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Aardenburg Imaging & Archives

I must applaud Mark on the development of his site! It has come a long way and continues to develop nicely. There is a load of information on the permmenance of digital printing.

"Aardenburg Imaging & Archives was founded in 2007 by Mark McCormick-Goodhart. It is located in the historic Hyde House in Lee, Massachusetts. AaI&A collaborates with serious amateur and professional print makers, photographers, and artists who work with digital printing processes. We are carefully building an archive of digitally mastered photographs and fine art prints. Our goal is rigorously to document the late 20th and early 21st Century digital printing technologies used to make photographs and fine art prints. Aardenburg's collecting policy emphasizes the materials and processes rather than any specific genre of artists or subject matter. "

Aardenburg Imaging & Archives

The Expansive Lens

Peter Campus, Douglas Gordon and David A Ross in conversation @ TATE Etc.

Peter Campus was one of the first artists to explore the formal possibilities of film and video technology. Douglas Gordon, who admires Campus's work, is best known for his iconic video installation 24 Hour Psycho. The two artists talk to curator David A Ross.

DAVID A ROSS : Both of you have worked in the medium of video, but starting in different decades and different cultural environments. For example, Peter, when you showed your video installations at the Bykert Gallery in 1975 there wasn’t much cable television. However, what you have in common is a deep and serious engagement with cinema. I know you are both fans of Michael Powell’s Peeping Tom, a film that underscores the idea of looking, the psychological complexity of being looked at, the gaze of the camera, but also the obsession of recording and filming – all aspects that relate to both your bodies of work.

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Adobe CS4

Adobe's SVP of the Creative Business Unit - Johnny L and Photoshop Product Manager John Nack show off some upcoming CS4 technologies as well as technology Adobe is working on beyond CS4.

Podcast

Indecisive moments

Australian and Japanese artists explore the ambiguity of time, memory and reality

By ASHLEY RAWLINGS
Special to The Japan Times

Henri Cartier-Bresson's legacy of the "decisive moment" had a profound impact on photography. As a cofounder of the photographic cooperative Magnum Photos in 1947, his philosophy influenced a whole generation of photojournalists, and, for decades, Magnum photographers were instrumental in constructing the popular impression of reality. They crafted a collective memory of history as a set of succinct narratives told through images captured in the briefest of instants.

echnology and developments in "photomedia" since the '80s, contemporary artists have rethought the role of time in photography. With this in mind, the curators of "Trace Elements: Spirit and Memory in Japanese and Australian Photomedia" have brought together 10 artists from Australia and Japan for a heady exhibition that is meant to address the notion of photomedia as a "memory- creation device."

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Layers to Comment on Layers of Imagery

By KAREN ROSENBERG @ New York Times

As it sifts through the riches of the extraordinary Gilman Collection of photographs, acquired three years ago, the Met is slowly bringing its holdings of contemporary photography up to speed. In the fall the museum dedicated a new gallery, the Joyce and Robert Menschel Hall, to the exhibition of post-1960 photography.

“Photography on Photography: Reflections on the Medium Since 1960” is the second installation in this space. It is better than the first, largely because of its variety of works (by artists male and female, young and old, American and European, famous and fledgling). Thomas Ruff and Hiroshi Sugimoto are here, but so are Janice Guy, an artist turned dealer who is benefiting from a sudden interest in her early self-portraits, and Mark Wyse, a young photographer who is also active as a curator. The 21-artist mix isn’t perfect, but the curator, Doug Eklund, deserves credit for taking a few risks.

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Photographer Sam Abell talks about Richard Prince

A MONTH!

Wow. Things have been very hectic this Summer and it has been a month since my last post. I have assumed new responsibilities at the school here and have been on the run.


I did however escape for 10 days to do a little unwinding. I packed up the mountain bike and drove to the mountains of Pennsylvania east of Scranton to visit a long time friend, Brian, on his farm. Excellent riding and fishing at his family cabin.


Then on to the Finger Lakes of New York and my family's cottage on Cayuga Lake. The fresh air and fresh water was just what I needed!

Then there is the wine trail. It has been a while since I made the rounds by bike and I had forgotten how fun it can be.



Tiffany's friend Rob decided to do some spearfishing and viola he landed a nice carp (if you like carp!)

Aristocracy of Talent for an Egalitarian Art

By Roberta Smith @ NY Times

From the daguerreotype to the cellphone snapshot, the history of photography has unfolded as a series of miracles, each of which has profoundly altered our understanding of the time-space continuum. As the innovations become familiar, the photographs become miracles in another way, as connections to a past we’ve never seen.

“Framing a Century: Master Photographers, 1840-1940,” at the Metropolitan Museum of Art, manages to operate in the gap between both kinds of miracles, innovative and talismanic. It presents the history of a medium as well as history itself.

