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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


February 28, 2001

Hermes acquires part Leica Camera AG

Hermès acquires 31.5 % of the share capital of Leica Camera AG On 22nd of November 2000, Hermès International has launched a friendly tender offer for 30 % of the share capital of Leica Camera AG running until 20th of December 2000. The proposed price was 12.50 Euro per share, representing a 30 % premium on the average stock market price in the last three months preceding the offer. At the closing of the offer, Hermès International announces that it has acquired 31.5% (30 % on a fully diluted basis) of the share capital of Leica Camera AG for a total investment of 17.7 million Euro. The press release note "Hermès International and Leica Camera AG welcome the decision of the shareholders who have tendered their shares and allowed the success of this operation. "

February 25, 2001

August Sander Exhibit Getty Museum

August Sander: German Portraits (1918-1933)
Opens March 6, 2001 at the Getty Museum
Photographs by the Powerful German Master
This exhibition highlights more than 125 photographs that survey this German master's portraiture of the 1920s and early 1930s, and reveal the turbulent face of Germany during the Weimar period after WWI, just prior to the rise of Adolf Hitler's Third Reich. The exhibition will be on view from March 6 through June 24, 2001, at the J. Paul Getty Museum. It examines a significant period of Sander's prolific career through works that were selected from more than 1200 Sander photographs in the Getty's collection - the largest holding outside of Germany.
August Sander (1876- 1964) is revered in Germany as a father of modern photography. Since the 1920s, his work has had an enormous influence on generations of artists around the world. He is known primarily for his iconic photographs of farmers, artists, bricklayers, musicians, cab drivers, bureaucrats, dancers, industrialists, secretaries, the unemployed, and the disabled. Together these images form a collective "portrait" of pre-World War II German society, and reflect Sander's then-idealistic view of the existing social order. Many of these works will be on display at the Getty. Ironically, in the rise of the Third Reich, Sander himself became a focus of persecution. He eventually moved from Cologne to the relative safety of the countryside, leaving behind 30,000 glass negatives that were later destroyed by fire in 1946. Sander's photographs of his house and studio made before the Allied bombing of Cologne will also be on view in the exhibition.
Judith Keller, associate curator of the Getty's department of photographs, commented, "With each of our shows, the department of photographs tries to share with our audience more of the permanent collection. The Sander exhibition, drawn from our exceptional Sander holdings, takes another look at one of the masters of portraiture at a time when this genre is again popular with painters and photographers. In his own way, Sander employed his camera to put his country back together after World War I, one man, one picture at a time. His portraits take on added resonance in light of the devastating war that followed."
Sander reached artistic maturity during the Weimar Republic (1918-1933), when many German artists were inspired by a refreshing political freedom. Berlin had become an international artistic center and a new Realism in painting reflected observations about contemporary government and society. The era's cultural icons and references included the Bauhaus school, Joseph von Sternberg's film Blue Angel, Bertolt Brecht's Three Penny Opera, Alfred Döblin's novel Berlin Alexanderplatz, and Thomas Mann's The Magic Mountain.
Fueled by the Cologne Progressives, a group of radical young painters he met in the early 1920s, Sander embarked on a grand artistic enterprise. He began an ambitious project he called "Citizens of the Twentieth Century," and sought to portray the German social order through images of "types" or population groups. He began by revisiting his earliest portraits of peasants from his native Westerwald region and added an extensive series of portraits that blended his conservative views and nostalgia for the past with a progressive future vision. The photographs he created as part of this project are considered his most significant work.
With the rise of Hitler's political power and the advent of the Third Reich in 1933, Sander's career took a turn for the worse. His son Erich, a communist party member, was arrested, and Sander was scorned by the Nazi authorities. He moved to the small village of Kuchhausen and managed to bring with him and thus save 10,000 negatives. He was forced to abandon his politically sensitive work and concentrated instead on landscape photography. While he never completed his ambitious "Citizens" project, he left a compelling body of work reflecting the contradictory and complex nature of the era.
"Sander continuously walked the fine line between social satire and factual recording. Because of their multivalent character, Sander's photographs have been sources for artists working in a variety of materials from poetry to motion pictures," commented Weston Naef, curator of photographs.
For this exhibition, the Getty photographs galleries will be organized into sections related to Sander's own hierarchy of subjects. These include: First and Last (from the rural peasants to the urban unemployed), Women and the Metropolis, and Tradesmen and Professionals, with a final section portraying his house and studio.
Concurrent with the exhibition, the Getty is publishing a new book about Sander in its In Focus photography series. It will be on sale at the Getty bookstore and online for $17.50 (paperback).
The In Focus series makes available in an affordable format the Museum's significant holdings of works by major photographers. Each volume contains approximately 50 photographs with commentaries, an introduction, a chronology, and a transcription of a colloquium on the photographer's life and work. Among the contemporaries of Sander featured in this series are André Kertész, László Moholy-Nagy, Man Ray, Alfred Steiglitz, and Doris Ulmann.

February 22, 2001

Spencer Finch: Here and There, Rhona Hoffman Gallery, Chicago


Spencer Finch: Here and There
Rhona Hoffman Gallery, Chicago
February 16 - March 23, 2001

New York artist SPENCER FINCH explores the borders of representation in his exhibition Here and There at Rhona Hoffman Gallery in Chicago. Utilizing a wide range of materials and techniques – from sculpture and installation to painting and drawing – Spencer Finch creates work that addresses the ways in which subjectivity, memory and language inform the act of seeing. 

