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


December 21, 2005

The Art of Screenprint at Detroit Institute of Arts

Art Exhibition > Michigan > Detroit > Detroit Institute of Arts

 

The Art of Screenprint

Detroit Institute of Arts

Through December 31, 2005

 

This exhibition presents the versatility of screenprint by concentrating on the variety of procedures artists employ to create images in this major category of modern printmaking. The objects are selected from the museum’s collection and the archives of Stewart & Stewart, printers and publishers of fine art screenprints in Bloomfield Hills, Michigan, for 25 years. Highlighted artists include Janet Fish, John Himmelfarb, Hunt Slonem and Steven Sorman, among many others. The history of the medium will also be displayed in a small selection of eclectic prints by dozens of other artists working now and in the early 20th century.   This exhibition is free with museum admission.

Programs are made possible with support from the Michigan Council for Arts and Cultural Affairs and the City of Detroit.

Detroit Institute of Arts
5200 Woodward Avenue
Detroit, Michigan 48202
dia.org

Presse Heidelberg Speedmaster CD 74

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Depuis Juin 2005, la plus longue Speedmaster CD 74 fabriquée par Heidelberger Druckmaschinen AG (Heidelberg), plus de 21 mètres, est en production chez le concepteur et fabricant d'emballage carton et plastique ALLIORA.
. La Speedmaster CD 74-2+LY-P-6+LYLX possède une configuration adaptée aux besoins spécifiques et particuliers du métier de l'emballage et comprend 13 groupes (impression, flexo, séchage) ainsi qu'un dispositif de retournement.
. Toutes les possibilités d'ennoblissements en ligne sont ainsi réunies dans une même presse. La combinaison parfaite pour Alliora (groupe ILEOS) qui fabrique entre autre des étuis de luxe pour la cosmétique, le parfum et les spiritueux. Avec trois sites de production en France et un site en Allemagne (Rodgau), le chiffre d'affaires est de 80 millions d'€ et un effectif de 760 personnes.
. La Speedmaster CD 74 est installée sur le site de Saint-Hilaire en Normandie. "Les premières semaines d'utilisation nous confortent dans notre choix. La Speedmaster CD 74 est la réponse adaptée aux nouvelles et futures exigences de productivité, calage rapide, flexibilité et qualité de nos marchés", résume Bernard Bros, Directeur du développement au sein d'Alliora. .
Alliora imprime sur du carton, du carton pelliculé et des matières plastiques. Elle utilise toute l'étendue de possibilité de grammage de la CD 74 qui va de 0,03 mm à 0,8 mm avec un format de 60 x 74 cm. La presse est conçue pour les applications les plus diverses tels que : des emballages jusqu'à 2 couleurs verso et 6 couleurs recto avec vernis recto/verso de protection, brillant ou vernis à particules.
. Pour l'impression en ligne, 8 couleurs sont possibles avec la dépose de plusieurs vernis. D'autres effets sont imaginables en ligne, tels que mat/brillant, or, argent déposé en flexo. La précision des registres, la qualité du transfert du support et la toute nouvelle retiration garantissent un nouveau standard d'impression tout en minimisant les risques de rayures.
C'est pour ces raisons que des supports aussi sensibles que le polypropylène et les cartons pelliculés peuvent être imprimés en recto/verso en 1 seul passage.
Les configurations de presse "à la carte" en petit et moyen format deviennent de plus la règle pour les imprimeurs. Le département "Customized Machines" ou "machines spéciales" progresse de plus en plus. En format 70 x 100 cm, 1 presse sur 5 possède déjà une configuration spéciale. Ainsi aussi les presses en petit format et moyen format de type Speedmaster SM 52 et Speedmaster CD 74 se développent de plus en plus. Par exemple pour la Speedmaster CD 74, plus de 20 pour cent des presses sont des configurations personnalisées. Depuis 2002, plus de 150 CD 74 UV ont été installées à travers le monde. Ces investissements se font dans les pays industrialisés mais aussi de plus en plus dans les pays en fort développement de l'Europe de l'est, en Asie ainsi qu'en Afrique. Les presses spéciales sont équipées pour les besoins spécifiques des clients et permettent surtout une différentiation dans les produits de part les technologies d'impression UV ou hybrides, double groupe vernis, Flexo avant Offset, découpe en ligne et vernissage en reprise.
Grâce à sa conception modulaire et ses possibilités de configuration "presque" sans limites, la Speedmaster CD 74 est la presse universelle pour l'impression en ligne et en retiration dans le moyen format. Depuis son introduction lors de la Drupa 2000, plus de 5.000 groupes de CD 74 ont déjà été installés.

