ABATON. FIGURACIÓN, REPRESENTACIÓN E IMÁGENES DE LA ARQUITECTURA New revue call for papers

ABATON. FIGURACIÓN, REPRESENTACIÓN E IMÁGENES DE LA ARQUITECTURA La revista ABATON pretende ser un instrumento de difusión, articulación e intercambio de investigaciones y fuentes en torno a la representación de la arquitectura, tanto a través de las imágenes que la han soñado, proyectado y representado desde el siglo XVI a la actualidad (arquitecturas pintadas, dibujos, estampas, fotografías y otros soportes), como mediante las arquitecturas escritas en utopías, tratados o manuscritos y otros relatos. Esta publicación surge dentro de los objetivos del grupo de investigación consolidado de la Universidad Complutense, “Figuración, Representación e Imágenes de la Arquitectura” (FRIA) que desde su formación comenzó a tener una amplia actividad con publicaciones, exposiciones, proyectos de innovación educativa y organización de seminarios con la presencia de académicos, profesores de universidades extranjeras y miembros destacados de instituciones dedicadas a la investigación. La revista ABATON está editada bajo el sello de Ediciones Complutense. El título de ABATON tiene su origen en el tratado de los Diez Libros de Arquitectura de Vitruvio y es usado aquí metafóricamente como sinónimo de casa de la arquitectura, cerrada en principio, casi opaca, y guardando los secretos disciplinares de esa actividad (proyectos, construcciones, edificios, ciudades, ruinas, espacios imaginarios, etc.), a veces ilustrados y representados mediante figuras e imágenes, que es lo que pretendemos indagar con el proyecto de la revista y, en general, del Grupo de Investigación FRIA. Cuenta Vitruvio (Libro II, Cap. VIII. Ed. de José Ortiz y Sanz, 1787) que Artemisa, esposa de Mausolo, cuando tomó Rodas “erigió en ella un trofeo de su victoria, levantando dos estatuas de bronce, una que representaba la capital de Rodas, y otra a la misma Artemisa en acto de herirla. Pasado el tiempo, no pudiendo los Rodios quitar aquél trofeo, por impedirlo su religión, le cercaron de pared, y alzando sobre ella maderaje a la Griega, le cubrieron para que nadie pudiera registrarle, y le pusieron el nombre de Abaton.” Convertido en sinónimo de inaccesible, pronto esa peculiar casa cerrada parecía ocultar los secretos de la arquitectura y sus ideas e imágenes, como confirman tantos títulos de tratados y opúsculos relativos a la arquitectura, así como sus representaciones figurativas. Penetrar en ABATON para desvelar esas representaciones e ideas, imágenes y teorías, es el objetivo de la revista.

 

 

 

 

5-2016-09-01-abaton_castellano_def

 

https://geografiaehistoria.ucm.es/data/cont/docs/5-2016-09-01-ABATON_castellano_def.pdf

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Spiritualising the machine: the modernist photography of UHU magazine – Tim Satterthwaite (Visiting Lecturer, University of Brighton)

Forthcoming events at the Photography Research Centre, Birkbeck

History and Theory of Photography Research Centre

Free and open to all, at 43 Gordon Square, London WC1H 0PD

This autumn we welcome at Birkbeck Professor Steve Edwards, who will be also joining the History and Theory of Photography Research Centre, and look forward to two seminars on illustrated magazines:

Spiritualising the machine: the modernist photography of UHU magazine Tim Satterthwaite (Visiting Lecturer, University of Brighton)

When? Monday 24 October, 6:00-7:30pm
Where? Room 106, 43 Gordon Square

The photo-illustrated monthly UHU was at the heart of the progressive photographic culture of Weimar Germany. In a stream of articles and photo-pages in the late 1920s, UHU showcased the work of modernist photographers, such as Albert Renger-Patzsch and Laszlo Moholy-Nagy, alongside the radical new perspectives of scientific and aerial photography. UHU’s modernism offered more, however, than a simple embrace of technological modernity; like the great photographic exhibitions of the period, the magazine sought a reconciliation between the rationalising forces of the machine age and the organic principles of the natural world and traditional life. This talk describes how UHU’s modernist synthesis was expressed through a unifying aesthetic of repetition and regularity. The magazine’s photographs of microscopic plant forms, aerial landscapes, and the textures of urban life, were symbolic of alternative visions of social order – the organic or technocratic principles of an ideal future society.

