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Author:John Mraz
  PDF download   Text by John Mraz   The Mexican Revolution of 1910-1920 was one of the most-photographed social struggles in history. This book tells the story of that photography, and is the first in-depth study of the imagery produced during a major revolution in the world. How did the photographers express their commitments visually? What were the aesthetic strategies they employed to take sides and offer their bit to the struggle? What identities and identifications were generated with their images? What sorts of fears must have been associated with appearing in photos, taking them, signing them, and circulating them? How did the “visual economy” function in terms of production, distribution, consumption, and conservation, both immediately and in the long run?  
Thursday, 01 September 2011
52. Mirrey
Author:Gustavo Prado
“I don’t blame the night. “I don’t blame the beach. I don’t blame the rain, because they all love me.” a Lord's remark to his “Lobuki” in a Luis Miguel-style paraphrase     Aesthetic nightmare: Luis Miguel as an icon (a Mexican idol: think of Michael Bublé less the voice, the talent, the charisma and the looks… plus an eternal stupid expression). A world where his values, image, voice projection, language, intonation and attitudes are multiplied like a cloning pattern. Where the exclusive is exclusion and social class is just the goal of any social climber with enough guts and speed to climb by using tags, signs and badges…   The ‘Dictionnaire du look,' published in France in 2009, provides a taxonomy of all kinds of urban tribes.1 From ultra-conservative, convent-educated girls he calls "Marie Chantal" to fashionable hipsters, fluo kids and tektonic, to what we would call "fresas" in Mexico (according to www.en.wikipedia.org/wiki/Fresa, quite literally sort of less likeable preppy).     They are called “Nappy,” an abbreviation of "Neuilly-Auteuil-Pereire-Passy," the parisian districts they frequent. Kids with too much money and too little to do are a phenomenon that has elicited at least one documentary, “Gilded Youth”, and a bad reputation for being not the best part of the BCBG (Bon chic Bon Genre), who regard them as dilettantes, flanneurs’ lousy second part, and spendthrifts spending their time doing drugs under the sun, full of laziness, and famous for not being ‘the sharpest knife in the drawer’.   Their uniform is brand- clothing, particularly the Polo shirts, the ‘Lacoste’ and the yacht decks-topsiders, here used just for ‘walkin’ on sunshine’.   They are not alone…the same book classifies a parallel philium, the one named:       The “Sunset Beach” whose deep V-necks reveal a fried skin tone born of long hours in the UV roasters, worthy of Julio Iglesias in the 70s or the orange-old leather sofa look and texture of Valentino, the fashion designer. Priest of the sun, they live not of, but being in unexplainable professions –pseudo DJ, pseudo PR, ‘Rum & coca cola’ mixer, connoisseurs of everything, specialists in nothing.   In America, that same aesthetics and type of boy with exactly the same values, is given the compound name -a melting pot, so to speak- of WASP/YUPPIE/PREPPY and is more likely to be found on a cover of Abercrombie & Fitch than in the Ivy League.   Believe it or not, in Mexico, not only nowadays but for some decades now, the phenomenon of this type of kid has already emerged several times, the most recent of which is an Internet meme: the "Mirrey!”         To really understand the phenomenon in its deep complexity is necessary going into an archaeological survey of the term in Mexico’s recent history:   1st bouncer: culture ‘the depiction of unbearable people’ Beach scene, where cocktail figures dressed in white, gaze at us from the height of their social circle. One of the men gives us a so-called "sexy" look: a middle-aged gentlemen and his statements make us feel we are witnessing the "obnoxious coquette":   - they ask him, “What's your name?   - he replies: I have five names, two surnames, three nicknames, two pen-names, two alter egos and a variety of AK’s SOLELY FOR THE PURPOSE OF FLIRTING. I will keep these secret, so I can use them at my discretion.     