Passover Seder. by revenante (2010)The Jewish Farm School
William EgglestonThe Spirituality of Food Jewish Perspective
Quiet Food Buddhist Perspective
A Theology of Eating Christian Perspective
Few modern myths about art have been as persistent or as annoying as the so-called death of painting.
Roberta Smith piece in the Sunday NYT
Arrangement. Alexi Worth
Painting, Still Lively
Slideshow
Roberta Smith piece in the Sunday NYT
Arrangement. Alexi WorthPainting, Still Lively
Slideshow
Chuck Close. 
Chuck Close. 
A Juried Photography Exhibition
Garrison Art Center
Garrison, NY
Sept 3-26, 2010
Deadline for submissions: June 1, 2010
Jurors:
Stephen Shore
Stephen Shore is the second living photographer to
have a one-man show at the Metropolitan Museum of Art
in New York. He has also had one-man shows at MOMA,
International Center of Photography, George Eastman House,
and Kunsthalle, Dusseldorf among others. Shore has received
fellowships from the Guggenheim Foundation and the National
Endowment for the Arts and is widely published. He is also
the chair of the Photography Department at Bard College in
Annandale, NY.
Harvey Stein
Harvey Stein is an eminent photographer, teacher,
lecturer, curator and author based in NYC. He teaches
currently at the International Center of Photography and
the School of Visual Arts, both in NYC. He has had over 70
solo shows, and his work is in the permanent collections of
George Eastman House, Museum of Fine Arts Houston, Brooklyn
Museum, ICP, and many more. Stein is represented by 8 major
galleries and is the Director of Photography at Umbrella Arts
Gallery, NYC.
Garrison Art Center
Here is an interesting piece from Art Lies theorizing the existence of a Rural Avant-Garde. I generally agree with what is being discussed here; that art is following cultural patterns of renewed interest in agriculture and sustainability. Artists are finding new ways to look at man's relationship with nature. Very interesting concept.
Wandering the Back Forty: Some Ideas about a Rural Avant-Garde
THE WOMEN'S COMMITTEE OF THE PHILADELPHIA MUSEUM OF ART is pleased to announce its first Photography Portfolio Competition. The competition is open to all photographers age 18 or over. A jury of nationally recognized experts will select one photograph from each of six artists for inclusion in a 16" x 20" portfolio to be published in an edition of 25 in fall 2010. Peter Barberie, The Brodsky Curator of Photographs, Alfred Stieglitz Center, Philadelphia Museum of Art, will select one additional curator's choice entry to be sold as an individual print in a limited edition. The Museum will exhibit the portfolio and the individual print in fall 2010, and an event will be held at the Philadelphia Museum of Art to celebrate the production of the portfolio.
JURORS 2010 Jurors will include noted photographer Tina Barney; Melissa Harris, Editor-in-Chief, Aperture Magazine; and Peter Barberie, The Brodsky Curator of Photographs, Alfred Stieglitz Center, Philadelphia Museum of Art.
AWARDS Each winning photographer will be awarded $1,000. The curator's choice photographer will receive $500. Winning artists will receive one print of their work. The winning photographs will become part of the permanent collection of the Philadelphia Museum of Art.
PORTFOLIO The portfolio will be sold through The Women's Committee of the Philadelphia Museum of Art in a limited edition of twenty-five (25) boxed sets to be produced by Silicon Gallery Fine Art Prints, Philadelphia. Two (2) additional editions will be printed for the Philadelphia Museum of Art. The portfolio will comprise six photographs and information about each artist. An additional curator's choice photograph will be selected and sold as an individual print in a limited edition.
Photography Portfolio Competition 2010
New York City’s premier photography festival will take place May 12–16, 2010; the main festival sites will return to the Brooklyn waterfront community of DUMBO for the third straight year, and the festival will also expand its programming and pre-festival activities, for the first time, into other parts of the city.
Dedicated to the mission of pushing the boundaries of contemporary photography and showcasing ideas of our collective photographic future, the New York Photo Festival and its organizers and co-founders Daniel Power and Frank Evers will be forging down this path once more: NYPH’10 will feature the personal visions of curators Vince Aletti, Erik Kessels, Fred Ritchin, and Lou Reed as they take hold of the many indoor and outdoor sites in the formerly industrial neighborhood.