‘New! Art… Plus Added Social Purpose’: BLOCK and the Periodical Landscape of 1970s British Art History – Samuel Bibby (Association of Art Historians)

‘New! Art… Plus Added Social Purpose’: BLOCK and the Periodical Landscape of 1970s British Art History – Samuel Bibby (Association of Art Historians)

When? Wednesday 16 November, 6:00-7:30pm
Where? Room 106, 43 Gordon Square

This paper sets out to provide an historiographical account of the formation of the British periodical BLOCK, the pioneering magazine dedicated to art, design and visual culture founded by a collective of academics from Middlesex Polytechnic in 1979. But rather than doing so solely through the analysis of it as merely a set of texts, a map of verbal discourse, it instead considers BLOCK within the expanded field of the visual contexts from which it emerged. By specifically positioning it within frameworks of material production, and addressing it in terms of the technologies by which it was reproduced, I argue for a realigned approach to the historiographical study of the so-called ‘new art history’. Through a close reading of John Stezaker’s typographic collage for the back cover of the first issue of BLOCK, I present a picture of the discipline in 1970s Britain engaged as much with the social, political and economic conditions of the time as with the visual and material histories of radical art magazines.

Formally established in 2012, the History and Theory of Photography Research Centre is based in Birkbeck’s School of Arts, and is led by Professor Lynda Neadand Dr Patrizia Di Bello, supported by a steering committee. The Centre has links with museums in London, and supports teaching and research on photography in the School through the MA in History of Art with Photography and MPhil-PhD supervision.

http://www.bbk.ac.uk/arts/research/photography

 

Collection Jean Pigozzi WEEGEE BY WEEGEE 28.05 > 04.12.16 Museé de la Photographie, Charleroi

Usher Fellig (1899-1968), alias Weegee, est une figure légendaire du photojournalisme. En sillonnant New York de nuit et son cortège de crimes, de faits divers, de boîtes de strip-tease et de bars, Weegee, toujours le premier sur les lieux grâce à la radio de sa Chevrolet branchée sur les fréquences de la police, saisit l’envers du rêve américain. L’ensemble de ses images, à la fois choquantes et divertissantes, brosse un extraordinaire portrait de la métropole moderne.
Arrivé d’Autriche à New York avec sa famille à l’âge de dix ans, Usher Fellig grandit dans le Lower East Side, dans un quartier violent. Devenu Arthur pour fuir l’antisémitisme, il quitte les siens à dix-huit ans, dort dans les gares, les parcs, les missions ou les hôtels minables, et enchaîne les petits boulots.
Engagé à l’agence ACME newspictures, devenue ensuite United Press International, il y reste douze ans en laboratoire. A trente-cinq ans, il choisit de devenir photographe indépendant avec comme sujets de prédilection, la rue, ceux qui la peuplent, l’animent – policiers, gangsters, pompiers, fêtards, strip-teaseuses ou travestis – et en toile de fond le crime, les incendies, les cadavres. Weegee touche à ce qui fait vendre, la photographie crue et évocatrice de faits divers.
Plus tard ses photographies seront prises à l’infrarouge dans l’obscurité, révélant l’intimité des spectateurs de théâtres ou de cinémas, de couples sur la plage.
La reconnaissance lui viendra à partir de 1944, du monde de la photographie, des galeries et des musées.