in other words, the man's a sybarite and all those names must be a succession of hereditary titles... juniors, so and so the third and so on   -Guilty pleasure? they ask   Why just one? All my pleasures are slightly guilty, from the failed desire to wear your clothes, became someone I am not and never will be; being who you pretend to be when you put on my clothes to be who you are not; hold hands under the table, take off my shoe and put my toes into your fly which you purposely unzipped, your eyes staring into mine with the pretext of a face to face toast...   …[ the failed desire to wear your clothes, became someone I am not and never will be; being who you pretend to be when you put on my clothes to be who you are not]…   So far: the "duck face" :3, halfway between sexy and inviting, the look, the beach, would not be strange... Until we find that this image comes from the early 21st century, when there were no blogs, and people did not publicly exhibit their intimacy. The image was not isolated, companions in attitude and lifestyle look like this:     or this…   or even this-in vintage clothing-     The ‘oh so hateful’ poses and stands in the interviews -press a button so that each shot will open up in its full glory...is justified by...? the fact that these characters are not spoilt rich kids but actually the finest examples of Mexican culture???!!!   -Gabriel Orozco, Miguel Calderón and his ‘Daddy’, Santamarina, Eugenio López, and the gallery owners’ of OMR, and Kurimanzutto.... and even the collector Eugenio López…   In the skit where this all appeared, a notebook published by what was then the trendiest magazine in the Mexican artistic milieu, a magazine so called “Celeste” also was depicted such unlikely characters as Rodrigo Peñafiel, Vergara the owner of the “Las Chivas” football team, along the inexplicable presence of short-lived government officials from the cultural milieu, not so handsome, with far less style, lot less chic and wearing cheaper clothes.     I’m The King of the World! Leo de Caprio en Titanic   2nd bouncer ‘the depiction of unbearable…’   In an image overlooking the city, two poor rich kids pose in a tableau vivant, re-enacting, with grace and Apollonian elegance, the creation scene in the Sistine chapel:     Oddly enough, an iconographic analysis of this image reveals a disturbing echo:   In the early 21st century, the “Rich and Famous” project emerged in the midst of a political and media scandal since it was a portfolio that revealed the intimate life of the Mexican political animal –or his cubs- in its natural environment –kitsch. When the work was presented as a book, the exhibition was unthinkable in such an adverse climate. The event was not held in a cultural center but in an apartment block in Polanco, the kind that has its own party room, and the type of opinions given by the panelists were unique: instead of praising it, they said that the Mexican photography's role had been until the moment to present scandalous poverty and that now was the time to "present scandalous wealth." Proceso, the country's most prestigious political weekly journal devoted its cover to it- and in the article, it provided a detailed account of the connections between those portrayed in the book and the country's industrial and political elite. The book begins with a warning:     the following images show actual scenes. The persons shown in the photographs are representing themselves. Any similarity with reality is not a coincidence..   In a critical note, Guillermo Tovar y de Teresa remarks: -just as cuckolds are the last to find out about their condition as such, those who engage in kitsch are not aware that they do so, because what makes you aware of kitsch is culture and what they sell in this book is a caricature of the moneyed class and its relationship with culture2. On the day of the presentation, the author decided to hire an actress to play her, thank people and give explanations while she –the real author- acted like an ordinary staff member, organizing everything and directing the event without anyone aware of her identity...       ... [He who dies with the most toys, wins]... colophon to the ‘Rich and Famous’ book   3rd. BOUNCER: CIVIL SOCIETY ‘THE DEPICTION OF ...PEOPLE'   On 3 March 2011, a project that began as a simple chat between friends but went on to achieve an unexpected scope, was uploaded. With nearly 37,000 followers on Twitter and approximately two thousand photos, www.mirrreybook.tumblr.com, is a project that may have taken up the spirit of the previous projects:   -presenting a Mexican, jet-setting lifestyle, which has globalized values and shamelessly, with no need to give explanations, experiences the privileges of money in excess fruit of honest work, or perhaps not; "business" acumen, as we call it here in Mexico. They have the know-how acquired at the private universities up and down the country that have trained businessmen who, without expecting government hand-outs, have managed to created "dignified, decent, exemplary lives."     