NYPH 10
Creative Week New York
What does Origami bring to mind? Paper Swans? Folded napkins? Paper airplanes? That was about it for me until I watched Between The Folds, a remarkable documentary film about the highest levels of fine art Origami. This film explores uber-origami. Artists and scientists who push the limits of this ancient craft, combining traditional paper making techniques with advanced mathematical formulas and computer programs.
Between The Folds
Origami Tessellations
Water & Woods series... Wissahickon Creek (2010)
"The worship of the Great Mystery was silent, solitary, free from all self-seeking. It was silent, because all speech is of necessity feeble and imperfect; therefore the souls of my ancestors ascended to God in wordless adoration".
- Charles A. Eastman
The Soul of the Indian
"The worship of the Great Mystery was silent, solitary, free from all self-seeking. It was silent, because all speech is of necessity feeble and imperfect; therefore the souls of my ancestors ascended to God in wordless adoration".
- Charles A. Eastman
The Soul of the Indian
from Water & Woods series. 2008"There is no abstract art.You must always start with something.Afterward you can remove all traces of reality.There is no danger then,anyway,because the idea of the object will have left an indelible mark".
—Pablo Picasso
Approaching Abstraction
International Center of Photography
1133 Avenue of the Americas at 43rd
New York, NY 10036
Through May 9th, 2010
A trip to ICP to see the Twilight Visions exhibit, was very worth while, but most of our attention was captured by the first floor exhibit of incredible photographs by Miroslav Tichý. Walk through the exhibit, then watch the documentary film showing in one of the small side rooms.After seeing the film, walk through the exhibit again and the realization of what Tichy managed to accomplish with the crudest of equipment and continuous social and psychological pressures will slowly sink in. This exhibit is a brilliant contrasting statement to the precision and detail of the Surrealists on the lower level. Tichy is the most interesting photographer you have never heard of.
Here is the fascinating story of Tichy from the ICP press release.
The first North American museum exhibition of the photography of the mysterious and reclusive Czech artist Miroslav Tichý will be on view at the International Center of Photography from January 29 through May 9, 2010. Now in his eighties, Tichý is a stubbornly eccentric artist, noted as much for his makeshift cardboard cameras as for his haunting and distorted images of women and landscapes, many of them taken surreptitiously.
Tichy's camera #1. Roman BuxbaumBorn in Moravia in 1926, Tichý studied painting at the Academy of Fine Arts in Prague in the years immediately following the Second World War. After Czechoslovakia’s adoption of communism in 1948, he left the Academy and turned his back on the official art world, withdrawing from mainstream society, in part as a political response to the social and cultural repressions of the regime. Regarded as a talented painter and draftsman influenced by Picasso and the German Expressionists, Tichý did not agree with the prevailing socialist realism of the day, instead forming an artist collective known as the Brněnská Pětka (Brno Five) with other likeminded SVU alumni. Constantly threatened and watched by the regime, the group took great risk in producing their work, even holding a clandestine exhibition in the Kyjov hospital in 1956. Tichý benefitted from the small, yet vibrant, cultural scene of Kyjov, taking in dance performances, plays, and beginning his first photographic experimentations with the artist Ladislav Víšek. Prone to mental breakdowns since his youth, Tichý worked alongside his peers until an apparent psychotic episode just before a planned exhibition in 1957 from which he withdrew his images. His work was not exhibited again until nearly four decades later. Over the years, his deliberately nonconformist lifestyle—as well as his mental illness—landed him in trouble with the authorities and led to periods of confinement in psychiatric institutions and the loss of his studio in 1972.
