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Expositions, Art contemporain, Art moderne, Photographie, Design, Patrimoine, Architecture, Art vidéo, Films, l'image dans toutes ses dimensions, Publications

Art Exhibitions, Art Fairs, Visual Arts, Photography, Graphic Arts, Design, Video Art, Architecture, Films, Photo / Imaging Equipments, Publications


October 16, 1998

Compact numérique Nikon Coolpix 600

Sortie en 1998, après le Coolpix 100 et le Coolpix 300, sorties en 1997, le compact Nikon Coolpix 600 est le troisième appareil photo numérique fabriqué par Nikon. Par rapport aux deux premiers appareils, le boitier du Coolpix 600 prend la même forme que la plupart des appareils photos argentiques de format APS.
La même année sort le Coolpix 900.

Liens vers d'autres messages connexes du blog : Anciens Compacts Nikon --- Nikon Coolpix 100 --- Nikon Coolpix 300 --- Nikon Coolpix 700 --- Nikon Coolpix 775 --- Nikon Coolpix 800 --- Nikon Coolpix 880 --- Nikon Coolpix 885 --- Nikon Coolpix 900 --- Nikon Coolpix 950 --- Nikon Coolpix 990 --- Nikon Coolpix 995 --- Nikon Coolpix 2000 --- Nikon Coolpix 2100 --- Nikon Coolpix 2500 --- Nikon Coolpix 3100 --- Nikon Coolpix 3500 --- Nikon Coolpix 3700 --- Nikon Coolpix 4300 --- Nikon Coolpix 4500 --- Nikon Coolpix 5000 --- Nikon Coolpix 5400 --- Nikon Coolpix 5700 --- Nikon Coolpix SQ

October 1, 1998

Trance: Hypnotic Video Art


Philadelphia Arts
Philadelphia Museum of Art presents Trance, An Exhibition Of Hypnotic Contemporary Video

Although rapid, MTV-style editing may be the mode most commonly associated with contemporary video, a significant number of notable video artists are exploring more deliberate and slowly paced approaches to the medium. Trance: New Work in Video, an exhibition on view from October 6, 1998 through January 10, 1999, will feature seven works made by artists during the 1990s.

The videos in Trance have been edited using techniques such as slow motion and repetition to produce powerful and hypnotic effects. Projected directly onto a large screen, each video will be shown for a period of two weeks. Trance will be on view in the Video Gallery 179 on the first floor.

Featured artists include Pipilotti Rist, a Swiss artist whose video Pamela (1997) is a mesmerizing take on a day in the life of a flight attendant; Canadian Rodney Graham, whom we watch sleep in the back of a van as it drives through the city streets of Vancouver in Halcion Sleep (1994); New Yorker Seoungho Cho, a native of South Korea whose work, Identical Time (1997), presents images of a blighted subway journey to reflect upon urban isolation and dislocation; Philadelphia's Peter Rose, who explores subterranean rituals that celebrate the solstices and equinoxes of the sun in Understory (1997); Helen Mirra, a resident of Chicago, excerpts Jean Vigo's 1934 film L'Atalante in Third (1998), a spellbinding video in which time seems suspended; British artist Abigail Lane whose work Never Never Mind lyrically blends sound and image to capture a few pigeons in a seemingly "neurotic" moment; and American Bill Viola, who created The Passing (1991) as a personal response to birth and death in the family.

Trance has been organized by Kathleen Forde of the Department of 20th-Century Art.

September 29, 1998

Sony announces Mavica Printer FVP-1

(c) 1998, Sony Corporation - All rights reserved
Sony Corporation announces plans to launch a new digital color printer, called the Mavica Printer [FVP-1], that is equipped with a 3.5-inch FDD (Floppy Disk Drive). This printer allows users to print pictures taken by Sony's Digital Mavica digital still camera and stored on a 3.5-inch floppy disk.
Availability: Nov. 20, 1998 in Japan
Price: 64,800 yen
Initial Monthly Production: 2000 units
The Mavica Printer offers printing at 1,410,000 pixels (306 x 306 dpi), and it incorporates a 3.5-inch FDD as well as video input / S video input terminals. In addition to Sony's Digital Mavica, the printer can be used with video cameras and VCRs.
Main Features of the Sony Mavica Printer FVP-1
Prints directly from a floppy disk, by simply inserting the disk into the FDD
Resolution of 1,410,000 pixels (306 x 306 dpi)
Equipped with video input / S video input terminals for printing pictures taken from video material
Offers compatibility with Super Coat polished paper, which improves the color reproduction and life of the print
Includes image processing software, for creating original greeting cards, postcards, stickers and labels.
Operates with a wide variety of printing paper such as Super Coat (for high durability), pre-cut stickers, labels for floppy disks, etc.

September 15, 1998

Image and Society in the Weimar Republic

A Laboratory of Modernity: Image and Society in the Weimar Republic

Exhibition explores the visual culture of Germany during the Weimar period.

 

This is a special exhibition, organized to accompany Professor Eric Rentschler's fall course at Harvard in the Department of Germanic Languages and Literatures Weimar Cinema: The Laboratory of Modernity, explores aspects of the dynamic, avant-garde visual culture of Germany between the two world wars, including many direct and indirect references to film.