Unlike the former, which are outsiders’ perspectives and constructions, here the protagonists are exhibited by their friends who choose images tagged on Facebook, images that they find amusing and recognizing themselves in them, they upload it with a photo caption that stresses their "Little Lord Faunterloy” attitude here or “lobuki queen” attitude there. -love-lobster=lobuki- (lost in translation)   The aspirational universe for those that view them from the outside, upper middle class for those that experience it from within, experience the profound contrast of not being images of either intellectuals, curators on the road to social ascent or of the politician surprised in his intimacy by the wickedness of constructed documentary photos.   In a graph, the three cases are exemplified in these phrases: 1. ‘we’ve arrived’’ The ‘intellectuals’ 2. Look, look: They've got bad taste!!! …looking at the politicians… 3. ... You talkin' to me?? … ‘the kiddies looking at us…       The spoilt rich kid, the hipster rich kid, over and over again, from “pirruris (a well-known Mexican comedian’s version of ‘fresas´") to juniors, are the perspective that identifies social difference and tries to make a joke of it. For the time being, mirreyes are innocent children: They do not belong to the political families in "Rich and Famous" or at least, not all of them, nor are they the cultural social climbers of the previous decade-in any way.   They are the perspective of the other Mexico, that does not realize the political need to take culture to the ladies in Polanco or to create nationalistic identities in Interlomas –two of the many rich zones in Mexico City.   In the mirrey version, the situation is quite the reverse: they are not cultured, they never wanted to be-and what a relief! Reading makes you so ugly! They don’t have any conflicts -that's their privilege.   And all the critical perspectives who say that it is actually a "Wannabe" social network are wrong in the sense that those images were only made for internal consumption:     PD: given the success of the page, there are already various spin-offs: www.mirrreybooktheoutlet.tumblr.com where those who have not achieved the true mirrey go www.mirrreynabook.tumblr.com where the lobukis go, although less artfully http://rrregaybook.tumblr.com/ the ‘alternative’ version...   ** 1. Dictionnaire du look : une nouvelle science du jeune Auteur : écrit par Géraldine de Margerie et Olivier Marty Editeur : Paris : R. Laffont Publié : 2009 2. Revista Proceso. September 8, 2002.    
Wednesday, 24 August 2011
Author:Martinez, Eniac
Tuesday, 23 August 2011 | Read more
Author:Fred Ritchin
  After Photography by Fred Ritchin   Photography as we have understood it until now, is coming to an end, and with it, a means of representing human beings. The new technologies that make it possible to produce images have overcome some of the constraints of analogous photography but have also, not always consciously, brought us up against unimaginable challenges. At the same time as the number of cases of content manipulation, immoral or deceptive use of images has increased, the new technologies invite us to create a fascinating "hyper-photography" in which images become an interactive medium that links up with and explains itself, becoming enriched and evolving by the minute. Helped by omnipresent cameras, social networks and programs that allow us to retouch a shot and virtual games that use human images, digital photography is not only changing our perception of the world or our notion of art but also the image we have of human beings, because we ourselves are transformed, becoming potential images. In After Photography, Fred Ritchin, one of the leading specialists who have contributed to the development of the digital revolution, offers the most brilliant analysis possible of the new images while proposing the parameters to analyzing the nascent photographic “meta-image" that very few creators have dared explore.      