 

http://www.museephoto.be/actuelles.html

Louis Faurer du 9 septembre au 18 décembre 2016 Fondation Henri-Cartier Bresson

Du 9 septembre au 18 décembre 2016, la Fondation Henri Cartier-Bresson consacre une exposition au photographe américain Louis Faurer. Cette présentation est l’occasion de découvrir l’œuvre de l’artiste, qui n’a pas fait l’objet d’exposition en France, depuis 1992. Natif de Philadelphie, Louis Faurer (1916 – 2001) s’installe à New York en 1947, comme aspiré par la vie de Times Square, il y traque la solitude dans la foule, toujours à distance, sans pitié. Le reportage et le journalisme, ne l’intéressent guère, Faurer penche plutôt pour la fragilité des choses, l’inconscient révélé. Il accomplit un travail de commande remarqué pour des magazines prestigieux comme Flair, Harper’s Bazaar, Glamour, Mademoiselle qui génère chez lui un mépris non feint, un déchirement paradoxal, que seul l’humour parvenait à rompre. Ces travaux lui permettent à la fois de vivre et de poursuivre une œuvre plus personnelle dans les rues de New-York.

D’une profonde honnêteté, rejetant l’outrance ou l’obscénité d’une scène trop violente, Louis Faurer se projette sciemment dans ceux qu’il photographie; il s’y reconnait bien souvent, c’est le sens de sa démarche. Il croise ainsi son double, apparaît même dans le cadre, en réflexions. Chacune de ses images est « un défi au silence et à l’indifférence», le leur, le sien.

Concerné par ce qu’il voit, il nous fait partager ses doutes, sélectionne les êtres anonymes croisés dans la banalité du trottoir: ils ont été arrachés à la mélancolie ambiante, au film noir qui s’y déroule, à la détresse envahissante qui semble être le lot de sa vie. Remarquable tireur, il sut expérimenter le flou, les superpositions de négatifs voire l’importance du grain, dû à la limite de l’éclairage nocturne qu’il affectionnait. Bon nombre de photographes ont tenté de l’aider comme William Eggleston qui avait su voir en lui une profondeur unique. Dans l’élégante revue japonaise déjà vu parue en 1994 et qui lui est entièrement consacrée, il est question de redécouverte, de style en avance sur son temps et de ces quelques mots de Nan Goldin : « on peut croire à nouveau que la photographie peut être honnête ».

L’exposition est constituée d’une centaine de tirages et documents. Elle est conçue par Agnès Sire, directrice de la Fondation Henri Cartier-Bresson en collaboration avec l’Estate Louis Faurer à New York, la galerie Howard Greenberg à New York ainsi que Deborah Bell Photographs. L’exposition est co-produite avec le Centro José Guerrero à Grenade.Le catalogue de l’exposition est publié par Steidl. Il est disponible en français et en anglais et propose deux textes originaux de Louis Faurer et Walter Hopps ainsi qu’un essai écrit par Susan Kismaric.

http://www.henricartierbresson.org/expositions/

Robert Demachy. Impressions of Normandy

At the turn of the 20th century, Robert Demachy
(1859-1936) was one of the most famous photographers
in the world.
Leader of the French school of pictorial photography, he
fought tirelessly for the recognition of photography as a
means of artistic creation. He remains particularly famous
for his masterly use of pigment processes which enabled
pictorial photographers to deeply modify the print for the
sake of “interpretation” (considered as the ultimate way to
give a photograph its artistic value). But Robert Demachy’s
work is far from being limited to these very impressive
achievements as shown by this exhibition which gathers a
hundred photographs, most hitherto unseen.
Normandy was a haven as much as a source of inspiration
for Robert Demachy, an aesthete who, although belonging
to the Parisian upper class, dreamt of a simple life in the
country. He was very fond of the “Côte Fleurie” where
he spent the summer during his whole life and which became the setting of many of his landscapes,
portraits and snapshots.
The exhibition Robert Demachy. Impressions de Normandie was thought as a journey. A journey
throughout the Calvados county, for one, but more importantly a journey into the creation of
a photographic work from the shooting of the negative to the public spreading of a personal
interpretation of the initial subject. Eighty years after his death in a small country-house on the heights
of Hennequeville (near Trouville), the Musée Villa Montebello has decided to pay tribute to Robert
Demachy, a true artist and lover of Normandy who had elected, as a means of expression, not the brush,
the pencil or the chisel, but the camera.
Curated by Julien Faure-Conorton, this exhibition is part of the “Normandie Impressionniste” Festival.
A catalogue (in French) is published in conjunction with the exhibition (Cahiers du Temps Editions,
120 pages).
Exhibition: June 18, 2016 – September 25, 2016
Opening hours: Wednesday to Sunday – 10am to noon and 2pm to 5.30pm
64, rue Général Leclerc – Trouville-sur-Mer
http://www.museevillamontebello.com
Robert Demachy, Trouville Harbour, 1911-1914, oil transfer print, private collection
IMPRESSIONS DE NORMANDIE. PHOTOGRAPHIES DU CALVADOS, 1880 – 1920
Contact : Karl LAURENT
02 31 88 51 33 / direction.musee@mairie-trouville-sur-mer.fr