Seven extraordinary vintage photographs by László Moholy-Nagy, lent by Robert and Gayle Greenhill of New York City, will anchor the exhibition, which will also include works by artists such as Hannah Höch, Kurt Schwitters, Otto Dix, George Grosz, August Sander, John Heartfield, Josef Albers, Albert Renger-Patzsch, Herbert Bayer, and others.

A Laboratory of Modernity has been selected by Tawney Becker, curatorial assistant of the Busch-Reisinger Museum, and Graham Bader, graduate student in the Department of History of Art and Architecture at Harvard.

 

Although the short-lived and turbulent Weimar Republic (1919-1933) was a period at times troubled by political and economic instability, ultimately succumbing to the Nazi rise to power in Germany, new media and technologies emerged, fueling the vibrant cultural scene, particularly in the cities. The fall of the imperial regime and its institutions at the end of World War I infused the arts with new vitality. The founding of the Bauhaus, a progressive school for art, architecture, and design, in 1919 heralded a new era for art education, production, and industrial design. Modernism took hold, and avant-garde culture flourished even as the democracy and the economy were weak. It was a time of conflicts and contrasts: new artistic movements and trends struggled with broadening political and social conservatism. The 1920s saw the efflorescence of the photo-illustrated press, and the freshness of the new media-photojournalism, documentary film, broadcasting, and sound recording-in works from this period are felt to this day.

A Laboratory of Modernity is structured around three key themes that investigate use of materials and technique as well as content. The first section Montage: Abstraction and Politics features artistic explorations of the montage technique in collage, prints, and photographs. The flood of technologically recorded reality in both image and sound made suddenly available to the public triggered a splintering of vision seen in the various types of montage witnessed in literature and theater as well as the visual arts. Moholy's manipulation of light in his photograms and dadaist collages by Hannah Höch and Kurt Schwitters evoke the excitement of early experimentation, opening a path for later political application in Heartfield's scathing photomontages for the Berlin-based Arbeiter-Illustrierte Zeitung (workers' illustrated paper) and Lissitzky's dynamic use of the technique in his Catalogue for the Soviet Pavilion for the International Press Exhibition Cologne 1928.

The Modern Subject takes various forms in the second grouping, which is divided into sections focused on figures and types, artist portraits, and the mannequin or doll-like figure. Here exploration of the figure reveals the artists' varied approaches to process and subject-whether viewed through the sober lens of the "New Objectivity" (Neue Sachlichkeit) in realistic portraits by Rudolf Schlichter or Karl Hubbuch, in Otto Dix's intense self-portrait, or in the satirical caricature of Hitler as a barbarian by George Grosz. Beyond these prints and drawings, the photography in this section-penetrating documentary photographs of the German people as catalogued by August Sander and Erna Lendvai-Dircksen, the inspired manipulation of the image by Herbert Bayer and Moholy-Nagy, the unusual viewpoint in Werner Feist's Head (1929), and Joseph Albers' and Lyonel Feininger's investigations of the mannequin-exemplify the new range of approaches to the figure that the camera made possible.

The Weimar period is popularly identified with 1920s Berlin, and it was in the city where culture boomed. Artistic incentive to experiment and explore also drives the Urban Visions presented in the third group of the exhibition. Moholy-Nagy was one of the key members of the Bauhaus faculty and proponent of "productive creation," not reproduction; his ground-breaking Bauhaus Book No. 8: Painting, Photography, Film (1925) in which Paul Citroen's photomontage Metropolis I (1923) is reproduced, is included in the exhibition. Experiments with distorting and often dizzying angles and abstraction are captured in architectural views by Moholy-Nagy and his wife Lucia Schulz Moholy as well as in photographs by Albert Renger-Patzsch and a student of the Bauhaus, Iwao Yamawaki. Grosz's socio-critical street scenes reflect his sharp political views whereas Herbert Bayer's mock-ups for a movie house and a multi-media building still carry the freshness of ideas of the brainstorming architect-designer.

A Laboratory of Modernity will provide the public with a first glimpse at several recent acquisitions by the Busch-Reisinger and the Fogg, including exciting photography from this period as well as a few rarely seen examples of work by women photographers. The exhibition is supported with funds from the John M. Rosenfield Teaching Exhibition Fund.

 

Related Events

Gallery talks at Busch-Reisinger Museum

November 7-8, with Christine Mehring, Ph.D. candidate, Department of History of Art & Architecture.
November 28-29, with Graham Bader, graduate student, Department of History of Art & Architecture.
December 5, with Sarah Miller, Werner and Maren Otto Curatorial Intern, Busch-Reisinger Museum
December 20, January 9, with Tawney Becker, curatorial assistant, Busch-Reisinger Museum.