Monday, 15 August 2011
Author:ZoneZero
Galleries                                           Magazine   Self Fiction Autor: David Miklos's                 Podcast "Mambo Queen" Dur: 3:25 min. Author: Grace Quintanilla "Tango to sleep" Dur: 1:53 min. Author: Grace Quintanilla "Milky Way" Dur: 2:28 min. Author: Grace Quintanilla "Towards the beginning" Dur: 1:53 min. Author: Grace Quintanilla                                
Monday, 25 July 2011
Author:Clement Cheroux
  Interview with Clément Chéroux by Daniel Escorza in Mexico City on November 30, 2009. Translation by Yael Weiss.     Daniel Escorza. (DER).- The translation into Spanish of the Brief History of Photographic Mistakes has been a novelty in Mexico. After reading his book, which deals extensively with what an unsuccessful or failed photograph reveals, it is essential to talk about the importance of imperfections or mistakes in the photographic event. Could one extend this idea that photographic errors are an instrument of evaluation for photohistorians? To what extent is error a methodological instrument for photohistory?   Clément Chéroux (CCH). First of all, I would like to say that the concept of "mistakes in photography" must be taken at two levels: on the one hand, there is the use of error by photographers and artists and on the other, the use of error by photohistorians. In this book, I navigate between these two levels of error. Thus, for example, I speak of the way artists such as László Moholy-Nagy used error to under the mechanisms of photography better. I also show how some artists used error to experiment with poetry or to search for a poetic or artistic result, such as Man Ray. These two photographers are at this same level, which is the use of error by photographers and artists. The third part of the book is concerned with the second level, in other words, how mistakes made by photographers (or at the time of their interpretation) can show us something about the unconscious in photography. In the third part, I analyze for example, the late 19th century photographers who attempted to photograph dreams, thoughts and the soul. I show how most of their results are in fact errors made during the technical production of images and as a result of these errors, they project what they want to see: they see dreams, thoughts, souls and even ghosts.   So, in their projection of the unconscious, we can understand something of the mechanisms that come into play when someone looks at or interprets a photo. It is a perfect example of study, almost a prototype, that enables us to understand how the mechanisms for interpreting images operate.   I use the case of the spiritualists I mention in the third chapter as a prototypical case, a textbook case, to explain how the viewer of a photographer projects himself onto the representation of a photograph.   DER. In this respect, when you talk about the shadows in a photograph, you have said that before the avant-garde movements, the appearance of the photographer's shadow in his own photographs, as in the case of Lewis Hine or Augustín Casasola or Abraham Lupercio was due more to the operator's neglect than to a conscious act. Does this mean that the appearance of shadows in photos has been re-evaluated since avant-garde movements? Specifically since Man Ray?   CCH.- Photographic teaching manuals for 19th century photographers include a series of technical considerations or advice to prevent the photographer’s shadow from appearing in the visual field of the photograph. Throughout the 19th century, a concept of photography as a direct, exact reproduction of reality, in other words, faithful to reality, was defended. The appearance of the photographer's shadow in 19th century was rejected precisely because it reminded us that it was not exactly a copy or a direct, faithful imitation of reality. Instead, it showed that there was a human being behind the photograph, in other words, it was a photograph taken by a man. The fact that a human being was involved means that there was both a capacity for error and an apparatus that produced this photo. In order to respond to this will to have a representation or faithful copy of reality, the photographer was advised, as much as possible to avoid the appearance of this shadow that broke away from this concept.   So after writing this book, I came across an ethnographic photograph published in a journal, probably for an article on an ethnographic subject or something of that ilk. The original photograph proved to have a shadow but at the time there were no offset or mechanical reproduction methods for the photo (I can't remember whether they have to do a sort of engraving of the photo). Anyway, the person who did the engraving eliminated the shadow in order to print it. In other words, he did not faithfully copy the photo but removed the part of it he regarded as a flaw. In the 19th century, shadows in images had to be concealed.   Let me put that another way: following the emergence of avant-garde movements in about the 1920s, the same reasons that led to photos being redone or to shadows in photos being eliminated began to interest these movements. In other words, the fact that the photo was not a faithful copy of reality but rather something that had an operator and an apparatus was made conscious. Man Ray and Moholy-Nagy for example, wanted to do away with the idea that photos are an objective reflection of reality. They wished to say that it was a mechanism with an operator and an apparatus, which is why they consciously and purposely re-introduced shadows into their images.   This is one of many examples that explains and shows how a 19th century mistake turned into an aesthetic proposal in the 20th century.   DER.