December 20, 2005

Heidelberg Prinect Image Control

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Les fonctions de Prinect Image Control d'Heidelberg
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Prinect Image Control est un système de mesures des couleurs hautement automatisé pour le suivi couleurs de l'impression. Il permet une mesure spectrocolorimétrique de l'intégralité de la feuille. Les mesures sont enregistrées, puis le système détermine les déviations par rapport à la feuille de référence définie et les ajustements nécessaires à la correction des écarts. Ils sont transmis ensuite directement aux presses pour régler les encriers sur tous les groupes simultanément pour obtenir une qualité d'impression constante. .
Prinect Image Control contient aussi une base de données des tons spéciaux et peut supporter le diagnostic à distance.
. L'histoire de Prinect Image Control
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Prinect Image Control est le résultat d'années de partenariat entre Heidelberg et le fabricant de colorimètres suisse Gretag Macbeth AG. Les premiers développements ont démarré en 1993 sous le nom de code CPC 2S MIB. Le but du projet était de développer une technologie complètement innovante et révolutionnaire, la régulation des presses à partir de mesures colorimétriques des images imprimées. .
Le produit fut présenté pour la première fois sur IPEX à Birmingham en Angleterre, en même temps que le premier pupitre de control numérique Prinect CP2000. Ce nouveau système de mesure couleur était capable de mesurer plus de 160 000 points de la feuille imprimée en moins d'une minute.
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Sa production démarra dès 1999, et il se vit rapidement plébiscité par le GATF Award aux USA en l'an 2000 et plus récemment par le prix de l'innovation pour ses options "Mini Spots" par le magazine Deutscher Drucker.
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Depuis la Drupa 2004, Prinect Image Control est un élément clé des solutions Prinect Couleurs et grâce à ses nouvelles fonctionnalités assure la gestion couleur dans les systèmes intégrés.
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1000ème vente de Prinect Image Control
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"Le millier de systèmes Prinect Image Control installés dans le monde montre l'importance qu'accordent les imprimeurs visant une très haute qualité, à la mesure spectrocolorimétrique. De nombreuses imprimeries reconnaissent que l'investissement dans un flux couleurs optimisé est véritablement rentable car la qualité peut être produite de manière fiable et répétable", explique Jörg Bauer, vice Président de la division Prinect chez Heidelberg.
Le 1000ème système de contrôle spectrométrique de l'image a été installé à l'imprimerie Rasch en Allemagne. Pour expliquer sa décision d'investissement, Uwe Schade, Directeur de Rasch explique: "Notre orientation sur le marché de la qualité implique un intérêt très important pour la gestion des couleurs. Prinect Image Control est une des pierres angulaire du flux couleurs, par sa capacité de mesurer l'image sur la feuille imprimée, en d'autres termes de ce que nous vendons et non pas seulement la gamme de contrôle".

December 15, 2005

Major focus on digital photography at Macworld Expo 2006

 

IDG World Expo announced a major focus on digital photography at Macworld Conference & Expo 2006, taking place January 9-13, 2006 at San Francisco's Moscone Center. Several new features have been added to this year's event that will provide attendees with more education, services and product insight about digital photography - always one of the most popular topics at Macworld.

Aperture

January's Macworld will mark the first in-depth public training on Apple's newly launched product, Aperture - the first all-in-one post-production tool for professional photographers. Taught by best-selling digital photography author, Derrick Story, this conference session is part of the Power Tools Conference and provides two full days of in-depth training on this powerful tool.

Digital Photography Exhibitors

The leading companies in the digital photography industry will be exhibiting or sponsoring at Macworld. A sample of those exhibiting companies include: Adobe, Canon, Nikon, Olympus, Quark, FileMaker, Lowel-Light, HP, Epson, Filmloop, Light Crafts and B&H Photo-Video-Pro Audio.

