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Man Ray phototheque officielle, Man Ray phototheque officielle

Man Ray phototheque officielle, Man Ray phototheque officielle

Man Ray Man Ray (born Emmanuel Radnitzky, August 27, 1890 – November 18, 1976) was an American modernist artist who spent most of his career in Paris, France. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his photography, and he was a renowned fashion and portrait photographer. Life and career[edit] Background and early life[edit] During his career as an artist, Man Ray allowed few details of his early life or family background to be known to the public. Man Ray was born as Emmanuel Radnitzky in South Philadelphia, Pennsylvania, U.S. in 1890.[3] He was the eldest child of Russian Jewish immigrants.[3] He had a brother and two sisters, the youngest born in 1897 shortly after they settled in the Williamsburg[3] neighborhood of Brooklyn, New York. First artistic endeavors[edit] New York[edit] Paris[edit] Later life[edit]

Photographs Do Not Bend: contemporary photographers Archives Research: Sam Taylor Wood, Still Life (video stills), 2001 In the arts, vanitas is a type of symbolic work of art especially associated with Northern European still life in Flanders and the Netherlands in the 16th and 17th centuries though also common in other places and periods. The word is Latin, meaning "emptiness" and loosely translated corresponds to the meaninglessness of earthly life and the transient nature of Vanity. Ver más Metamorphose kbx< Kobas + Laksa > Daniel Temkin Daniel Temkin makes still and interactive pieces stemming from different forms of miscommunication, often built as uneasy collaborations with the computer. I'm featuring two of his projects which are related with glitches and errors produced by the use of basic softwares such as Photoshop. The first one is called Glitchometry, Daniel describes; each image begins as one or a few black squares or circles. They are sonified -- imported into an audio editor. Sound effects are added to individual color channels, as if they were sound, transforming the image. Because the tool is used in an unconventional way, there is no immediate way to monitor the effect. Glitchometry (recommend click images to enlarge) Dither Studies "A collaboration with Photoshop. Daniel only used the indexed color mode from Photoshop to make this series, see the full series here.

CLANG The Moment Being Together Being Together Myth of the Flat Earth Twilight Dreams of a Papilio Demoleus Erasure Blind Spot Remembering Strangers Self Reflection Guilt Me and Friends Time My Twilight Window Wall Street October 2008 Strangers NYC 64.1 N 21.9 W Fear Of Losing The Existence Beon Sleeps Open Wound Existence Of Being Ground Zero Beijing NYC Out of Context

Julien Coquentin - photographer Dieter Appelt, Wout Berger | Images fabriquées. Photographie plasticienne | Thonon Les Bains. Galerie de l´Etrave Communiqué de presseDieter Appelt, Wout Berger, John Coplans, Gilbert & George, Risk Hazekamp, Olivier Herring, Ana Mendieta, Myriam Mihindou, Joachim Mogarra, Arnulf Rainer, Georges Rousse, Elisa Sighicelli, Sandy SkoglundImages fabriquées / Photographie plasticienne. Collection Claudine et Jean-Marc Salomon Précédé par l'expression d'"image fabriquée", davantage explicite par rapport à l'idée d'une manipulation, le concept de photographie plasticienne a été inventé au milieu des années quatre-vingt pour désigner toute une production d'images qui, si elle recourt au médium photographique, se distingue de l'usage ordinairement convenu qu'on en fait. La qualité de «plasticienne» renvoie en effet à l'idée d'une photographie dont l'image procède de diverses manipulations tant des matériaux et des modèles qui la constituent que du format ou de la mise en espace dans lesquels elle est établie.

la photographie dans le surrealisme notes de lecture à propos de jeff wall J’ai compris la véritable dimension critique de l’art contemporain. J’ai compris qu’il ne s’agissait pas d’attaquer ou de détruire, qu’il n’était pas question de violence, mais qu’il s’agissait d’une exploration militante de la légitimité de la tradition. (...) (...) Dès cette époque [60-70], j’ai commencé à douter que les nouvelles formes de l’art puissent produire des événements artistiques comme l’avaient fait les formes plus anciennes. (...) Ces nouvelles formes artistiques contenaient en elles-mêmes, dans leurs pratiques, des limites que n’avait pas l’art ancien. (...) Il était évident que l’idée même de représentation était devenue, depuis 1966, l’objet central de toutes les entreprises de déconstruction. La tradition est l’accumulation des jugements produits par des individus en leur temps (...) Je n’ai jamais considéré la tradition comme une institution à respecter ; à mes yeux c’est une dynamique qui permet de se renouveler, personnellement, en prenant plaisir aux oeuvres. (...)