Barney Kulok /// Simple facts /// Rêves dystopiques

Barney Kulok’s Dystopic Dreams:

Some people meditate to connect with their muses. Others find an unsuspecting ingénue, cast off from a Seven Sisters college. However, photographer Barney Kulok is a much simpler man. "I smoke cigarettes and listen to Jimi Henrix really loud and drive fast." When looking at one of Kulok's pieces, the visceral reflection of his creative process is apparent in his finished piece. "I'm usually trying to answer some formal or conceptual question." Kulok's kinetic snapshots find inspiration in all sots of characters. "My brother Sam," Kulok says, "an incredible jazz guitarist and probably the best artist I know, so he inspires me in all sorts of ways -- visual and otherwise." But Kulok is in the enviable position of knowing his idols personally -- artists such as Sebastian Bear-McClard ("He's just an old friend from school -- far from my idol," Kulok cheekily corrects me) and Vik Muniz among others. "They've always challenged me to push harder." lire la suite
Déclic Kulock article en français d'Anaïd Demir ici
le site de Barney Kulok

Illustrations: Simple fact (extracts) 1_Untitled (stain) ///  2_Untitled (covered) ///  3_Untitled (of and)

Lucas Blalock /// patterns, mirrors, fake fruit: photography like algebra

 My work is engaged in the ways that falseness/mechanics in pictures can bring us closer to the world. I pursue this through a variety of overlapping strategies that in some way alienate the “natural” view in the hope that the viewer will, by engaging this alienation, come into more active terms with the picture.

entretien avec Luca Blalock

son site
Illustrations: 1_loop-loop (picture for NM), 2009 /// 2_untitled (3,1,4,1,5,9,7,2,3,6), 2009

Chris Wiley /// The surface of things

Artist's Statement

Sometimes when I look through the viewfinder and see the little corners of the world light up, they shimmer with such a suchness that my pupils dilate. Who knew that so much could happen in such small places, when they fill up with light and presence? Who could have overlooked them?

Bio/Resume

Chris Wiley is an artist and writer who lives in Greenpoint, Brooklyn. He holds a BA in photography and art history from Sarah Lawrence College and an MA in contemporary art theory from Goldsmiths College, University of London. He has shown his work in New York, Philadelphia, Germany, and in various online publications. He is a contributing writer to Kaleidoscope and has written for various other publications including Abitare and Cabinet. He has also previously worked on curatorial projects at the New Museum of Contemporary Art, and is currently working in this capacity on the 8th Gwangju Biennial in South Korea.
more on  chriswiley.net

Illustrations 1 et 2: Chris Wiley "the surface of things" (extract)

Joachim Schmid /// ABC Artists' Books Cooperative

Joachim Schmid collecte des images depuis 1982. Toutes ses publications sont disponibles et visibles en ligne sur ABC. Ses derniers travaux sont réalisés à l'aide de google map, à partir des milliards d'images publiées sur flickr.

son site

illustration: Joachim Schmid, O Campo, pigment ink print, 27 x 36 cm image on 30 x 40 cm paper, ABC edition /// Joachim Schmid, "Meetings" (extract), 2003-2007

Les 9 yeux de google street

 voir ici:
Jon Rafman

Thomas Struth /// Galerie Max Hetzler

Struth changes the context of the technological sublime by transferring the motives into the gallery space: Anonymous sculptures reveal structures that are incomprehensible to the majority of spectators while the viewer is confronted with alienated forms of industrial and technological progress. Titles, such as Tokamak Asdex Upgrade periphery, intensify the formality in photographs that analyze and document the human ambition and the progress of today’s industries. Also on view are photographs that record architectural sites in Korea, including an oil platform and a shipyard, strongly contrasting with the advanced technologies of the former. The depiction of the image’s architecture seems to create iconographic and hyperreal manifests of the present.
 lire la suite sur le site de la galerie Max Hetzler
vues de l'exposition

Illustration: Thomas Struth, Chemistry Fume Cabinet. The University of Edinburgh, 2010. Digital C-Print, 120,5 x 166 cm.