Digital Photography Day

Sponsored by Olympus, FileMaker and Lowel-Light, this new Macworld educational feature provides attendees the opportunity to improve digital photography skills in one day under the instruction of top-notch industry photographers. Professional and novice classes will include classroom instruction; outdoor shooting; indoor lighting and shooting; downloading and critique; editing; and organizing and sharing images.

The Dr. Is In - Digital Photography Help

This new Exhibit Hall feature is a complimentary service where attendees can bring prints, camera (bring cables for download) or images on flash storage to the digital photography doctors in the Creative Corner of the Macworld Exhibit Hall and let members of the American Society of Media Photographers give pointers. The Doctors will be in all week. Open to all Exhibit Hall attendees.

Digital Photography Birds-of-a-Feather: ASMP/ SFDIG: "The Digital Camera of 2015"

The American Society of Media Photographers will host Mac industry luminary David Pogue of The New York Times, as he discusses the next decade of digital photography. You'll hear about the screens, batteries, storage devices, and software of the next decade's digital camera, including which current annoyances will go away and which will only get worse. Features virtual video visits from the top visionaries at Kodak, Nikon, and Canon. 1/11/06 at 6:00 p.m. Open to all Exhibit Hall attendees.

Photoshop Feature Presentation

Photoshop expert Russell Brown of Adobe will entertain and educate with an "altered" view of Photoshop, guaranteed to make you smile. Russell will take you on a wild and wacky ride through some of the key new features found in Photoshop CS. 1/13/06 at 10:00 a.m. Open to all attendees.

Photoshop Education

-- Users Conference: "Photoshop Digital Creation: Uncanny Realism," 75 minute session.

-- Users Conference: "Photoshop CS2: Secrets to Levels and Curves," 75 minute session.

-- Power Tools Conference: "Professional Photoshop," two full days of in-depth training.

-- Taste of the Conference: "Photoshop CS: Essential Tips & Tricks," gives essential, time-saving techniques on Photoshop. 1/11/06 at 5:00 p.m. Open to all Exhibit Hall attendees.

Digital Photography Education

Users Conference: Learn how to use a digital camera, take better pictures and share them with friends, family and other associates with sessions on Wednesday. Thursday sessions offer tips, tricks and vision to the advanced Digital Photographer. This track includes five unique 75-minute sessions.

December 1, 2005

Larry Clark, Tulsa and Teenage Lust - Simon Lee Gallery

 

Larry Clark holds a seminal position in American photography. Widely known for his treatment of teenage sexuality, violence and drug use, Clark’s contentious photographs and films are simultaneously unimaginable and unforgettable. Simon Lee presents selections from both Tulsa (1963 - 1971) published in 1972 and Teenage Lust (1963 - 1983) first published in 1983 and expanded in 1987.

The trajectory of Clark’s career and often-controversial representations of American youth culture have their roots in Clark’s marginalized origins and his own early outlaw existence. Clark’s mother was a travelling baby photographer whom he assisted as a salesman and photographer. Used to having his camera by his side, Clark discovered that his friends were willing subjects for what were to become pivotal explorations into the underbelly of the American dream. Clark’s candid engagement with his milieu has seen him pursue important social issues pertaining to the construction of masculinity in American culture, the exploitation of teenagers by the mass media and the destructiveness of dysfunctional family relationships.

Tulsa (1963-1971), which was gathered on several forays in Clark’s home-town in Oklahoma, is now considered a classic memento mori of the period. Clark’s ability to encapsulate the social and cultural shifts in American society is one of the overriding strengths of Tulsa and marked him as a significant figure in the canon of late twentieth century photography. The subjects of Tulsa were Clark’s drug buddies and his unselfconscious handling of the drugs scene and its repercussions, make for unsparing statements on Vietnam-era America. Clark’s own teenage years correlated with an increasing rejection of the middle-class ethos in the 1940s and 1950s. The youth rebellion that became endemic in post-war American was indicative of a breakdown in consensus. This coincided with a period of paranoia relating to security issues ranging from Communist infiltration to organised crime. Culturally this rejection was reflected by the Beat literature of writers like Jack Kerouac and William S. Burroughs and also influenced movies including, Rebel without a Cause (1955), Blackboard Jungle (1955) and I was a Teenage Werewolf (1957).