Film Series - Weimar Cinema

September 22 through December 15, 1998
Harvard Film Archive, Carpenter Center for the Visual Arts

The Cabinet of Dr. Caligari (1920), directed by Robert Wiene

Destiny (1920), directed by Fritz Lang

Nosferatu (1922), directed by F.W. Murnau

The Last Laugh (1924), directed by F.W. Murnau

The Joyless Street (1925), directed by G.W. Pabst

Secrets of a Soul (1926), directed by G.W. Pabst

Metropolis (1927), directed by Fritz Lang

Berlin, Symphony of a Big City (1927), directed by Walter Ruttman

The White Hell of Pitz Palü (1929), directed by A. Franck and G.W. Pabst

M (1931), directed by Fritz Lang

The Blue Angel (1930), directed by Joseph von Sternberg

Mädchen in Uniform (1931), directed by Leontine Sagan

The Blue Light (1932), directed by Leni Riefenstahl

 

HARVARD ART MUSEUMS

Busch-Reisinger Museum from October 31, 1998 through January 10, 1999

September 9, 1998

Canon Speedlite 550EX Flash and Wireless Transmitter ST-E2 specifications


Canon Speedlite 550EX is the main component of a new flash system designed together with the EOS-3 SLR camera. It provides full compatibility with the new area AF technology employed by the EOS-3 and refined E-TTL autoflash for improved performance. Other main features include a maximum Guide Number of 180 (ISO 100, ft.), an AF-assist beam which links to the EOS-3's 45-point area AF, FP Flash (high speed sync), FE lock (a flash version of AE lock), and FEB (Flash Exposure Bracketing). The Speedlite 550EX also incorporates a built-in wireless transmitter, which can control other Speedlite 550EX units set up as slave units. Flash coverage is set automatically from 24mm to 105mm, and a wide-angle panel extends the coverage to 17mm. The new Speedlite runs on 4 AA-size batteries, and can also be used with optional external power supplies such as Compact Battery Pack E and Transistor Pack E. Recycling times are similar to those experienced with the Speedlite 540EZ. Speedlite 550EX is compatible with all EOS models.

The most impressive feature of the 550EX, however, is its ability to support a wireless multiple flash system which allows photographers to set up unlimited numbers of additional Speedlite 550EX flashes as slave units while controlling their flash output from the camera position. Even when using multiple Speedlites, photographers can utilize all of the 550EX's advanced features including E-TTL, FP flash, FE lock and Flash Exposure Bracketing (FEB).

All 550EX controls are located on the rear of the unit, including a Master/Slave switch, indicating whether the flash will be used as a Master (on the camera's hot shoe) or as a remote Slave. The remote flash system permits photographers to set up as many as three groups (designated A, B or C) of 550EX Speedlites set up as slave units with virtually unlimited numbers of flash units possible within each group.

When using the EOS-3 with multiple Speedlite 550EX flash units, or when shooting with E-TTL wireless autoflash using the Speedlite 550EX in conjunction with the wireless Speedlite Transmitter ST-E2, the output ratio of two different slave groups can be set on the master unit. The A:B flash ratio can be set to any of thirteen half-step increments ranging from 8:1 to 1:8. Flash exposure compensation for slave group C can be set on the master unit in 1/3 or 1/2 stop increments up to +/- 3 stops. This is ideal for background or accent lighting when shooting portraits in a studio setting, for example. Power output for each Slave unit can be controlled directly from the Master flash or Speedlite Transmitter ST-E2, eliminating the need to adjust each Slave unit from its remote location. In addition, the system offers a "modeling lamp" function which gives photographers a good idea of how lighting will fall on the subject. The wireless remote flash system has a range of approximately 35 feet when used outdoors and approximately 50 feet indoors. Each slave unit, when signalled by a test flash from the Master Unit, indicates its readiness in ascending order according to its assigned group, giving photographers the ability to verify that the slave units are within range and functioning properly. An LED indicator on the back of the Master Unit acts as a flash exposure confirmation signal, and is fully effective even in wireless multiple flash setups.

Canon Speedlite Transmitter ST-E2

Canon's wireless Speedlite Transmitter ST-E2 is ideal for use by photographers who do not need to have any light source emanating directly from the camera position, but wish to utilize the system's remote flash capabilities. Mounted on the hot shoe of the camera, the wireless transmitter serves as the Master, controlling the functions of up to two groups of 550EX Slave units. Like the 550EX, the ST-E2 also has a built-in AF-assist beam which is linked to the EOS-3's area AF.

The new Canon Speedlite 550EX flash and Wireless Transmitter ST-E2 will be available in USA at Canon authorized camera dealers in early December.

August 30, 1998

Hasselblad XPan Dual-format Camera

US Launch of Hasselblad XPan Dual-format Camera

Hasselblad is now expanding its world of imaging by opening the door to a 35 mm film based dual-format camera - the Hasselblad XPan. This new camera concept can be seen as a bridge between the medium format and the 35 mm format, and is a natural development of the Hasselblad camera system, enabling it to cover an even broader spectrum of photographic needs. 

The Hasselbad XPan appeals to a wide variety of photographers involved in advertising, architectural, nature photography, and beyond. In addition, its use in illustrative and art photography can be advantageous as the full panorama format can provide an additional creative input into image making. 

The Hasselblad XPan incorporates a dual-format facility providing a full panorama 24x65 mm format as well as a conventional 24x36 mm format on the same film. This innovative camera offers all the convenience and advantages of the 35 mm format, but provides the option to rapidly switch to the full panorama format, without changing film. It becomes, therefore, the first and only dual-format camera on the market that expands the format instead of masking it, ensuring that every exposure utilizes the full area of the film. In addition, the 65 mm width of the full panorama images is similar to the medium format, ensuring that the Hasselblad XPan will always give you superb image quality. 

