Entries Tagged 'PHOTOGRAPHY' ↓

explained here at The Global Mail

Rachel Corbett covers the Richard Prince case here at ArtInfo.

Light Painting was widely hailed as the best work in the Biennale of Sydney – apparently also by Thierry de Duve, among others – but you have to have seen this work by Nyapanyapa Yunupigu to understand why its random streaming imagery is “beyond” the documentary potential of still photography. Then again, Will Stubbs’ explanatory label was also far and away the most thought-provoking piece of text generated by this guff-laden event… Equally interesting was the fact that the collective mode of its production suggests an entirely new mode of art-making coming out of Yirrkala. Collective agency is in their blood…

PS See what I mean here at Ros Oxley’s website…

In a bizarre twist, Russian works on loan to the National Museum of Poland’s exhibition of Rodchenko’s photographs (reviewed here in the WSJ by William Meyers) come at an exorbitant cost, with officially-sanctioned interpretive texts, and with the proviso that the word “Communism” is never mentioned. Go figure…

What makes this a contender for one of the most significant photographs of the twentieth century? Taken in Kandahar by Peter Jouvenal in 1996, this fragment of a film clip is (I find) absorbing on so many levels. It depicts the Mullah Omah enacting a religious ceremony – one that was to have huge consequences for the fin de siecle. Sometimes a photograph is significant simply for its value as evidence, and sometimes because it participates in the historical moment in a way that is itself significant. In this case, its non-material character – as streaming video – is but another development in the nature of photography itself. You can read the full story over at rugsofwar…

As photographic technology evolves, so such questions are being asked. See Julia Halperin’s review of the William Eggleston case over at ArtInfo. She asks: Are the digital works different from the original prints? In a statement, Christie’s called the digitals “a completely new addition” to Eggleston’s oeuvre; the house’s photography specialist told PDN they were marketed as works of contemporary art designed to appeal to contemporary art collectors, not photography traditionalists.

Great work…

…I’m quoting Mostafa Heddaya’s “Down and Out at Miami Beach” on American Circus

Perhaps because it adds content. At Gagosian, photography of the Damien Hirst paintings is permitted only if there is a person in the frame… Now there’s a twist… And there’s more, here. And listen here to Peter  Schjeldahl at The New Yorker… And here‘s Ben Davis, in “reluctant” defense…

(top) #15 Controlled Substances Key Painting, 1994, 61 x 61, 2 inch spot.

(above) #7 Cesium Bromide, 2009 965 x 106.7, 5mm spot.

…would you Occupy Oakland with your iPad! Occupy Silican Valley, maybe… This from Mark Murrman’s coverage at MoJo.