The alienation from mainstream society that Clark’s early imagery evokes is perpetuated in his second series of photographs, Teenage Lust (1963-1983). This series chronicled the next generation of Tulsa teenagers as well as male hustlers in New York City. It consists of out-takes from Tulsa and new material, which is loosely autobiographic. Teenage Lust has an awkwardness reflecting Clark’s desire to make sense of his life and brings him full circle recalling the activities in Tulsa he was attempting to escape. His desire to implicate himself in the narrative of Teenage Lust saw him using additional devices such as confessional text, news clippings and family photographs. Ultimately this series established Clark’s enduring impulse towards the margins and his desire to offer an insight into subcultures largely unseen by a wider public.

Larry Clark’s remarkable influence on the style and subject matter of subsequent generations of photographers and filmmakers has been extensively acknowledged. His mythologizing of the criminal margins reflects an age-old fascination within American culture. This defining myth and Clark’s particular preoccupation with mass media’s exploitation of adolescents, has influenced the work of photographers such as Richard Prince and Nan Goldin. His recognized impact on Hollywood is present in the films such as Taxi Driver (1976) by Martin Scorsese, Rumble Fish (1983) by Francis Ford Coppola and Drug Store Cowboy (1989) by Gus Van Sant.

In 1995 Larry Clark released his first feature film, Kids which was lauded as an instant classic. Other film projects include Another Day in Paradise (1998), Bully (2001), Teenage Cavemen (2001), Ken Park (2002) and his most recent feature Wassup Rockers (2005).

Larry Clark’s work is represented in the photography collections of many major museum collections, including the Metropolitan Museum of Art, New York, The Museum of Modern Art, New York, The San Francisco Museum of Modern Art and Pinakothek Der Moderne, Munich.

 

On 17th December, the ICA in collaboration with Simon Lee screens Bully (2001). After the screening there is a conversation between Larry Clark and Jens Hoffman, Director of the ICA.

 

updated 2009

Roger Ballen - Shadow Chamber - Livre

Shadow Chamber regroupe une sélection de 71 photographies inédites en noir et blanc. L’introduction de Robert A. Sobieszek analyse l’approche unique de Roger Ballen en la situant dans le contexte de l’histoire de la photographie. L’auteur est conservateur du département de photographies au Los Angeles County Museum of Art et fut notamment le directeur des collections photographiques à la George Eastman House in Rochester, à New York. On lui doit également : LACMA's Robert Smithson: Photo Works et The Camera I: Photographic Self-Portraits from the Audrey and Sydney Irmas Collection.
Shadow Chamber
Photographies de Roger Ballen
Texte de Robert A. Sobieszek
300 x 280 mm, relié, 128 pages 71 photographies noir et blanc
Prix : 59,95 €
Phaidon, 2005,

November 30, 2005

Macworld Digital Photography Superguide

The first Macworld e-book is dedicaced to digital photography

 

IDG’s Macworld introduced a new method of delivery for its content with the announcement of The Macworld Digital Photography Superguide. This electronic-only book (e-book) will guide readers through every step of the photography process from buying the right camera to capturing the perfect shot to organizing, editing, and printing photos. The e-book is available online now at Macworld web site for $12.95. At more than 100 pages in length, Macworld’s first e-book takes advantage of the magazine’s leadership in helping Mac users understand one of the most popular topics in the computer market today.

“For more than a year our readers have been asking for more information about digital photography,” said Jason Snell, Macworld’s Editorial Director. “We’ve answered those requests with numerous feature stories, reviews, and even a dedicated Digital Photo column in the magazine every month. It only made sense to take everything we’ve learned about digital photography and make it available in one place.”

The Macworld Digital Photography Superguide was edited by Macworld Senior Editor Kelly Turner, who compiled the best of Macworld’s digital photography coverage over the past few years and turned to an all-star group of Macworld contributors to update, enhance, and expand the information into a timely, up-to-date compendium. Among the book’s contributors are noted authors Bruce Fraser, Jim Heid, Christopher Breen, Derrick Story, Dan Frakes, Rob Griffiths, Ben Willmore, and Joe Kissell.