Stephen Gill /// Le documentaire conceptuel

Born Bristol, UK 1971. Lives in Hackney, London.
Stephen Gill was introduced to photography at an early age by his father, and his first photographs reflected his interests in birds, animals and music.
Stephen’s photographs are now held in various private and public collections and have also been exhibited at many international galleries and museums including London’s National Portrait Gallery, The Victoria and Albert Museum, Agnes B, Victoria Miro Gallery, Galerie Zur Stockeregg, Gun Gallery, The Photographers’ Gallery, Palais des Beaux Arts, Leighton House Museum, Haus Der Kunst and has had solo shows in festivals including - Recontres d’Arles, The Toronto photography festival and PHotoEspaña.
Stephen founded his publishing imprint Nobody in 2005 in order to exercise maximum control over the publication process of his books. His overriding intention is to make the book the finished expression of the photographs, rather than just a shell in which to house them. Experimentation with materials, and a hands-on, tactile approach to maquette making lead, in many cases, to his finished books having an individual, unique presence. This tactile approach includes materials and techniques such as lino cut printing, letter press printing, mono prints, spray paint, rubber stamps and on occasion entire books are manufactured and assembled by hand in Stephen’s Hackney studio. He considers the bookmaking process to be a key final stage in the production of his photographic works, and he aims to make books that are conceptually consistent with their content. All decisions made during production are therefore directed by the requirements of the work rather than any external influences or considerations.
son site

Ligovsky Prospekt

Réalisation: R.Renault & L.Hammadouche
Production: Ceros
Ce montage de 34 mètres sera présenté par la galerie Serge Plantureux lors de Paris-Photo

le fond de dotation Clémentine:

Constatant que depuis leur invention, les épreuves photographiques sont devenues parmi les plus fidèles témoins matériels de l’histoire culturelle, le Fonds de Dotation Clémentine soutient les initiatives qui rendent celles-ci accessibles, favorisent leur étude matérielle ainsi que la construction d’une généalogie culturelle attachée aux documents d’époque.
Les collections du Fonds de Dotations couvrent les différentes périodes de la photographie partout où celle-ci a pu parvenir. Le catalogue sera mis en ligne dès cet été, il est composé d’une dotation initiale et de dépôts.
Nos publications sont des expérimentations proposées comme des outils d’analyse de l’histoire matérielle de la photographie. Vous trouverez sous l’intitulé « carnets de Clémentine » cet ensemble déjà publié ou en projet. L’Association des Amis de Clémentine assure la publication et la distribution des carnets.

Paul Virilio /// Penser la vitesse /// OMNIPOLIS, la ville-monde

Interview de Paul Virilio par Stephane Paoli
envoyé par lageneraledeproduction. - L'info internationale vidéo.

Lorsqu'il entreprit de dénoncer, voici une quinzaine années, le règne ambigu et désintégrateur de la « vitesse », Virilio fut mal compris. Il l'est nettement mieux aujourd'hui. Entre-temps, nous avons pris conscience qu'une logique subliminale gouvernait notre nouveau rapport à la vérité et au monde lui-même. Cette logique est celle d'une vitesse sans cesse augmentée. Dans deux ouvrages, publiés au début des années 1990, Virilio soulignait que la vitesse, non contente d'occuper une place prépondérante dans notre représentation du réel, finirait par constituer le réel lui-même. C'est à peu près fait. Ses réflexions sont en passe de devenir des passages obligés de la réflexion contemporaine. Notre dette à l'égard de Virilio s'en est accrue d'autant. lire la suite

voir aussi: 
Paul Virilio : "Le krach actuel représente l'accident intégral par excellence"

Jean Baudrillard et la photographie /// La disparition du monde réel

Vidéo, écran interactif, multimedia, Internet, réalité virtuelle : l'interactivité nous menace de partout. Partout ce qui était séparé est confondu, partout est abolie la distance : entre les sexes, entre les pôles opposés, entre la scène et la salle, entre les protagonistes de l'action, entre le sujet et l'objet, entre le réel et son double. Et cette confusion des termes, cette collision des pôles font que nulle part il n'y a plus de jugement de valeur possible : ni en art, ni en morale, ni en politique. Par l'abolition de la distance, du "pathos de la distance", tout devient indécidable. Jusque dans le domaine physique : la trop grande proximité du récepteur et de la source d'émission crée un effet Larsen qui brouille les ondes. La trop grande proximité de l'événement et de sa diffusion en temps réel crée une indécidabilité, une virtualité de l'événement qui lui ôte sa dimension historique et le soustrait à la mémoire (1.). Partout où opère cette promiscuité, cette collision des pôles, ça fait masse.
lire la suite sur EGS

America in Color from 1939-1943 /// Rares images couleurs de la dépression américaine

These images, by photographers of the Farm Security Administration/Office of War Information, are some of the only color photographs taken of the effects of the Depression on America’s rural and small town populations. The photographs are the property of the Library of Congress and were included in a 2006 exhibit Bound for Glory: America in Color.