- A propos of this, I am struck by the semantic distinction you make between “invention” and “discovery,” in other words, by the work of Man Ray and Moholy-Nagy respectively. “Invention” meaning something you look for carefully and “discovery” meaning a mistake or chance event that allows you to see something. What would be the condition of those who currently make inventions or discoveries? Where are they currently located? Who for example makes a pinhole camera, which is a mistake to begin with, since it has no lens and on the other hand, digital photography, where mistakes are increasingly "dealt with" by technology? Is it possible to talk of this dichotomy?   CCH.- Do you think that pinhole photography is on the side of invention and that digital photography is on the side of discovery? If that were the idea, I do not fully agree with the idea of such a sharp distinction. I think that you can invent and discover as much with a pinhole as with a digital camera.   DER. You have questioned the notion of photographic mimesis in the sense that a photographic error corresponds to an alteration of the mimetic power of photographs, in other words, the less mimetic a photograph, the more failed. In this respect, what could you say about this sort of paradox? That the less a photograph loses its mimetic capacity, the less it is considered to be a photograph or the further it is from the notion of photography?   CCH.- Yes. Precisely what I say in my conclusion is the fact that this could change in 20 years. In other words, this concept is subject to change. In fact, until nowadays, it was thought that the further away a photograph was from mimesis and reality, the more it tended to be regarded as a “failed photograph.” I give an example of this in the book but I am going to repeat it to support this idea. I did an experiment with my students when I showed them a canvas painted totally black and a totally black photograph. Most of the students surprisingly yet systematically stated that the canvas painted black was still a painting while the totally black photography was just a piece of black paper. Thus the photo had lost all recognizable features of a photograph while the black painted canvas continued to be a painting.   This mean that perhaps a totally black photograph would be a complete failure. Whether totally black or white, a monochrome photograph would be the essence of a photographic mistake. This shows that photograph continues to be regarded as primarily mimetic, and that when it loses its mimetic nature, the photograph is completely lost, to the last detail, to the point of not being recognized as a photograph. We are experiencing enormous changes; thanks to the emergence of digital photography, there has been a crisis of representation, and it is very possible that in another 20 years, I will come to a completely different conclusion. In other words, perhaps one day, within the definition of what photography is, the parameter of mimesis will no longer be required. I don't understand, why do you think this is a paradox? Why did you frame it as a paradox?   DER.- Well, I framed it in the sense that we know that any photograph (regardless or whether it is a mistake) is NOT reality. In other words, to begin with, a photograph is a fiction, which appears to be its basic premise. Perhaps I unconsciously associate the concepts of error and fiction.   CCH.- In actual fact and I use this as a basis, for example, for describing what are failed photos, which is what happens in commercial laboratories for amateurs. They have a method for deciding which photographs are "good" and therefore charged for and which are "failed" ones. When a person's face has been cut off, in other words, you cannot see his eyes, the photo is regarded as having failed, because the eyes allow us to recognize a look. Conversely, if his forehead has been cut off, there is no problem and the customer is charged for the photo. If the photo is cut off above and below the face but we still have the eyes and nose, it is regarded as a good photo. When the eyes are cut off and we can only see the person's face from the nose downwards, it is regarded as a failed photo. When I see the eyes, I can recognize the person and we can say that mimesis is operating. It is therefore regarded as a good shot. If I cannot recognize the person, because I do not have the basic features that will enable me to recognize her, such as the eyes, then I am outside mimesis and therefore it is regarded as a failed photograph.   DER.-Lastly, reading your book inspires those of us who are devoted to the history of photography in Mexico. What could you say about the authors, work or journals produced in the south of western Europe or outside the United States? Do you know what is being done in the field of the history of photography in Mexico, for example?   CCH.- I think that in Mexico, you have one of the best journals I know, which is Luna Córnea, which is absolutely extraordinary. It has done an exceptional job for over 15 years, not only on Mexican photography but on photography in general. I also recently saw the journal Alquimia and the few issues I was able to look through had extremely interesting issues. It is true that the problem of photohistory is that it is too closely modeled on art history. I think that both the United States and Europe suffer from this effort to base photo history on art history. From the little I have seen, I think that the historiography of photography in Mexico could avoid that process. In other words, here they managed or are managing to escape from the straitjacket of being engulfed by art history. I think that the history of photography is more independent from art history here and more original, at least, from what I have seen.   DER.- Thank you for your time and for sharing your ideas with us.    