Katy Grannan, Model American


“The last time I was this uncomfortable and thrilled by a book of portraits was when I first opened Diane Arbus’s monograph thirty years ago.” Richard Misrach




(c) Katy Grannan / Aperture Foudation - All rights reserved

MODEL AMERICAN

PHOTOGRAPHS BY KATY GRANNAN

ESSAY BY JAN AVGIKOS


Model American is Katy Grannan’s first monograph, featuring seventy-five of the artist’s visually striking and voyeuristically irresistible portraits. A protégée of Gregory Crewdson, Grannan was featured in Crewdon’s seminal 1999 exhibition on emerging women photographers entitled “Another Girl, Another Planet.” Model American secures Grannan’s status as one of the art world’s biggest new stars.

In Model American, Grannan’s portraits capture the intense relationship between photographer and model as well as the desire of the subject to offer him or herself up to the camera lens. She initially recruits her subjects through placing ads in local newspapers: “Art Models. Artist/Photographer (female) seeks people for portraits. No experience necessary. Leave msg.” After an initial telephone conversation, artist and model meet for a photo shoot. With subjects centrally framed and directly facing the camera, each image resonates with the tension of a first encounter.

Model American provides a survey of the artist’s key series, from “Poughkeepsie Journal” to “Mystic Lake,” revealing an incredible trajectory from Grannan’s early work to her most recent series. Grannan, at first, photographed her subjects in their own domestic settings, but has recently moved outside to public spaces, such as municipal parks near her subjects’ homes, lending these images a hint of danger while never losing their sense of delicacy and intimacy. The latest work is extremely charged and ever-so-slightly disconcerting. The underlying theme running throughout the overall body of work is that in a world of voyeurism, reality television, and celebrity culture, everyone wants to be a star.

Katy Grannan was born in Arlington, Massachusetts, in 1969. She received her B.A. from the University of Pennsylvania, Philadelphia, in 1991 and her M.F.A. from Yale University in 1999. Her work has been featured in multiple group exhibitions; she was one of four photographers selected for the Whitney Biennial 2004. Solo exhibitions of her Grannan’s work have been shown at Lawrence Rubin Greenberg Van Doren Fine Art in New York (2000 and 2003) and others. She recently received the 2004 Baum Award for Emerging American Photographers, the Theater Gallery of the Berkeley Art Museum and Pacific Film Archive (2004). Grannan is represented by Greenberg Van Doren Gallery in New York and is newly represented by the Jeffrey Fraenkel Gallery in San Francisco. She lives in New York City and San Francisco.

Jan Avgikos is a contributing editor at Artforum. Her essays and reviews appear regularly in Parkett and Flash Art, among other international publications. She has written essays for catalogs of work by John Baldessari, Felix Gonzalez-Torres, Marina Abramovic, and Cindy Sherman. She has also written extensively on contemporary artists Jack Pierson and Anna Gaskell, among others, and lectures widely on contemporary art.

Model American
Photographs by Katy Grannan
Essay by Jan Avgikos

Published by Aperture
November 2005
9 7/8 x 11 1/2 in.
120 pages
75 four-color and duotone images
Hardcover
ISBN 1-931788-81-2
$40.00, £22.00