The Hasselblad XPan is a feature-packed and highly professional rangefinder type camera that combines the user-friendliness of modern technology with Hasselblad quality. The camera body is compact and ergonomically designed. It is a robust aluminium and titanium construction partly clad with synthetic rubber and built to withstand many years of hard work - a camera suitable for the true professional photographer as well as for the discerning amateur. 

The full panorama format is made possible by the large image circles of the interchangeable 5.6/30 mm, 4/45 mm and 4/90 mm lenses, which have been specially designed for the Hasselblad XPan. These light and extremely compact "medium format" lenses are characterized by razor-sharp image quality and excellent coverage. Multicoating of the glass elements ensures top quality results, exhibiting brilliant contrast and full tonal scale. The focusing ring with its smooth action ensures quick and accurate focusing, and the lenses are stylishly finished in black, in tune with the rest of the camera. 

Viewing and focusing are by way of a bright-frame viewfinder and coupled rangefinder. Viewfinder information is adjusted automatically according to the focal length of lens as well as an automatic parallax adjustment for close shots. No accessories or manual adjustments are necessary, so changing lenses is rapid and trouble-free. 

Film loading is automatic and convenient. After being inserted, the film is automatically withdrawn from the cassette. The camera has a DX code sensor with manual override for maximum control. As the film is exposed, it is transported back into the cassette, frame-by-frame. This valuable feature cleverly protects the exposed section of the film, even if the camera is opened by accident. 

The TTL exposure meter supplies a centre-weighted average reading to provide an automatic aperture-priority facility with manual override.The camera can be used in single or continuous exposure mode. In continuous mode the frame rate is 3 frames/s with 24x36 format and 2 frames/s with 24x65 format. Using the camera in its auto-bracketing mode provides three consecutive exposures in ± 0.5 or ±1- step differences. 

The main LCD display, located on the camera back, presents all necessary information including film speed, shutter speed and battery status. Another LCD provides exposure counter information, with further information being shown in the viewfinder. 

The Hasselblad XPan camera was introduced in July 1998. The camera was introduced to the American press at a Press conference in New York on August 19, 1998. Deliveries will commence in September 1998. 

Update:

In August 1999 Hasselblad XPan received the prestigious EISA award as the European Professional Camera of the Year 1999-2000. The award citation was as follows: 
"In principle, Hasselblad XPan is two cameras in one. Firstly, it is a remarkably slender panoramic camera that delivers sharp 24x65 mm extended format images on 35 mm format film. On the same roll of film, it is also possible to take (24x36 mm) regular format pictures. This makes XPan a highly versatile camera, being the ideal choice for landscape, while providing unique capabilities for documentary, fashion and commercial photography in an unusual image format." 
Hasselblad USA, Inc.
10 Madison Road
Fairfield, NJ 07004

Updated Post

May 30, 1998

Philadelphia Photographic Publications awarded

Philadelphia Museum of Art Publications Receive US National Recognition

Two publications developed by the Philadelphia Museum of Art in conjunction with the exhibition India: A Celebration of Independence, and one designed for Best Dressed: 250 Years of Style, were award recipients in the Museum Publications Design Competition. Announcements were made on May 11, 1998, in Los Angeles, during the annual meeting of the American Association of Museums.

Taking first prize in the poster category was the Museum's design for the photography exhibition, India: A Celebration of Independence. The poster reproduces Women Praying at Dawn, Srinagar, 1948, an image by Henri Cartier-Bresson. The poster was designed by Diane Gottardi, Senior Graphic Designer with the Philadelphia Museum of Art.

An opening announcement for the India exhibition received honorable mention in the invitations category. Incorporating Gandhi at a Prayer Meeting, Birla House, Bombay, a 1946 photograph by Sunil Janah, and Mary Ellen Mark's Ganges River, 1989, the invitation was also designed by Diane Gottardi, with the assistance of Paula Cyhan. India: A Celebration of Independence was organized by the Philadelphia Museum of Art in conjunction with Aperture Foundation, and was on view at the Museum from July 6 through August 31, 1997.

Honorable mention in the poster category was awarded to the striking design produced for Best Dressed: A Celebration of Style, an exhibition organized by the Philadelphia Museum of Art and on view from October 21, 1997, through January 4, 1998. Designed by James Scott, Associate Designer with the Philadelphia Museum of Art, the poster highlights a dramatically cropped, kaleidoscopically colorful detail from Issey Miyake's 1994 Flying Saucer dress.

The Department of Publications and Graphics of the Philadelphia Museum of Art was established in 1968. Headed by George Marcus, the department develops and publishes exhibition catalogues, scholarly and popular examinations of the Museum's permanent collections, and graphic materials related to many aspects of the Museum's activities.

Philadelphia Artists Celebrating Fleisher Challenge

Philadelphia Arts

Philadelphia Museum of Art Exhibits 20 Philadelphia Artists To Salute 20 Years Of Samuel S. Fleisher Challenge Exhibition

This year the venerable Samuel S. Fleisher Art Memorial-a tuition-free art school and gallery located in South Philadelphia-celebrates its 100th anniversary. At the same time, its Challenge series of juried exhibitions, which since its inception in 1978 has been among Philadelphia's most prestigious non-commercial exhibition programs, celebrates its 20th year. Twenty Philadelphia Artists: Celebrating Fleisher Challenge at Twenty, an exhibition on view at the Philadelphia Museum of Art from July 18 through September 13, 1998, salutes these two milestone anniversaries. Annually, more than 300 artists apply to be one of 12 artists selected to exhibit in the Fleisher Challenge. The variety and the vitality of the Philadelphia-area artists who have participated is surveyed in this exhibition that spans many approaches, from the traditional to the cutting edge.