Friday, 22 July 2011
Author:Geoff Dyer
The Interminable Moment of Photographs by Geoff Dyer Convinced that the differences between an amateur are obvious when one compares works dealing with similar issues, Geoff Dyer invites us to classify the subjects photography has developed throughout its history. Since there are issues and even important figures who, glimpsed in a mid-19th century photograph, often appear to be re-incarnated, one of today's most brilliant English writers examines the secret life of hats and blind men. He explores their invitation to reflect on the sense of sight and the impulse that leads us to photograph nudes, unmade beds and take photos from a moving vehicle. He examines solitary gas stations and the thresholds to another reality, be they stairs, doors, war photos or disturbing photos of empty cinemas. From Eugène Atget to Nan Goldin (and including Atget and Talbot, Stieglitz and Strand, Evans and Frank, Arbus and Sugimoto, Eggleston and Shore) Dyer analyzes the elements that have interested generations of photographers, as well as the tributes, dialogues and challenges that have arisen between artists who do not hesitate to capture subjects that seemed to be the exclusive province of their rivals or masters. In this classification of the photographic tradition that is as profound as it is entertaining, Dyer’s gaze helps us discover how certain things look when they have been portrayed and suggests that there is no idle time for photography but rather a single, intense, interminable moment, created by its devoted practitioners. Regarded as one of the most original and talented European writers of his generation, Geoff Dyer is the author of 11 novels and books of essays, including Love in Venice and Death in Benares (Mondadori), winner of the Bollinger Everyman Wodehouse Prize, and the Somerset Maugham Prize for But Beautiful in 1992. A contributor to The Guardian, The Independent and The New York Times, he also edited the Selected essays and John Berger and was coeditor, with Margaret Sartor, of What was true: the photographs and notebooks of William Gedney. In this book, Dyer places his intelligence and literary sensitivity at the service of photography.
Friday, 22 July 2011
Author:Michel Frizot
The Photographic Imaginary by Michel Frizot by Daniel Escorza   All images, particularly photographic ones, require an explanation, a reflection on their origin and the social function they have had throughout their existence. The Photographic Imaginary is a collection of essays and photographs by one of best known specialists in the theory and history of images of our times. It refers extensively to the mystery of photography as a procedure, technique and representation.   The author of this series of essays is French researcher Michel Frizot, who moved from the study of physics to art history and since the 1970s has devoted himself to the history and criticism of photography.   This superbly produced book contains the first ever translation into Spanish of a collection of his essays written between 1994 and 2006. Its main purpose is to "demonstrate the intrinsic coherence of a theory of the photographic regime, conceived of as a fundamental break away from image making in the mid-19th century. Indeed, the French photographer, who was in Mexico City in September to present this work, has devised novel categories and concepts for the methodology of the history of photography, such as "technofacture," the "photographic regime" or the "photostat" as part of his theory for dealing fully with the reflection on what he calls: “photology,” in other words, the discourse or "logos" of photography.   On the basis of these ideas, Frizot constructs a story in which he transmits his vision of photography through the photographic device, in other words, the photosensitive surface that makes it possible to create an image, compared with previous techniques such as drawing, engraving and lithographs. This is precisely why it is called “technofacture,” since its production involves technical elements, not just human skill. The existence of this area constitutes an essential condition of photography, even more so than the camera itself.   Thus, the photographic event is conceived of as a physical event, since it constitutes a disruptive technique that is not the anthropofacture or manufacture of previous techniques, ranging from drawings in pre-historic caves to lithographs, oils, engravings and drawings.   