demachi

Wet Plate Collodion and Salt Print Workshop with Luther Gerlach

Wet Plate Collodion and Salt Print Workshop – September 10th-25th 2016

Please join us for an intensive workshop run by fine artist and historical photographic process expert Luther Gerlach, hosted by the International Center for the Arts this September 10th to 25th. The ancient hill-top village of Monte Castello di Vibio is the setting for this immersive program. Students will enjoy private accommodation in a twelfth century stone convent with spectacular views of the Tiber Valley, including three home-cooked Umbrian meals per day. Using historical cameras, we will create wet plate collodion negatives and positives and make salt prints from those. This workshop pairs beautiful scenery and historic sites with Gerlach’s sense of artistry and passion for historical photographic processes.

“Quite often, I feel as if my soul is in the past and my mind is in the future. The vintage cameras and processes I use have a magical quality, which helps me to bring forth an indefinable depth of feeling and poetic structure in my images. My primary concern is that my art communicates both on a factual level, as well as on one of beauty and emotion.” –Luther Gerlach

Luther Gerlach will be instructing workshops on wet plate collodion and salt printing, with a brief introduction to albumen printing. The first week, participants will work directly with Gerlach’s collection of historical cameras and lenses as they create their own wet plate collodion positives and negatives. The second week will focus on printing the negatives. Weston Naef, Curator Emeritus of the J. Paul Getty Museum, and Michael G Wilson, historical photographic collector and producer will be participating in the workshop. These men are world authorities in historical photography and in addition to their participation, they will be lecturing on their respective work as collectors and historians. What a rare opportunity to have both of these luminaries together in such a picturesque and intimate setting. This workshop is intended for participants with a wide range of experience levels and interests. Beginning and experienced wet plate photographers, curators and photo historians will all find this workshop enlightening and beneficial. Participants will be immersed in a learning environment designed to give you the confidence to continue working and developing skills on your own.

The Artist

Luther Gerlach is one of the foremost artists working in historical photographic processes. For the past 30 years, he has been involved with many aspects of the art form, including lecturing and demonstrating at museums, universities and private workshops; building the cameras he works with and collecting lenses, cameras and other historical photographic technologies. Gerlach has conducted workshops and master classes across the United States and Europe, including at the inaugural European Wet plate collodion symposium. As expert in historical processes he has contributed to the Getty Museum’s Encyclopedia of Photographic Processes. As an artist, “my main emphasis is working with the poetic structure of light to coax layers of meaning and beauty from my subject matter.” Gerlach uses his extensive collection of antique cameras and lenses for his work, with a special focus on mammoth plate cameras. His primary focus for the last 15 years has been the wet plate collodion process. Gerlach has done over 200 on-site demonstrations, lectures and workshops at the J. Paul Getty Museum and was a featured speaker at the 2015 Alternative Photographic International Symposium. He has taught historical photographic processes at universities around the country, including UCLA, Art Center, Tulane, Brooks Institute of Photography and New York Film School. His work is exhibited internationally and included in major private and museum collections

https://player.vimeo.com/video/14231935

Amelie and Alchemy from Konstantin Brazhnik on Vimeo.