November 25, 2005

Susan Bright, Art Photography Now

“As all the work in this book testifies, photography is no longer a ‘mortal enemy’ or a ‘humble servant’ to art. It is currently enjoying significant re-evaluation in terms of its profile, acceptance and status.”— Susan Bright
Photography helped shape art in the late twentieth century; in the twenty-first, it has begun to dominate it.Art Photography Now (Aperture, November 2005), is a survey that presents the work of eighty of the most important and best-known art photographers in the world today ––including Tina Barney, Gregory Crewdson, Philip-Lorca diCorcia, Nan Goldin, Andreas Gursky, Martin Parr, Cindy Sherman, Joel Sternfeld, Martin Parr, Mario Testino, to name a few. Susan Bright, former curator of the National Portrait Gallery, London, has organized the book into seven sections -- City, Portrait, Document, Object, Landscape, Fashion, and Narrative — each of which explores the diverse subjects, styles, and methods adopted by the artists. Introductions to each section outline the genres and consider why photographers are attracted to certain themes and how issues like memory, time, objectivity, politics, identity, and the everyday are tied to certain approaches. Each photographer’s work is then presented in sequence, with commentaries by the author highlighting the art’s most important aspects. Quotations from the artists appear alongside to offer valuable insights into the motivation, inspiration, and intentions behind the work. With an introduction that sets out the historical relationship between art and photography from the early nineteenth century and discusses the art world’s embrace of the medium in recent decades, Art Photography Now is a truly comprehensive guide to the essential aspects of contemporary photography. It is a visual feast and an essential resource for curators, collectors, scholars, practitioners, and anyone who wants a comprehensive, up-to-date exposure to the state of photography today. Susan Bright is an independent writer, lecturer, and curator. A former curator of photographs at the National Portrait Gallery and director of the Association of Photographers Gallery, both in London, currently she is an associate lecturer in photographic history and theory at the London College of Communication, acting director of the M.A. contemporary art course at Sotheby’s Institute of Art, London, and a course leader at Tate Modern. She has curated a variety of photography exhibitionsand has written numerous articles and essays for a number of catalogues, journals and magazines, including Photoworks, Source, Contemporary, Tema Celeste, and Showstudio. Art Photography Now Edited by Susan Bright Aperture November 2005 9 x 10 ¾ in. (22.8 x 27.3 cm) 224 pages 250 four-color images Hardcover with jacket ISBN 1-931788-91-X $50.00 U.S.

November 19, 2005

David Sterboul, Expo Photo Paris

 

Photographie © David Sterboul

 DAVID STERBOUL, Photographies

La désobéissance civile en plein champ

 

 

Photo © David Sterboul

 

Eté 2004 : plusieurs actions de fauchage de maïs OGM défrayent la chronique.

En prenant le temps de revenir sur le fil précis de deux de ces évènements, ce reportage photographique s’intéresse à la logique d’action des faucheurs et à la réaction des pouvoirs publics.

L’exposition tente ainsi de mettre à jour les raisons qui poussent des citoyens ordinaires - et parfois des élus - à transgresser la loi à visage découvert, puis à en assumer collectivement la responsabilité, jusque devant les tribunaux.

 

David Sterboul
La désobéissance civile en plein champ

Expo Photo des Rencontres Photographiques du Xe

Centre d'animation
Espace Château Landon
31, rue de Château-Landon , 75010 Paris
M° Stalingrad / Louis Blanc
Du lundi au vendredi de 9h à 21h
et le samedi de 9h à 12h et de 14h à 18h.

Du 15/11 au 15/12

November 16, 2005

Martin Parr, Think of England & Cocktail, Galerie Kamel Mennour, Paris

Martin Parr, Think of England & Cocktail
Galerie Kamel Mennour, Paris

18 novembre 2005 - 11 février 2006

La double exposition « Think of England » & « Cocktail », présentée à la galerie kamel mennour n’est pas qu’une exposition de plus dans l’actualité débordante de Martin Parr. A la suite de la rétrospective organisée par la Maison Européenne de la Photographie cet été à Paris, et après l’exposition « Think of England & Germany » du Kunsthalle de Mannheim (Allemagne), il s’agit de présenter un panorama de ces dernières années, une exposition thématique, celle du Martin Parr globe-trotter. A travers de nombreuses séries photographiques datant des années 1990, le propos de l’exposition est de montrer le regard que porte le photographe anglais sur ses contemporains, qu’il s’agisse de ses compatriotes britanniques, de ses voisins européens, les belges particulièrement, ou plus lointains encore, sur les russes et les japonais. Tout l’univers de Parr est là : du kitsch balnéaire à la bourgeoisie anglaise, en passant par les pâtisseries aux couleurs acidulées.

C’est par son approche oblique du documentaire social que Martin Parr s’est construit une réputation internationale. Dans ses photographies colorées et éclatantes, Parr se concentre sur la dérision et la trivialité de nos habitudes, avec ce regard tendre, distant et amusé, mais toujours teinté d’un brin d’ironie et de cynisme. Car s’il nous observe, c’est réellement avec un regard d’entomologiste, scrutant à la loupe, les moindres détails de notre quotidien, sans compromis ni concession. C’est en grattant la surface de ses clichés, bien au-delà du comique de ses photographies, que l’on découvre l’intelligence du travail de Martin Parr. Celle de dénoncer avec subtilité, sous la face visible de la société, le ridicule et la cruauté de nos sociétés contemporaines, la globalisation, le tourisme de masse, l’addiction aux nouvelles technologies (série Phone Project par exemple).