Untitled. TichyLiving in near isolation in his hometown of Kyjov, Tichý conceived a world populated by images of the local women, taking thousands of photographs from the 1960s through the late 1980s. Though he never stopped producing paintings and drawings, Tichý focused the majority of his attention on the photographic medium, practically reinventing it to suit his artistic vision of capturing the feminine essence with light. Save for the film, chemicals, and photographic paper he bought from a nearby drugstore, all his photographic equipment was self-made. Using cameras inventively constructed from found materials—shoeboxes, tin cans, clothing elastic, toilet paper rolls, even cigarette boxes—Tichý obsessively returns to the subject of the female form, whether viewed from afar with his makeshift telephoto lenses, or captured from the television screen. His intuitive method of photographing during daily walks about town might appear amateur in ambition, but the intensity, frequency, and regularity with which he creates reveal a unique and distinctly personal style of photography. Despite his camera’s crude optics—the lenses were cut from Plexiglas polished with sandpaper, toothpaste, and ashes—and skewed framing, the resulting images are formally complex, reflective of Tichý’s early art training, and vaguely reminiscent of the early works of the classical pictorial tradition. His images of women—often in bathing suits, bare-legged, or simply walking about town—are subtly erotic, taken from afar, often without the knowledge of the subjects. Tichý often embellished the surfaces and borders of these scratched, blurred, torn, and spotted images by drawing directly on them in pen or pencil, heightening the expressive quality created by his imperfect equipment. Sometimes framed or mounted on newspaper or cardboard, these highly personal objects were created for his own viewing pleasure, each negative printed only once with a homemade enlarger.
Untitled. TichyIn 1981, Tichý’s prolific body of work was brought to light by his longtime neighbor, psychiatrist Roman Buxbaum, who began efforts to document the artist and preserve the deteriorating photographs. Tichý’s work has received public attention only in the last five years, first going on view in an exhibition by Harald Szeemann at the 2004 Seville Biennale, where Tichý’s work won the “New Discovery Award.” After this exhibition, the Tichý Ocean Foundation was founded on the artist’s behalf by a group of trustees to preserve and exhibit Tichý’s work, which has since been shown at major museums including the Centre Pompidou in Paris and the Kunsthaus Zürich.
The ICP exhibition, organized by ICP Chief Curator Brian Wallis, includes a number of Tichý’s homemade cameras as well as approximately 100 of his photographs. Buxbaum’s 2004 documentary film, Miroslav Tichý: Tarzan Retired, will run continuously in the gallery. The exhibition will be accompanied by a catalogue published by ICP/Steidl, with essays by Brian Wallis, Roman Buxbaum, Carolyn Christov Bakargiev, Richard Prince, and Nick Cave.
Exhibition Catalogue from ICP Bookstore
Artistic collaboration: Water and Woods
I have been collaborating with artist Holly Fitzgerald for ten years. The development of Water & Woods has been loose and informal for the past five years or so. It's origins are a shared love of the natural elements of water and wood, and our individual attempts to bring those elements into art work. Years of walking along the banks of the Wissahickon and Pennypack creeks, the Schuylkill river, and the shore line of the Atlantic ocean have resulted in endless hours of artistic dialogue. It wasn't until about a year ago that we decided to formalize this dialogue and began to create works that maintained an ongoing and very distinct conversation. These pieces speak directly to one another and exist in relational context. The spiritual and emotional sensations that one feels during and after contact with moving water and the seasonal changes of trees can be very difficult to describe in words. We attempt to solve this narrative dilemma with photography, glass, sculpture, and found items such as driftwood and stone.
trees in water, Pennypack Creek
St Lawrence Skiff, Abstract
Wissahickon Reflections #4
St Lawrence Skiff, Abstract
Wissahickon Reflections #4
trees in water, Pennypack Creek
I have been collaborating with artist Holly Fitzgerald for ten years. The development of Water & Woods has been loose and informal for the past five years or so. It's origins are a shared love of the natural elements of water and wood, and our individual attempts to bring those elements into art work. Years of walking along the banks of the Wissahickon and Pennypack creeks, the Schuylkill river, and the shore line of the Atlantic ocean have resulted in endless hours of artistic dialogue. It wasn't until about a year ago that we decided to formalize this dialogue and began to create works that maintained an ongoing and very distinct conversation. These pieces speak directly to one another and exist in relational context. The spiritual and emotional sensations that one feels during and after contact with moving water and the seasonal changes of trees can be very difficult to describe in words. We attempt to solve this narrative dilemma with photography, glass, sculpture, and found items such as driftwood and stone.