Many of the works included in this exhibit study the effects that light and memory have on perception. The enchanting and poetic work titled Blue (sky over Los Alamos, New Mexico, 5/5/00, morning effect), an installation of light bulb molecules precisely matching the cobalt, titanium oxide, and ultramarine sky over Los Alamos, is on view in the small gallery. Mounted to the ceiling in complex arrangements the piece probes some of the great mysteries of the universe: color, light, gravity, time, and space as Spencer Finch explores the gaps between objectivity and subjectivity as well as his fascination with science and its limits.

SPENCER FINCH currently lives and works in NYC. He has had several recent solo exhibitions including Up, Postmasters Gallery, New York (2000); Bildhuset, Stockholm (1999); Wandering lost upon the mountains of our choice, Postmasters Gallery, New York (1998); Galerie Andreas Brandstrom, Stockholm (1998); Periscope, Artnode, Stockholm (1997).

RHONA HOFFMAN GALLERY
www.rhoffmangallery.com

February 21, 2001

Nikon receives two DIMA Awards

Nikon D1x Professional Digital SLR Camera and Super Coolscan 8000 ED High-Speed Multi-Format Film Scanner Recognized for Technology and Innovation by the Digital Imaging Marketing Association (DIMA)
Nikon has received two DIMA innovative Digital Product Awards for the Nikon D1x pro digital SLR camera and the Super Coolscan 8000 ED desktop film scanner. Nikon was honored with two of the 17 awards that recognize unique technologies and/or applications that will influence the future of digital imaging. Digital imaging editors and writers judged the annual award sponsored by DIMA, the Digital Imaging Marketing Association, which is a section of PMA.
Nikon D1x digital SLR camera is optimized for superior image quality with a 5.47 megapixel CCD and a number of advanced capabilities for color reproduction, white balance and precision exposure control. It is designed for professionals requiring high image quality and the more demanding image resolution requirements for high-tech, publishing, scientific, pre-press, advertising, graphic arts and other photography that involves extremely high detail. The D1x combines with the Nikon Total Pro Imaging System to advanceany pro photographer's ability to most effectively incorporate digital photography into their workflow.
Nikon Super Coolscan 8000 ED is a multi-format film scanner that offers the highest dynamic range and resolution of any desktop film scanner available today. The scanner is capable of scanning a variety of film formats, including 35mm, 120/220, 16mm, electron microscope and prepared microscope slides, at true 4,000 dpi optical resolution with image quality equal to drum scanners. Designed for professionals looking to increase productivity and profitability in graphics applications, the Super Coolscan 8000 ED is the first film scanner to include Applied Science Fiction's groundbreaking Digital ICE3 technology, a suite of sophisticated digital enhancement tools for color correcting and enhancing images.
Nikon Press Release - 21.02.2001

February 15, 2001

Maria Maier and Felix Weinold at Monique Goldstrom Gallery, NYC

'Ambivalent' The work of Maria Maier and Felix Weinold
Monique Goldstrom Gallery, New York
February 17 - March 14, 2001

Monique Goldstrom Gallery presents "Ambivalent", a two-person exhibition featuring the work of Felix Weinold and Maria Maier.

Both from Germany, Maier and Weinold have joined artistic forces previous to the current exhibition, in "Taking Pictures" last year, in which they, similarly to their new show, elegantly combined painting, collage, and photography in a very unique and visually interesting way.

Maria Maier's work is primarily photographic, although the basis for each piece is a collage technique in which she combines painting as well. The special appeal of her artwork is the result of this combination of media and materials. The collages featured in this exhibition are from two of Maier's most recent series, "E-mission" and "Time-Symbioses" which although alike in technique have very different meanings. Some of the work that is part of the "E-mission"series features bits of painting and clippings of x-ray pictures. Other work is made up of photographs of electric cable and squarely cut radiograph contrastingly placed with pictures of old power-stations, focusing on their decay in an historical statement. Such a statement has become Maier's interest as is shown also in her "Time-Symbioses" series where she combines photos of disintegrating pipes, cables, and sockets, with discarded pieces of theatre scenery from the Velodrorn-Theatre in Regensburg, Germany. Her work has an original concept that is not only visually obvious, but allows the viewer to get a firm grasp on the statement she makes.

Felix Weinold also uses the combination of media and materials, once again specifically photography and painting, as a way of creating the multi-level meaning that is portrayed in his work. Dr. Thomas Elsen, Director of the Neue Galerie in Augsburg, Germany, explains Weinold's technique as: "a totally new, independent medium, which uses painterly means to put a new perspective on photography, and which 'undermines' painting with photographic methods. His pictures do not spell out explicit pictorial statements or messages, but at the same time they can raise all the more resonant questions in the viewerís mind, by far transcending the actual work and sparking off controversy, to which the work itself rigorously refuses to supply any answers; it just provides the initial and decisive stimulus." In this way Weinold's work and the work created by Maria Maier become a perfect compliment to each other and fall fittingly and fascinatingly into this exhibition called "Ambivalent".

Monique Goldstrom Gallery
560 Broadway (at Prince St.), Suite 303, NYC 10012
www.moniquegoldstrom.com