Edward Burtynsky : Manufactured Landscapes


El fotògraf canadenc Edward Burtynsky parla del seu celebrat projecte Manufactured Landscapes

Els impactants paisatges de Burtinsky mostren la intervenció de l’home en el medi degradant-lo i exprement-lo fins els  límits de la lògica. L’objectiu del fotògraf és ajudar a que la gent prengui consciència i s’adhereixi a la discussió global sobre la sostenibilitat. Burtinsky aconsegueix que les seves imatges siguin estètiques i esgarrifoses alhora.


És una mica llarg però molt recomanable.

font: http://www.ted.com/


William Eggleston

William Eggleston és una de les figures més notables de la fotografia contemporània. Nascut a Tenesse i criat a Mississipi ha basat la seva obra en la “bellesa de les coses lletges”. Els suburbis i les petites ciutats del sud americà han centrat l’atenció de la seva obra.

Eggleston fou un dels pioners de la fotografia en color a finals dels 60.

Vídeo promocional de la pel·lícula de Reiner Holzemer sobre el fotògraf nord americà William Eggleston

How to look for a gallery II by edward_ winkleman

How to Do Your Homework, Part II

Following up on Part I of our discussion of what it means to “do your homework” in researching which commercial art galleries to approach, in this part I wanted to share some thoughts for those artists who feel they have a strong sense of which galleries their work is a good match for but for any number of reasons can’t seem to land in one.

My central assumption in offering this advice is that you understand the lay of the land pretty well. You’re up to speed on the hierarchy of art galleries and have a fairly solid sense of why your quiet watercolors of seascapes wouldn’t be a good match for the gallery focusing on bleeding edge new media work, or vice versa, for example. You’ve limited the galleries you wish to approach to about 10, based on confirmation from artists and curators you know that you’re correct in targeting them. And you have a good sense that your work is neither too close to that of any artist already on their roster or would aesthetically or conceptually undermine the work of any artist they’re working to build a market for.

 What more can you do in terms of homework/research here to narrow down from 10 to say 5 which galleries are the best ones to invest your efforts, money, and hopes in approaching and networking with?

I’ll break these thoughts into 5 categories:

1. Looking for signs a gallery is looking to add to their roster.

2. Strengthening your “connections.”

3. Asking straight out.

4. Remember it’s a small world.

5. Patience.

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How to look for a gallery I by Edward Winkleman

How to Do Your Homework, Part I

A while back a reader asked what I mean when I say the first part of getting a commercial gallery is “doing your homework.” How do you go about learning what market your artwork fits into and once you do, how do you learn which galleries are both a good match and willing to discuss the possibility of working with you?

I had always thought this advice was sound, but after that question I realize that it’s easy for me to say “do your homework”— and then point to that advice if someone approaches a gallery that isn’t right for them (“they didn’t do their homework”)—but how helpful is that advice really? What leads up to a gallery offering the feedback that “your work isn’t right for our program” and how can you minimize your chances of receiving it?

I think it makes sense to break this discussion into two parts: 1) general homework/research for those just starting off looking to work with a gallery and 2) more detailed advice for those artists who have a good sense of which galleries their work fits in but for any number of reasons can’t seem to crack the door on one in the market they most want to sell in. Because of time limitations, I’ll discuss only the first part today and will delve into the second later. As with all such posts, these observations are from my limited point of view and I encourage those with other experiences to please add comments.

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Gregory Crewdson $1 Million Photo Shoot







Photographer Gregory Crewdson shoots his still images as if he were Michelangelo Antonioni channeling Edward Hopper on a movie set. Since he shoots with a Hasselblad Sinar 8×10 camera, his field of composition includes people, sky, cars, streets and buildings. In essence, the scale of his compositions matches the possibilities inherent in the 8×10 camera format. Gregory has a mini lighting crew that sets up before each shoot. Richard “Rico” Sands, whose background includes being a gaffer, crane operator, and director of photography, collaborates on the lighting setup of his shots. Rico controls the lighting on the set right down to calling out which circuit breaker to kill when shooting individual shots.

Gregory composites his images from a series of shots that are slightly modified between takes. It’s similar to how French photographer Gustave Le Gray (1820–1884) composited his seascapes at the beginning of the 20th Century. The photographic materials at the time made it difficult to shoot both the sky and water, so Le Gray shot them individually and composited them in the darkroom.

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