The 20 artists in the exhibition were selected by John Ravenal and Ann Temkin, curators in the Museum's Department of 20th-Century Art, together with Thora Jacobson, Director of Fleisher, and Warren Angle, Gallery Coordinator at Fleisher. The Museum exhibition will take place in the Berman and Stieglitz Galleries on the ground floor, and additional spaces in the building will feature several new installation works. Artists include Lisa Bartolozzi, Lanny Bergner, Norinne Betjemann, Charles Burwell, Syd Carpenter, Frank Galuszka, Michael Grothusen, Mei-ling Hom, Stacy Levy, Tristin Lowe, Gabriel Martinez, Susan Moore, Kate Moran, Brooke Moyer, Don Nakamura, Stuart Netsky, Bruce Pollock, Judith Schaechter, Hester Stinnett, and Stephen Talasnik.

As a reflection of the diversity of the work highlighted in Fleisher's exhibitions over the past 20 years, the selection of artists includes figurative painters working with Renaissance techniques, abstract painters working with conceptual structures, ceramists making sculptures, sculptors making multimedia installation pieces, a stained-glass artist who uses a medium associated with spiritual settings to present violent and disturbing imagery, a photographer who bleaches and paints black-and-white prints, and printmakers who incorporate materials as unconventional as ground pharmaceuticals into their art.

Twenty Philadelphia Artists: Celebrating Fleisher Challenge at Twenty is supported by The Pew Charitable Trusts and The William Penn Foundation. The exhibition is accompanied by an illustrated catalogue written by Mr. Ravenal, who is the organizing curator, with an essay by Ms. Jacobson. The book also contains a checklist of the exhibition and a list of all the artists who have participated in the Challenge exhibition series since its inception.

The Museum's show will provide a retrospective cross-section of a full generation of regional artists and is planned to complement the Fleisher Art Memorial's own invitational exhibition, 20 x 12: A Generation of Challenge Artists, which will present the work of some 180 of the 250 artists who have participated in the Fleisher Challenge over the past two decades. 20 x 12 will be on view from July 18 through August 28, 1998, throughout the Fleisher Art Memorial, which encompasses six joined buildings: a former vocational school, a former church and belltower, and three row houses. Artists have been encouraged to select and fashion environments appropriate to their vision with an emphasis on recent work.

The Fleisher Art Memorial is located at 719-21 Catharine Street in the Bella Vista section of Philadelphia.

May 20, 1998

Roy Lichtenstein – Exposition Fondation Beyeler

Roy Lichtenstein
Fondation Beyeler, Bâle, Suisse
24 mai - 27 septembre 1998

A côté d’Andy Warhol, ROY LICHTENSTEIN, né à New York en 1923, est considéré comme le principal représentant du pop art américain. Cet art semble reproduire dans ses images l’esthétique banale du monde de la consommation à l’échelle un à un et espère briser grâce à ce nouveau réalisme la domination de l’expressionnisme abstrait. En 1961, pour la première fois, dans “Look Mickey”, Roy Lichtenstein utilise une image isolée d’une bande dessinée; c’est aussi ici qu’on découvre pour la première fois la trame de points si typique de sa peinture. La même année, il transpose sur la toile des représentations publicitaires de produits de consommation et, peu après, vient “Girls” tiré de cahiers de bandes dessinées.

La FONDATION BEYELER a organisé une exposition consacrée à l’oeuvre de Roy Lichtenstein du 24 mai au 27 septembre 1998 qui est la première grande exposition de musée depuis la mort de l’artiste en septembre 1997. Les quelque 70 œuvres exposées couvrent toute la période de création depuis le début des années 60.

Un examen attentif de l’ensemble de l’oeuvre qui comprend différents sujets tels que paysages, natures mortes, intérieurs et également des citations tirées de l’histoire de la peinture moderne, dévoile que le tribut de Lichtenstein à l’esthétique quotidienne et de masse est à double sens et que sa démarche oscille continuellement entre prendre et donner. Il choisit ses sujets très minutieusement pour les transformer ensuite en une œuvre picturale originale – des tableaux qui ont ainsi enrichi l’histoire de la peinture de nouvelles techniques.

Le style de Roy Lichtenstein varie presque à chaque fois. Parfois les motifs sont reproduits pratiquement tels quels et parfois c’est la passion pour l’art pictural qui se trouve au premier plan. Sa manière de travailler est classique et comporte plusieurs étapes techniques, de l’ébauche par la composition jusqu’au coloriage de couches. Roy Lichtenstein dit que ses tableaux pop doivent “paraître comme si je n’avais jamais rien corrigé et que tout se serait produit de soi-même, mais pour qu’ils donnent cette impression, je dois les soumettre à toutes sortes de distorsions”. Bien que son intérêt dans la peinture se trouve dans le sentiment de créer quelque chose d’unique, en opposition totale aux produits de masse fabriqués industriellement, il cite des techniques de reproduction photomécanique, peint des trames de milliers de points et développe ainsi sa propre démarche. Sa technique donne l’effet de méthodes modernes de production de masse mais, il reste fidèle à la peinture classique avec ses expressions sensibles et dramatiques.