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Access All Areas

By Christy Lange @ FRIEZE

Taryn Simon’s photographs of restricted locations reveal an unsettling side to the American Dream

‘It’s 3am and something is happening in the world […] There’s a phone in the White House, and it’s ringing.’ So began the narration of a recent television advertisement for Hillary Clinton’s presidential campaign, unleashing a flurry of discussion about the White House telephone and the candidate best suited to answer it in case of a global emergency. The folklore of the White House ‘red phone’ was, in fact, first exploited during the 1984 presidential campaign, when it represented the tenuous hotline between Washington and Moscow. It’s telling that the Clinton campaign was so eager to revive this anachronistic symbol: though Barack Obama accused Clinton of exploiting ‘the politics of fear’, Clinton had in fact tapped into a deep-seated American fantasy about the backstage operations of the United States government and its national security apparatus, at a time when that backstage is probably more expansive and dimly lit than ever. Americans, apparently, are still intrigued by the ‘red phone’ as a potent symbol of national secrets and the intricate bureaucracy hidden behind them. The country operates not only on freedom and transparency, but also on things that are unseen and unknown to most of us. Perhaps that’s what makes Taryn Simon’s 2007 publication of her photographic series ‘An American Index of the Hidden and Unfamiliar’ so timely and appealing.

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"For want of a new territory..."

Philip-Lorca diCorcia "Head #06 2001"

Max Kozloff on Street & Studio: An Urban History of Photography @ TATE Etc.

The camera has always been a socialised instrument, well equipped to describe shifting behaviour, environments and manners. Of course we rely on it to give a specifically factual account of them. Inevitably, situations change, but this testimonial function of photography remains constant. Before the advent of Photoshop, whatever the circumstance or event, be it impromptu or staged, there could be little doubt that the camera recorded it through an act of witness. Its observational power would appear to have served as a fixed, credible reference to realities that fluctuate indefinitely. Over the past few decades, however, we’ve come to understand that a scene may be filtered through photographic motives other than, or at odds with, the purpose apparently intended. The facts are delivered, but their content has to be reckoned with freshly, and on uncertain terms.

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Cornell Capa 1918-2008

"...as the founder of the International Fund for Concerned Photography, and the founder of ICP in 1974, Cornell was a singular force in the world of photography, opening our eyes to the power of the photographic image as an agent of change."

May he rest in peace.

ICP tribute

DIY film

Pretty ingenious!

FLICKR page

Billion-pixel panoramas — from your own camera

by Jonathan Richards @ TimesOnline

A device that lets a camera take pictures with 100 times the resolution of the most advanced models on the market is poised to revolutionise amateur photography.

The Gigapan allows people to take pictures which are more than a gigapixel - or 1,000 megapixels - in size, effectively turning a single photograph into a panoramic experience, around which the viewer can navigate on a computer.

Yet the actual camera used is no more specialised than a regular digital model.

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Gigapan website

Robert Rauschenberg

A touchstone for all of us... Rest in Peace..

New York Times article

Robert Frank: melancholy and menace

@ The Telegraph

Catching his subjects off-guard with a camera peeking from his jacket, the photographer Robert Frank 'captured a sad poem right out of America on to film', as his friend Jack Kerouac put it. As Frank's masterpiece, The Americans, is reissued after almost 50 years, Michael Shelden looks at his work

On patrol near the Mississippi river one afternoon in November 1955, Lt RE Brown of the Arkansas State Police spotted a suspicious, 'foreign-looking' man driving down the highway in a battered old Ford and pulled him over.

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Life Before Death noch mal leben: portraits of the dying

by Beate Lakotta @ Lens Culture

Few experiences are likely to affect us as profoundly as an encounter with death. Yet most deaths occur almost covertly, at one remove from our everyday lives.

Death and dying are arguably our last taboos – the topics our society finds most difficult. We certainly fear them more than our ancestors did. Opportunities to learn more about them are rare indeed.

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Starn Twins @ 20x200

20×200 has been getting all sorts of press lately (NY Times, Houston Chronicle, WIred Magazine just to name a few), and they’ve featured some well known artists. They now have added to their accomplishments an edition by two people in the highest level of art stardom, Mike and Doug Starn. Unfortunately the work went almost immediately.

20x200

Conservators face issues in preserving video

By Hugh Hart, Special to The Times

"Video is a fugitive medium," said Getty Research Institute's Glenn R. Phillips, and he should know. As curator for "California Video," running at the Getty through June 8, he enjoyed the luxury of a massive archive produced during the '60s, '70s and '80s. The challenge: Most of the tapes, recorded in obsolete formats, were crusted with oxidized crud that made the work unwatchable and threatened to ruin any playback deck hardy enough to play them.

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The MIssing Criticism: Papageorge on Robert Adams and 'What We Bought'.

@ Eric Etheridge

In 2000, the Yale University Art Galley acquired the 193 prints that comprise Robert Adams' book What We Bought: The New World (cover right). Two years later, Tod Papageorge wrote this critical appraisal, which also includes a significant amount of details about Adams' working method, derived from conversations with the artist. The essay originally appeared in the Yale University Art Galley Bulletin.

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