Accommodations and Services

We provide private accommodation in a twelfth century stone convent (called, Asilo, or “sanctuary”). Each room affords a spectacular views of the Tiber Valley. Round the clock access to studio space and 24 hour bilingual support allow participants to fully immerse themselves, both in their work and in the rhythms of life of an Umbrian hill town. Weekly excursions compliment the experience.

See accommodations and facilities page for more info

Also see this link to our setting page for more information about our workshop’s setting.

Trips

This workshop includes two full day trips and one half day trip. The first week, as students are immersed in the wet plate collodion process, we will visit Florence. Here, we will make a trip to the Alinari Photography Museum, where students will be exposed to the great beauty that can be accomplished using this process. We will also tour the local countryside for a half day, stopping to shoot with smaller view cameras or other devices and ending in the charming hill towns of Rote Castello and San Venzano for dinner. The second week, as we are wrapping up the salt print segment of our workshop, we will visit Bomarzo and Marmore Falls. Built by the Romans to control the flow of water into the aqueducts, Marmore has been a tourist attraction since Roman times. Described by Lord Byron in his epic work Childe Harold’s Pilgrimage, “rapid as the light the flashing mass foams shaking the abyss,” Marmore Falls has inspired generations of writers, photographers and painters. Students can join in the fun and shoot their personal film or digital cameras on this trip.

A Day in the Life…

We have a deep and intense learning experience planned for you. (see the full Workshop Itinerary on Luther Gerlach’s website here)  However, being in such a romantic environment, there is plenty of time built into the schedule to just enjoy. It is vital to our mission that you allow “la dolce vita” to seep into your artistic process as much as possible.

Workshop Days

Diners-on-square-

A typical Umbrian breakfast is served at 8 AM and is available until 9 AM. Students will be in class from 9 AM to 12 PM, with an hour to wrap up or relax before lunch. Lunch will be served in the common room from 1 PM to 2 PM. Afternoons will typically be less structured, designed to facilitate and supervise individual work. In the hours between 6 PM and 8 PM, program participants and local people alike gather in the piazza outside of the Bar Centrale for bitters, coffee or a glass of wine, and join in conversation about the day’s activities. From 8 PM to 9 PM we have dinner on the terrace, often followed by an evening talk, slide presentation on a Visiting Artists’ work or a film (as announced). These occur in the common room or in the Teatro Concordia on Tuesdays.

Terms

€2450 for all inclusive ICA
€750 instructor fee
€140 materials fee
€3,340 total amount payable to ICA
Note: this is all inclusive as follows.
Family friendly accommodations are available.
Not included: airfare and meals on trips as cited.

Included:

  • 15 full days double or petite single accommodations with views
  • Private Studio and Group Classroom space
  • Lectures with at the Teatro Concordia with Weston Naef, Curator Emeritus of the J. Paul Getty Museum, and Michael G Wilson, historical photographic collector and producer of the James Bond films
  • Trip orientation and trip monitor
  • Orientation tour of Monte Castello and ICA
  • 3 Meals on all days excluding 2 full trip days, one dinner on the second Sunday and dinner on the RoteCastello half day trip
  • Two full day trips: Florence, Marmore Falls/Bomarzo
  • One half day trip: Rotecastello/Umbria countryside
  • Transport by private bus to and from Rome FCO airport, start/end of trip
  • Exhibition with reception
  • Weekly housekeeping/linens
  • Pre-trip talks and orientation.
Click here to register »
All Inclusive Costs/15 days
September 10 – 25, 2016
€3,340 total amount(euros)
Click here to see our refund policies

 

 

 

 

LutherGerlachImageW

Registration dates

Deposits are due by August 1, 2016
Final registration and Payment in Full is due August 15, 2016

Cancellation before August 1: Full refund less deposit of €225
Cancellation after August 15: Fees are non-refundable

After August 15, we will accept registrations and deposits on a space available basis, payable in full at the time of registration.

A €50 fee will be assessed for late registration.


Please see this link for our complete
cancellation policies

http://icarts.org/wet-plate-collodion-and-salt-print-workshop-with-luther-gerlach/