trees in water, Pennypack Creek
St Lawrence Skiff, Abstract
Wissahickon Reflections #4
St Lawrence Skiff, Abstract
Wissahickon Reflections #4
trees in water, Pennypack Creek
approaching cubism. 2010
untitled. James Castle mid 1900'sApproaching Abstraction
thru Sept 5th
American Folk Art Museum
45 West 53rd Street
New York, NY 10019
It is commonly assumed that contemporary self-taught artists work solely in a representational style, eager to engage in storytelling and personal memory. But while the narrative tradition often is a primary impulse, a significant number exhibit a tendency to be seduced by material, technique, color, form, line, and texture, creating artwork that omits or obscures representation. “Approaching Abstraction” highlights the work of more than forty of these artists and includes European art brut masters, such as Aloise Corbaz, Rafael Lonne, and Adolf Wolfli; self-taught artists from the American South, such as Thornton Dial Sr., Bessie Harvey, J.B. Murry, and Purvis Young; and lesser-known artists, such as Johnny Culver, Hiroyuki Doi, and Melvin Way. This first exploration into nonobjective expression within this field is selected entirely from the museum’s permanent collection.
Exhibit Details
Approaching Abstraction Online Exhibit
Twilight Visions: Surrealism, Photography, and Paris
International Center of Photography
1133 Avenue of the Americas at 43rd Street
New York, NY 10036
January 29- May 9, 2010
Twilight Visions: Surrealism, Photography, and Paris, a portrait of a city in transition as seen through the eyes of Brassaï, André Kertész, Ilse Bing, Man Ray, and others, will be on view at the International Center of Photography from January 29 through May 9, 2010. Organized by guest curator Therese Lichtenstein, Twilight Visions offers a unique insight into the impact of the Surrealist aesthetic on those photographers working in Paris in the 1920’s and ‘30s. Presenting over 150 photographs, magazines, films, and ephemera of the period, the exhibition highlights the visionary role that photographers played in both the avant-garde art world of Paris and in the rise of a new mass-media culture.
Eiffel Tower. Ilse Bing 1934Exhibit Details
Ken Johnson's NY Times Review
From the Philadelphia Photo Arts Center website...
The Philadelphia Photo Arts Center is excited to announce Daydream Nation, our 1st Annual Contemporary Photography Competition and Exhibition. The title refers to photography’s ability to project emotions and dreams of the maker and to interrogate experiences of either fantasy or truth. The photograph is often the success and sometimes the failure of that daydream.
Selected entries will be exhibited at PPAC from June 8 – August 21, 2010 and will be included in a book of the exhibition. First, second, and third prize winners will receive, $500, $200, and $100 in cash prizes plus $50 gift certificates for PPAC’s digital services. The competition is open to all subject matter and photographic processes, work must have been created in the last 3 years. Competition open to all national and international artist. The entry fee is $25 for a maximum of 5 images. Members of PPAC do not need to send entry fee. Entry fees are non refundable. All entries must be received by Tuesday, May 4, 2010.
About the jurors:
Jock Reynolds is Henry J. Heinz II director of the Yale University Art Gallery for over 11 years. He has been executive director of the Washington Project for the Arts, in Washington, D.C., and director of the Addison Gallery of American Art at Phillips Academy, in Andover.
Joshua Chuang is the Marcia Brady Tucker Assistant Curator of Photographs at the Yale University Art Gallery. Prior to coming to Yale, Chuang worked as the production manager of the Pace/MacGill Gallery in New York City.
More details here
There is a very fascinating dispute taking place over the infringement of creativity and originality between two photographers, Sze Tsung Leong and David Burdeny. I have written about Leong several times on this blog and he is one of my favorite photographers, not just for the style of his images, but also for his philosophy and approach to creating a body of work.I first saw Leong's Horizon series in the spring of 2008 at Yossi Milo in New York City, and several months later discovered his essay A Picture You Already Know. These photographs and essay were highly influential on my personal work and helped me shape my views on the importance of sequence and series in photography.
"Perhaps this is why working in series is so important to photography, for to shape a personal vision requires revisiting a subject over many images to create a more focused and particular view, rather than relying on the unique aspects of a single image. In other words, photography is particularly suited to the accumulation of and relationships between many images, rather than to the specific imprint on the individual image, to create a unique vision or outlook"
Sze Tsung Leong from A Picture You Already Know (2007)
The current dispute involves an exhibit of Burdeny's work in Vancouver in which many of the images are strikingly similar to Leong's. Take a look at several examples below...