Toutes les phases de son oeuvre depuis le début des années 60 sont représentées par environ 70 tableaux. A côté du caractère purement rétrospectif, le regard doit être dirigé également sur l’aspect pictural et l’intérêt spécifique que Lichtenstein porte à une peinture originale. Une video lounge meublée avec les sièges “Phantom” - création récente du designer danois Verner Panton - est intégrée dans l’exposition (Les meubles Panton ont été prêtés à la Fondation Beyeler par la maison danoise Innovation). Un choix des classiques de la BD ainsi que du film animé abstrait expérimental des années 20 à nos jours peut être admiré sur six moniteurs. Le programme a été composé par Frank Braun.

Une superbe exposition pour une oeuvre magistrale qui a profondément marquée l’histoire de l’art et qui demeurera sûrement une référence pour de nombreux artistes.

April 2, 1998

Le magazine de cinéma Première au Japon

Hachette Filipacchi Médias (HFM) vient de lancer au Japon la septième édition internationale du magazine de cinéma PREMIERE. Ce nouveau lancement porte à 1 million d'exemplaires, la diffusion du magazine Première dans le monde.

Première Japon a un tirage initial de 100.000 exemplaires et compte 140 pages dont 43 de publicité, annonce HFM qui précise également que le nouveau mensuel vise une diffusion en rythme de croisière de 60.000 exemplaires, à un prix équivalent à 24 FF.

L'édition japonaise de Première, publiée par Hachette Filipacchi Japan, s'appuie sur une rédaction sur place de 7 personnes. La rédaction en chef a été confiée à un spécialiste américain du cinéma, Gregory Starr, ancien rédacteur en chef de Winds et de Tokyo Journal, qui vit depuis vingt ans à Tokyo. Il dirige sur place une équipe de 6 personnes dont 2 maquettistes, chargées de réaliser chaque mois une édition adaptée du Première français et qui respecte le concept originel. Le magazine s'articule autour de trois parties : les sorties de films et les critiques (articles courts), une partie magazine, très développée, avec portraits et interviews et enfin un cahier spécial de 16 pages « Home Guide » présentant vidéos, CD et livres.

En valeur, le Japon est le deuxième marché du cinéma dans le monde. Pour 129 millions d'habitants, on compte 150 millions d'entrées en 1997, chiffre en augmentation constante (+20% d'entrées par rapport à 1996), soit le même niveau qu'en France, mais avec un prix de la place élevé (entre 95 et 120 FF). 8 millions de Japonais se définissent comme de fréquents « visiteurs » de salles de cinéma et ils sont 300.000 à y aller plus de vingt fois par an. Ces 300.000 cinéphiles constituent le coeur de cible de Première, souligne HFM dans son communiqué de presse.

Côté production, sur 598 films montrés au Japon en 1996, 320 étaient d'origine étrangère. Mais les grands succès sont souvent japonais : sur les 10 films qui ont réalisé le plus d'entrées, 5 sont japonais et pèsent pour 45% des recettes globales de ce Top Ten. HFM entend bien entendu tenir compte de ces données pour le contenu rédactionnel de l’édition japonaise de Première..

Avec sept éditions du magazine Première dans le monde, cette publication mensuelle fait partie des grandes marques internationales du groupe HFM, à côté de ELLE, ELLE Décoration, Car and Driver, Quo et depuis peu Paris Match. Ainsi Première a des éditions en France depuis 1976, aux Etats-Unis depuis 1987, en Grande Bretagne depuis 1992, en Corée du Sud depuis 1995, à Taiwan depuis 1997, en Russie également depuis 1997 et désormais au Japon.

March 31, 1998

Portraits of 110 Gay and Lesbian Writers Photographs from Robert Giard' s Particular Voices on View at The New York Public Library