70 images sur le DenverPost

illustrations:
1_ Boy building a model airplane as girl watches. Robstown, Texas, January 1942. Reproduction from color slide. Photo by Arthur Rothstein
2_ Barker at the grounds at the state fair. Rutland, Vermont, September 1941. Reproduction from color slide. Photo by Jack Delano
3_ A crossroads store, bar, "juke joint," and gas station in the cotton plantation area. Melrose, Louisiana, June 1940. Reproduction from color slide. Photo by Marion Post Wolcott
4_  A store with live fish for sale. Vicinity of Natchitoches, Louisiana, July 1940. Reproduction from color slide. Photo by Marion Post Wolcott.
All pictures © Prints and Photographs Division, Library of Congress

Jennilee Marigomen /// basse intensitée, ambigüité, interpétation

Jennilee Marigomen est née en 1982, elle vit à Vancouver




Entretien avec Graham Kolbeins


Although some of your photos have people in them, you seem to avoid straight-up portraits. What leads you to pick nature over people?
The images that resonate with me are the ones that embrace a certain kind of ambiguity and leave room for interpretation. There is always a bit of uncertainty and mystery in nature… It can’t be fully controlled and is always changing and adapting - which is what my Botanophobia series is about. I’m not really interested in subjects that are too direct or give a lot away.. I want people to revisit the image with a new perception each time. Kind of like a film with an open ending. Or maybe I prefer not to take portraits because I’m a little shy.
Tell us a little about what the art scene in Vancouver like.
Vancouver is a small city, so it’s easy to connect with other photographers that share the same audience as you. It’s natural to support each other, share ideas and resources, and collaborate. Vancouver has a big annual exhibition coming up called The Cheaper Show that will be featuring 200 local and international artists - selling their work for the same price across the board. The show does a really amazing job at bringing the art community together and bringing artists to the forefront – no matter if you are emerging or established.

lire la suite sur futureshipwreck



plus d'infos sur le site de Jennilee Marigomen

illustrations: 1 et 2_absent (extrait) // 3_publication pour 01magazine

BEN GUEST /// Gogito sum

Cogito Sum by Hamza Walker
Being required to carry identification means we are never without a picture of ourselves. When asked, we present a small card featuring a photographic likeness whose caption is our name. This tacitly authenticates our presence. We own our physiognomies and our physiognomies own us. Genetics is not as much a logic as it is a lottery governed by the probabilities and permutations of physical traits that in their unique combinations define us as individuals. But our bodies, in all their particularities, are only the discreet portion of what comprises the self, which is forever a vague alloy irreducible to neither a psychological or physical component. The union of ego with one’s image, or “mirror stage” as it is referred to in psychoanalysis, is a milestone in personality formation. But by the time of our first government issued photo ID the “mirror stage” has been fleshed out by layers of formative experience becoming a mask without which it is impossible to speak of self.
lire la suite

video entretien Ben Guest / Hamaza Walker , Renaissance Society, Chicago

Ben Guest 1_Jennifer in her Rooftop Garden, 2006  /// 2_Peg, 2008 ///
courtesy Stephen Daiter Gallery

1922 /// les premiers tests Kodachrome

1928: lancement du Kodachrome grand public

courtesy Georges Eastman House, Rochester, NY

Projet Toubabou /// ENBA hors les murs/// "Passages" Fondation Bullukian, Lyon

Les Huitièmes Rencontres de la Photographie de Bamako se sont déroulées en novembre 2009. Philippe Durand, artiste travaillant avec la photographie et la vidéo, enseignant à l'École nationale des beaux-arts de Lyon, a souhaité accompagner un groupe d'étudiants pour plusieurs raisons : la rareté de ce type d'évènement dans cette région, l'occasion de se confronter à des pratiques, des enjeux artistiques autres, la prise de conscience d'une histoire commune.
« L'idée n'était pas d'aller là-bas seulement comme spectateur des rencontres, mais de les considérer comme un « bruit de fond » afin de générer un commentaire sur notre propre situation.
Le projet a pris le titre générique de « Toubabou » qui est un terme familier dérivé de toubab désignant le blanc, l'occidental qui est en Afrique. Il exprime notre incapacité à dépasser notre statut de touriste occidental. Bien que nous soyons issus d'une école d'art, il relie l'histoire commune de l'Afrique et de l'Europe, passée et présente. Comment imaginer un après à ce rapport, qui a impacté une grande partie du monde ? Comment reconstruire une situation nouvelle, permettant un rééquilibrage des échanges? »
lire la suite
plus d'infos
illustrations: 1_Damien Sayer "Life is funny but not ha ha funny " (extrait), 2009 /// 2_Maxime Rizard "Portique", 2009 ///Daniel Otero "Afrinaute", 2009