River Seine. Leong 2006
River Seine. Burdeny 2009
Pyramid. Leong 2007
Pyramid. Burdeny 2009
Canal. Leong 2007
Canal. Burdeny 2009
Leong and Yossi Milo have cried foul, copyright infringement, and all sorts of other nasty accusations at Burdeny. Burdeny denies any infringement and denies any influence from Leong's work at all. It's all He said, He said for the most part, with a continuous circular argument in my opinion.
I just do not see any validity in Leong's argument. These are very public and popular vantage points, photographed not just by art photographers, but by thousands of tourists with point and shoot cameras and cell phones. Does Burdeny look a bit foolish presenting images so similar in feel and concept to Leong's? Absolutely. He loses credibility points for originality. But copyright infringement? Since when does anyone have exclusive rights to shoot a photograph from a particular spot on earth? How many painters have set up their easels on the same iconic spots throughout history? Two painters could each create a work from the exact same vantage point and the resulting pieces would be very distinct due to the individual style and hand of each painter. Due to the mechanical reproduction of a camera, two photographs taken from the same spot will certainly have overwhelming similarities. Look at these images again and see that the only vital differences are those created outside the photographer's control; namely lighting and seasonal changes.
This is mostly about money. Leong's photographs sell for up to $25,000 each. Burdeny's sell for up to $10,500 each. Does Burdeny's lack of originality dilute the value of Leong's work in the market? This speaks so strongly to the issues of photographs as high valued fine art. Ansel Adams wrote volumes describing every detail of his working techniques and secrets of his craft. Very few could come close to his technical perfection, and those who did are not accused of copyright infringement. How many photographers ventured into Canyon de Chelly, or made pilgrimages to Ranchos de Taos Church? The highest level images from these locations didn't dilute the value of the fine art photography market.
Did David Burdeny copy Sze Tsung Leong's photographs?
David Burdeny website
Sze Tsung Leong website
"Perhaps this is why working in series is so important to photography, for to shape a personal vision requires revisiting a subject over many images to create a more focused and particular view, rather than relying on the unique aspects of a single image. In other words, photography is particularly suited to the accumulation of and relationships between many images, rather than to the specific imprint on the individual image, to create a unique vision or outlook"
Sze Tsung Leong from A Picture You Already Know (2007)
The current dispute involves an exhibit of Burdeny's work in Vancouver in which many of the images are strikingly similar to Leong's. Take a look at several examples below...
River Seine. Leong 2006
River Seine. Burdeny 2009
Pyramid. Leong 2007
Pyramid. Burdeny 2009
Canal. Leong 2007
Canal. Burdeny 2009Leong and Yossi Milo have cried foul, copyright infringement, and all sorts of other nasty accusations at Burdeny. Burdeny denies any infringement and denies any influence from Leong's work at all. It's all He said, He said for the most part, with a continuous circular argument in my opinion.
I just do not see any validity in Leong's argument. These are very public and popular vantage points, photographed not just by art photographers, but by thousands of tourists with point and shoot cameras and cell phones. Does Burdeny look a bit foolish presenting images so similar in feel and concept to Leong's? Absolutely. He loses credibility points for originality. But copyright infringement? Since when does anyone have exclusive rights to shoot a photograph from a particular spot on earth? How many painters have set up their easels on the same iconic spots throughout history? Two painters could each create a work from the exact same vantage point and the resulting pieces would be very distinct due to the individual style and hand of each painter. Due to the mechanical reproduction of a camera, two photographs taken from the same spot will certainly have overwhelming similarities. Look at these images again and see that the only vital differences are those created outside the photographer's control; namely lighting and seasonal changes.
This is mostly about money. Leong's photographs sell for up to $25,000 each. Burdeny's sell for up to $10,500 each. Does Burdeny's lack of originality dilute the value of Leong's work in the market? This speaks so strongly to the issues of photographs as high valued fine art. Ansel Adams wrote volumes describing every detail of his working techniques and secrets of his craft. Very few could come close to his technical perfection, and those who did are not accused of copyright infringement. How many photographers ventured into Canyon de Chelly, or made pilgrimages to Ranchos de Taos Church? The highest level images from these locations didn't dilute the value of the fine art photography market.
Did David Burdeny copy Sze Tsung Leong's photographs?
David Burdeny website
Sze Tsung Leong website
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