Since the mid-1980s, photographer Robert Giard has traveled the United States photographing contemporary American gay and lesbian literary figures for his ongoing portrait series, Particular Voices. Beginning April 18, The New York Public Library - the largest institutional collector of Mr. Giard's photographs - will exhibit 110 portraits from this series in "Particular Voices": Robert Giard's Portraits of Gay and Lesbian Writers. The Library holds more than 150 of Giard's exquisite black-and-white prints in its Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
The exhibition also features pioneering published works and selected manuscript materials from the Library's extensive and growing archival holdings representing gay and lesbian American literary figures.
Since Robert Giard's first portrait for Particular Voices, a 1985 photograph of playwright William Hoffman on display in the exhibition, the project has blossomed to include more than 500 works. Mr. Giard conceived of Particular Voices as a personal testament to the role that writing by gay men and lesbians, and by extension, its purveyors, archivists, and historians, has played in his life. He said, "I am delighted to have this first big exhibition at the Library because I haunted public libraries as a child. I worked my way through college and graduate school as a library assistant. Furthermore, my work is about books, authors, and keepers of Culture and history."
In 1997, MIT Press published Giard's book, Particular Voices: Portraits of Gay and Lesbian Writers, an anthology of his portraits coupled with sample writings by the people pictured, as well as essays by Joan Nestle, Christopher Bram, and the photographer. The forward is by Julia VanHaaften, curator of the Photography Collection at The New York Public Library's Center for the Humanities, who also curated the exhibition.
Robert Giard's Work
Giard's work takes him into his subjects' homes or workspaces and displays a gamut of backgrounds, poses, and aesthetics. Luis Alarcon is shown with his Frieda Kahlo collection. Allen Ginsberg is pictured holding his own portrait of William Burroughs. Maria Irene Fornes is holding a stage set model. Tony Kushner is reclining on silk souvenir pillow, portraying Karl Marx. May Sarton is pictured in her charming New England sitting room aflood with sunlight. Joan Nestle, co-founder of the Lesbian Herstory Archives, is pictured holding a plaster sculpture of two faces nestling. Some of the other writers featured in the exhibition include Edward Albee, Dorothy Allison, Rafael Campo, Blanche Wiesen Cook, Samuel R. Delany, Kenward Elmslie, Lillian Faderman, Allan Gurganus, Doris Grumbach, Essex Hemphill, Audre Lord, Tim Miller, Kate Millett, Adrienne Rich, Barbara Smith, Edmund White, and Jonathan Williams.
Robert Giard's photographs have been previously displayed in several exhibitions, including those at the San Francisco Public Library, the Lesbian & Gay Community Center in New York City, the East Hampton Center for Contemporary Art, and in galleries at State University of New York campuses at Albany, Oswego, and Stony Brook.
Julia VanHaaften said, "Bob's work is particularly significant because he is continuing a grand tradition of photographing authors. His work complements the Library's collection of cultural portraits by Carl Van Vechten from the 1930s and 1940s."
"Particular Voices": Robert Giard's Portraits of Gay and Lesbian Writers opens April 18 and continues through June 27, 1998, in the Third Floor Print and Stokes Galleries of the Center for the Humanties at Fifth Avenue and 42nd Street.
Companion Volume for Sale in The Library Shops Robert Giard's Particular Voices: Portraits of Gay and Lesbian Writers (MIT Press, 1997) is available in The Library Shops for $45 ($40.50 for Friends of the Library). The Library Shop at the Center for the Humanities (Fifth Avenue and 42nd Street) is open Monday­ Saturday, 11 a.m. ­6 p.m. The Library Shop in the Mid-Manhattan Library (Fifth Avenue and 40th Street) is open Monday­ Friday, 10 a.m.­ 7 p.m.; Saturday, 10 a.m.­ 6 p.m.; and Sunday, noon­ 5 p.m.
Exhibition hours are Monday, Thursday­, Saturday, 10 a.m.­ 6 p.m. Tuesday and Wednesday, 11 a.m.­ 7:30 p.m. Closed Sundays and, in observance of Memorial Day, Saturday, May 23 and Monday, May 25.
For information on current and upcoming exhibitions, programs, and services at The New York Public Library, visit the Library's website at www.nypl.org
Funding - This exhibition has been made possible by the continuing generosity of Miriam and Ira D. Wallach. Acquisition of "Particular Voices" has been made possible by gifts from the Daniele Agostino Foundation, Louis F. Arce, David P. Becker, William F. Burns, Dr. Herbert I. Cohen and Danny Cook, Dr. Nanette K. Gartrell, the Horace W. Goldsmith Foundation, Michael Hampton and George Stambolian, Deborah Ann Light, Joyce and Robert Menschel, Dr. Diane Mosbacher, Michael Piore, the Posner-Wallace Foundation, the Miriam & Ira D. Wallach Fund, and an anonymous donor.

March 19, 1998

Advanced PCL XL Printer Drivers For Windows

Software 2000 Announces Advanced PCL XL Printer Drivers For Windows 3.x, Windows 95, Windows 98 and Windows NT 4
Based on Software 2000's Component Driver Architecture (CDA) these drivers and development kits are immediately available for licensing by Original Equipment Manufacturers (OEMs).
The PCL XL drivers are vector in nature, include rich vector (TrueType outline) and raster font support and exhibit a common feature set cross-platform. Drivers created using the SW2000 XL CDA Developer Kit are "World Ready" and support Pan European, Far Eastern, Middle Eastern, USA and other variants of Windows 3.x/95 and Windows NT 4.
These PCL XL drivers are designed to be Windows 98 and Windows NT 5 ready and are fully customizable by OEMs using CDA Device companion PCL XL Driver Kits (DDKs) (also available now). Using the core feature set provided by these PCL XL drivers, OEM customizations will meet or exceed the XL driver specification(s) set by Hewlett Packard's custom PCL XL drivers as seen on the HP 4000 and HP 5000 printers.
In addition to fully supporting features exhibited by HP's PCL XL drivers, Software 2000's PCL XL drivers include a high-speed host raster mode and incorporate printer job finishing (including but not limited to n-up & scale to page). Existing CDA add-in's which include Watermarks, Printer Overlays and TrueType Font Installers are immediately available to all printer drivers based on CDA technology and this includes the new PCL XL driver products.
CDA is a modular driver development technology which significantly accelerates the development of printer drivers and de-skills the work involved. A CDA driver is developed using a scripting or description language. The same CDA driver descriptions created on one operating system platform may also be used to create a driver for the other. CDA driver cores exist for color raster, PCL5e, PCL5c, PostScript Level 2 and PostScript 3 on Windows 3.x/95 and Windows NT 4.
Since its launch in 1996, numerous major printer OEMs have leveraged CDA driver technologies. Manufacturers including Canon, OCE, Hewlett-Packard, Ricoh, Samsung, Xerox have chosen CDA to satisfy some or all of their driver needs.
Software 2000 specializes in the development of driver technology for Windows 3.x, Windows 95, Windows NT and supplies to original equipment manufacturers (OEMs) throughout the world. In just eight years, Software 2000 has grown into a multi-million dollar company with offices in Monterey, California and Oxford, England. The company is recognized as the largest third party developer of printer drivers in the world.
________________________
Wanafoto : Software 2000 change its name. The company's name is now Sofware Imaging
www.softwareimaging.com

