Showing posts with label Marvin Heiferman. Show all posts
Showing posts with label Marvin Heiferman. Show all posts

9.22.2015

Reading Shortlist 9.22.15

Lucas Blalock, from the video Lucas Blalock's Digital Tool Kit

The Reading Shortlist is an occasional post with an eclectic listing of recommended sites, readings and links. A recommendation does not necessarily suggest an agreement with the contents of the post. For previous shortlists, please visit the site links page.
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Scott Alexander, American Photo, Processing the News: Retouching in Photojournalism Good overview of the slippery problems that surround creating contemporary PJ standards in the midst of questions of truth and manipulation in the Photoshop era.

Art21, Lucas Blalock's Digital Tool Kit A short, well-done video looking at Blalock and his transparently and heavy-handedly Photoshopped images.

David Balzer, The Guardian, "Reading lists, outfits, even salads are curated – it’s absurd" Asks a valuable question - "Does the process of selection and arrangement add any value?" - only to delve into a history of the idea of curation instead. Still worth a read.

JJ Charlesworth, artnetnews, Can Abstract Art Still Be Radical? What's left in the tank for abstract act? Charlesworth insinuates not much, at least not without inventing a new language of forms we don't currently have.

Michael David Friberg, On futility and the myopic nature of the photo world Friberg packs a lot of issues into this semi-rant, including questioning photographer motivation, that is, the idea many photographers create work as monuments to themselves, not with the goal of sharing with or educating others; the advent of photography as communal authorship and social practice, found in projects like Everyday Africa; and the limited audience for - and therefore limited impact of - contemporary art and long-term documentary photography.

Alessia Glaviano, Vogue.it, Taryn Simon A 15-minute interview with Simon that gives a nice overview of her work.

From Dutch Artists Celebrate George Orwell’s Birthday By Putting Party Hats On Surveillance Cameras

Ellie Hall, Buzzfeeed, Dutch Artists Celebrate George Orwell’s Birthday By Putting Party Hats On Surveillance Cameras People can be awesome.

Marvin Heiferman, Paris Photo Forum, The Slipperiness of Photography: Marvin Heiferman A lunch-break length video from Heiferman on the multiple, unruly histories of photography.

Alfredo Jaar, Louisiana Channel, Images Are Not Innocent Jaar argues all images are ideological conceptions of the world and talks about how Western media, through its lack of coverage of events such as the Rwandan genocide, becomes complicit in these horrific events.

Brian Jones, Business Insider, 46 photos of life at a Japanese internment camp, taken by Ansel Adams I didn't know about this work before coming across this link. It helps expand a sense of Adams and his practice in a good way.

From Kool-Aid Man in Second Life © Jon Rafman

Kool-Aid Man in Second Life Jon Rafman videos are on heavy rotation at fototazo International Headquarters.

Bryan Schutmaat, Ahorn Magazine, Interview with Peter Brown A good example of an interview that provides depth through clarity, and not by trying to weave the text as densely as possible.

Donald Weber, Vantage, The Rules of Photojournalism Are Keeping Us From the Truth "At what point did the act of making images subvert the idea of what Photojournalism is and should be?"

Alexi Worth, Cabinet, The Invention of Clumsiness A fascinating hypothesis about the impact of early photography on mid-19th century painting, in particular on Manet.

9.12.2013

Reading Shortlist 9.12.13

Still from "How to use an Afghan box camera 'kamra-e-faoree'"

The Reading Shortlist is an occasional post with an eclectic listing of recommended sites, readings, and links. A recommendation does not necessarily suggest an agreement with the contents of the post. For previous shortlists, please visit the site links page.
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Anyana V Jackson undresses the past. After a conversation on Twitter recently about Pieter Hugo, John Edwin Mason suggested a worthwhile look at this video with Jackson speaking about her show "Archival Impulse."

Pete Brook, Photography Is the New Universal Language, and It’s Changing Everything, Raw File. A wide-ranging conversation with Marvin Heiferman, author of Photography Changes Everything that follows up on the book's central argument that we need to consider the medium in a fuller way than we traditionally have.

Ian Brown, Humanity takes millions of photos everyday. Why are most so forgettable?, The Globe and Mail. Brown explains why the incredible jump in photography production doesn't necessarily need to cause panic among professional photographers calling it "an incredible surge in mediocrity."

From "Lunch Atop a Skyscraper Photograph: The Story Behind the Famous Shot Read"

Meghan Gambino, Lunch Atop a Skyscraper Photograph: The Story Behind the Famous Shot, Smithsonian.com. A recount of what is actually known - or how little is known - about one of the most famous photographs ever taken.

How to use an Afghan box camera "kamra-e-faoree." A seven-and-a-half minute video on one of the last two remaining street photographers in Kabul - and it's not the type of "street photographer" you might think. Includes a fantastic intermission.

Fred Ritchin, What a Photograph Can Accomplish, Time LightBox. A call to re-evaluate not what photography can do for us today, but what we want photography to do for us today. Talks through projects Ritchin cites as "useful" because they advance photographic ideas instead of replicating previous photographic icons and strategies.

Jerry Saltz, Saltz on the Death of the Gallery, Vulture. Saltz explores the importance of the physical gallery to artistic conversation. "The art world has become more of a virtual reality than an actual one, useful perhaps for conceptualizing in the abstract but otherwise illusory."

Frances Stonor Saunders, Modern art was CIA 'weapon,' The Independent. Confirmation has emerged of the long rumored CIA-sponsorship of Abstract Expressionism and other Cold War art forms as part of a covert propaganda war versus the Soviet Union.