The raw material or matrix of any photograph is the photosensitive surface, from the copper plate support for Daguerreotypes through paper and negatives to the liquid crystal screens of 21st century cameras and monitors. What name should we give the photographic imprint implied by the negative, that single shot or recently, digital printing? Frizot calls it “photostat” in other words, the matrix comprising all these photographic processes, which includes the photographic images summarizing the physical phenomenon of the quantification of light.   In The Photographic Imaginary, Frizot proves that the photographic regime has not yet found a satisfactory response to the method for dealing with the history of photography, even though we now have new clues to continue dismembering and fathoming the incomplete mystery of photography.     Daniel Escorza Rodríguez, researcher, INAH NATIONAL PHOTOGRAPHIC COLLECTION derzxx@yahoo.com.mx Buy this book in Pedro Meyer Fundation
Friday, 22 July 2011
Author:Toledo, Fernando
Thursday, 21 July 2011 | Read more
Author:ZoneZero
  The Mexican Suitcase a film by Trisha Ziff Visit: www.maletamexicana.com American Premier LALIFF - Los Angeles Latino FIlm Festival Sunday 24 July, 3:00PM EGYPTIAN THEATER Adress: 6712 Hollywood Boulevard, Los Angeles, California 90028  
Thursday, 21 July 2011
Author:Quintanilla, Grace
  "Mambo Queen" by Grace Quintanilla Dur: 3:25 min.
Tuesday, 28 June 2011
Author:Quintanilla, Grace
  "Tango to sleep" by Grace Quintanilla Dur: 1:53 min.
Tuesday, 28 June 2011
63. Milky Way
Author:Quintanilla, Grace
  "Milky Way" by Grace Quintanilla Dur: 2:28 min.
Tuesday, 28 June 2011
Author:Quintanilla, Grace
  "Towards the beginning" by Grace Quintanilla Dur: 1:53 min.
Tuesday, 28 June 2011
Author:Quintanilla, Grace
Monday, 27 June 2011 | Read more
Author:Elisa Rugo
Zonezero congratulates Fernando Brito for the award "Descubrimientos Phe" Photo España Well done Fernando! If you still don't know his job visit it here    
Thursday, 16 June 2011
Author:Fernando Toledo
PDF download   Lecture delivered by Fernando Toledo during the 4th Fotográfica Bogotá on 11 May 2011   This year, on 18 July to be exact, is the 75th anniversary of the start of a struggle which, in many respects, marked the 20th century and today, 72 years after its conclusion, continues to divide public opinion throughout the world. It is an analogy of what should never, in any context or for any reason, be repeated yet which unfortunately seems to happen all the time and in the most dissimilar parts of the world. The person who recorded this appalling yet moving conflict that led a country to a holocaust lasting nearly 40 years helped turn photography into indisputable testimonial proof. It is no coincidence, then, that the world should have celebrated the century since her birth last year or that it is about to celebrate the 75 years since her death in 2012.  
Monday, 13 June 2011
Author:Miguel Ruibal
I am worried (or at least concerned) about the issue of the transition from the "real" world (let's call it that to simplify things) to the virtual world and vice versa. It is a two-way process in which we are increasingly involved and define ourselves as active users. I was wondering how to describe an initial event in which this circuit became effective in the sphere in which I move, namely artistic creation. It was then that, during a long distance train journey in a sleeper car that I put on a mask, the kind they give you in planes to help you get to sleep by keeping the light out. I kept the mask without really knowing why and once home, I started experimenting with this slightly mysterious mask. Photos, mirrors, sketches and eventually, "blue eyes" painted on the black surface of the mask. As a result of my professional training, I tend to think in drawings. In one of my notebooks, I gradually outlined an idea: a "real" mask on a train to León and thence to Terrassa/Barcelona to be turned into a pdf file accessible from the Internet, and then printed and turned into a "real" mask in who knows how many places in the world and then used in a mobilizing/creative/photographic exercise and finally, grouped together to take the shape of an exchange between curious people, geographically distant yet interacting in the same "region" of the Internet that was being developed. So here is the result of this first real world/virtual world/real world project. (Click image to visit the site)     Thank you for participating and sharing your work with us! www.miguelruibal.org  
Tuesday, 07 June 2011
Author:García, María Teresa
Wednesday, 01 June 2011 | Read more
Author:FINI