February 1, 1998

AIPAD Photography Show 1998

 

The Photography Show 98, sponsored by the Association of International Photography Art Dealers (AIPAD), will return to New York City February 13th to 15th, 1998. The Photography Show 98, the world's largest art fair devoted to fine art photography, will be held in the Exhibit Halls at the New York Hilton, 53rd Street and Avenue of the Americas.

Eighty AIPAD dealers from the United States, Canada, Europe and Japan will participate in the 1998 exposition. An extensive range of fine art photography, from rare vintage works to cutting edge contemporary, will be on view and available for purchase. The Photography Show, now in its eighteenth year, is internationally recognized for unparalleled connoisseurship and has become an invaluable event for leading museum curators, established as well as beginning collectors, and interior designers.

To showcase contemporary photography, a special section at The Photography Show 98 will be devoted to cutting edge photography. Photographs on display in this special exhibit area will be large scale images produced after 1990.

For The Photography Show 98, AIPAD will host a symposium, Creating & Collecting: It Takes Two, on February 14th from 9:30 to 11:30. The panel discussion, organised by Stephen Perloff, Editor of The Photograph Collector and The Photo Review, will feature couples who collaborate on photographic projects. The symposium is open to the public at no charge.

The 1998 event will be The Photography's sixth year at the exhibit hall of the New York Hilton Hotel. The popularity has grown steadily since AIPAD's return to NYC in 1993. Week end attendance for the last show in March 1997 was over 7000 visitors.

The Photography Show 98 will be open to the public on three consecutive days: Friday, Saturday and Sunday: February 13th, 14th and 15th. Admission price is $15 daily; $30 for a three-day pass. The admission price includes AIPAD's annual Illustrated Catalogue and Membership Directory, 288 pages, over 200 illustrations. After February 15th, the catalogue can be purchased by mail from the AIPAD office: $25 postpaid; $35 outside the U.S. postpaid.

 

PHOTOGRAPHY SHOW 98 EXHIBITORS

banning + associates
Stuart B. Baum Photography
Deborah Bell Photographs
Joseph Bellows
Bonni Benrubi Gallery, Inc.
Sandra Berler
Janet Borden, Inc.
Christian Bouqueret A.R.D.P.
J.J. Brookings Gallery
Stephen Bulger Gallery
The Camera Obscura Gallery
Zelda Cheatle Gallery
Galerie Michele Chomette
John Cleary Gallery
Stephen Cohen Gallery
Commerce Graphics Ltd, Inc.
Jane Corkin Gallery
Stephen Daiter Photography
James Danziger Gallery
Keith de Lellis Fine Art Photography
Catherine Edelman Gallery
Gary Edwards Photographs
Ehlers Caudill Gallery Ltd.
Etherton Gallery
Kathleen Ewing Gallery
Peter Fetterman Photographic Works of Art
Wm. Floyd Gallery, Inc.
Barry Friedman Ltd.
Galerie Faber
Fay Gold Gallery
Howard Greenberg Gallery
The Halsted Gallery
Hamiltons Galleries Ltd.
Leon Herschtritt Gallery
Paul M. Hertzmann, Inc.
Michael Hoppen Photography
Edwynn Houk Gallery
Hyperion Press Limited
Charles Isaacs Photographs
Jackson Fine Art, Inc.
Ken & Jenny Jacobson
Galerie Rudolf Kicken
Ezra Mack
Robert Mann Gallery
Lee Marks Fine Art
Laurence Miller Gallery
Scott Nichols Gallery
Robert Klein Gallery
Robert Koch Gallery
Paul Kopeikin Gallery
Hans P. Kraus, Jr. Inc.
Lee Gallery
Janet Lehr Inc.
Lewis Lehr, Inc.
LIFE Gallery of Photography
Gallery Luisotti (RAM)
Lunn Ltd.
Photo ART
Alan Klotz/Photocollect
Photographs Do Not Bend
Photography: The Platinum Gallery
Galleria Photology
Picture Photo Space
The Ralls Collections
Yancey Richardson Gallery
Richard T. Rosenthal
Julie Saul Gallery
William L. Schaeffer/Photographs
Scheinbaum & Russek, Ltd.
Howard Schiekler Fine Art
Charles Schwartz Photography
Michael Senft/Masterworks
Lisa Sette Gallery
Singer Photography
Andrew Smith Gallery
Joel Soroka Gallery
Staley-Wise Gallery
Galerie Zur Stockeregg
The Tartt Gallery
Throckmorton Fine Art, Inc.
Vision Gallery
Wach Gallery

 

AIPAD
1609 Connecticut Avenue, NW
Washington DC 20009