography, they are also deeply interested in how photographic images circulate.

Theirs is a sort of “photo poetics,” an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object.” Text from the exhibition web page. Anne Collier Crying 2005 Chromogenic print 99.1 x 134 cm Solomon R. Guggenheim Museum, New York Purchased with funds contributed by Mr. Tighe © Anne Collier Collier’s photographs offer a straightforward presentation of found images and printed ephemera, and explore themes of appropriation, iconography, and surrogacy Though implicitly layered with feminist critiques of mass media, Collier’s images of famous women – especially those of other artists, like Cindy Sherman, for example – can also be interpreted as oblique self-portraits. (Text from the Guggenheim artist’s web page). “Ephemera and mediation are at the quiet center of Collier’s Crying, one of her works in the exhibition. Thullatha Manamum Thullum Full Movie Download Mp4.

Seen from across the room, “Crying” looks like a photograph overlaid upon a painted surface, or perhaps a portrait integrated within a two-dimensional space. The image, indeed a photo, is divided horizontally; the upper two-thirds are white, the bottom third is black, and on the left-hand side there is a small square close-up of a distraught woman crying. The woman is Ingrid Bergman, and this is the cover of the LP that accompanied her 1943 film For Whom the Bell Tolls. The LP is upright, facing the viewer dead-on, and up close we can see that there are a number of records behind it and that the flat spaces above and below are actually a white wall and black floor.