  Universidad Autónoma del Estado de Hidalgo International Image Festival First Edition: Environment May 19 - 29, 2011 Pachuca, Hidalgo www.fini.mx     One idea, One Notice.   The International Image Festival (FINI for its acronym in Spanish) is a space of encounter to promote, spread and appreciate artistic creation and graphic journalism, technology and communication, classic ideas and current esthetic, debate, the meanings and values of images in this diverse genres, expressions and applications.   With universal vocation, open to México and the world, the FINI is inscribed in the best tradition of culture, scientific and technological knowledge promotion, a substantial element in the mission of public universities in our country.   In the framework of the fiftieth anniversary of the Universidad Autónoma de Hidalgo, the FINI has been conceived by its Trust as one of its first and most important projects, with two purposes: to strengthen and enrich extension and cultural spreading efforts; and to generate funds to provide support and better conditions to the university's community, always pursuing the rise of academic quality.   In its first edition, 2011, the FINI's main theme is the environment and, therefore, the shared responsibility and global challenge to attain sustainable development. It is about showing the relevance and the strength of image in the appreciation and preservation of our natural surroundings, through artistic creation, journalistic denunciation, publicity and techonological innovation, among other expressions of sensibility and human intelligence, whose transforming capacity is the most powerful tool to stop environmental depredation and to successfully confront threats against our planet and its biodiversity.   The FINI is, thus, an idea an a notice to the encounter of images and creators, techonological innovation and the debate of ideas, and of everyone -children, young people and adults- interested in enjoying the fascinating universe of visual culture.    
Monday, 16 May 2011
Author:Davis, Jen
Monday, 16 May 2011 | Read more
Author:Nárez, Kenia
Friday, 13 May 2011 | Read more
Author:Zone Zero
    Lázaro Blanco died today on 4 May 2011. We'll miss him. He was a pillar of photography in Mexico; his classic smile was always a source of inspiration. Lázaro Blanco belonged to Mexico’s Photographic Club. He was a founding member of the Mexican Council of Photography, a professor at Casa del Lago for several generations, a museographer at the Palace of Fine Arts during the exhibition of the Second Latin American Colloquium on Photography, coordinator of the International Pool of Photography for the 19th Olympic Games, winner of the Graphic Biennial of Photographer in 1979 and a prolific photographer who participated in several exhibitions, whose work forms part of collections in Mexico and abroad. You can post any reflection on Lázaro you would like to share here.  
Thursday, 05 May 2011
Author:Karl Baden
    Sex, Death and the History of Photography is a series of photomontages from the 1980's, done using traditional methods of darkroom and collage. Back then, I described the work as follows:                                                                     The modus operandi is simple and straightforward: using an x-acto knife and dry-mounting tissue, I combine and re-photograph images from a single photographer or images by two or more photographers, creating a pastiche which, visually and/or metaphorically, comments on the original photographs, photographers and, perhaps, their connection to larger issues in photography and culture. My choice of images is inspired by a variety of factors, including historical compatibility, cultural significance and visual effect. Sometimes I combine photographs because I'm not quite sure what their cumulative effect will be until combined. Other times, it is simply that, visually, the combination gives me a jolt or makes me smile. Humor, perhaps satire, seems always to be a part of the way I work, a reflection of my sensibilities. Issues regarding the history of photography and its relation to culture are more complex. I try to allow the work an open-endedness that goes beyond both the joke and the cultural issues raised.         It is natural for me, as a photographer, to be aware (sometimes painfully) of the ability to sensationalize, dominate and possess which the camera offers its operator and audience. To a degree, then, these pictures are the result of my own efforts to understand the push and pull of those circumstances. However, I don't pretend to offer solutions. If I did possess the answers, I probably would not be compelled to generate the work.                                      
Friday, 15 April 2011
Author:Schmidt, Bastienne
Monday, 11 April 2011 | Read more

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