Au 60 rue Mazarine sera présentée une sélection d’oeuvres issues de la série « Think of England ». Au 72 rue Mazarine, la majeur partie de l’exposition présente des oeuvres tirées des séries « Common Sense », « Small World », « Benidorm », « Bored Couples » , « Food », « Think of Germany », « Knokke-Le-Zoute », « Stalin World », « Cherry Blossom Time in Tokyo » et « Phone Project ».

MARTIN PARR est né en 1952 à Epsom dans le Surrey, en Angleterre. Il a étudié la photographie à l’Ecole Polytechnique de Manchester, de 1970 à 1973. En 2005, il a été exposé au Museum of Contemporary Art de Chicago, à la House Gallery de Vancouver, à la M.E.P, au Bon Marché et lors de la rétrospective Magnum au Centre Pompidou à Paris, et dernièrement, au Kunsthalle de Mannheim (Allemagne). Il a également participé à PhotoEspana à Madrid.

Mériadek Caraës

Kamel Mennour
60 rue mazarine - 75006 Paris - France
www.kamelmennour.fr

November 15, 2005

Shirin Neshat and Claude Zervas’ Works at SAM

 

The Seattle Art Museum (SAM) has added two important works to its collection: Claude Zervas’ sculpture Nooksack (2005) and Shirin Neshat’s video Tooba (2002).

 

Multimedia artist CLAUDE ZERVAS uses technology to abstract landscape in Nooksack, comprising 32 nine-inch fluorescent lights and hundreds of feet of cascading white wire. An expert in computers and digital technologies, Zervas uses their magic to transform the topography of the Nooksack River into a luminous drawing that appears to float above the ground. The composition of this sculpture is inspired by the topography and flow of the river as it winds towards Puget Sound. This work is part of a larger series that includes video and photography, and will be part of the upcoming exhibition Made in Seattle (May 4 – July 23, 2006) at the Seattle Asian Art Museum. Nooksack was purchased for the museum by John and Shari Behnke, Rena Bransten, Carlos Garcia, David Lewis, Kim Richter, Josef Vascovitz, Robin Wright, Dawn Zervas, and the Contemporary Arts Council.

 

Iranian-born photographer, filmaker and video artist SHIRIN NESHAT is best known for videos of archetypal imagery and spare elegance that explore the experience of exile and complexities of contemporary Islam. Her most ambitious works, including Tooba, unfold on two projection screens creating visual oppositions of tradition and modernity, nature and culture, individual and collective and male and female. The video will go on display at the Seattle Asian Art Museum for the reopening on January 14, 2006. Tooba was inspired by the novel Women Without Men by Iranian writer Shahrnoush Parsipour, who was imprisoned for five years for her work. Shot near Oaxaca in Mexico, Tooba contrasts an earthly paradise with a mountainous landscape, and begins by focusing on a central female character nearly merged into a large fig tree set alone in a walled garden. The image of a woman symbolizing the soul of the tree originates in myths of the promised tree in the Koran, commonly known as a “feminine tree.” Over the barren landscape men and women draw near, impinging on this enclosure – the only one within the vast landscape; they threaten the space, solitude and peace therein. As the invading men and women seek refuge in the garden the woman disappears into the tree, called Tooba, which means eternal happiness. In the Koran this tree offers shelter and sustenance. Shirin Neshat explains: “The idea is that they are transcending everyday life and moving into something greater.”

Shirin Neshat was born in Qazvin, Iran in 1957, and came to the United States in 1974 at age 17, to study art at the University of California in Berkeley. Her first return to her country in 1990 coincided with the beginning of her career as a photographer, filmmaker and video artist. She established her reputation in 1999, winning the international prize at the Venice Biennale. She has held solo exhibitions in England at Tate Gallery, London (1998), Serpentine Gallery, London (2000) and in the United States at Walker Art Center (2002) and the Whitney Museum of American Art, Philip Morris (1998). Tooba was commissioned by Documenta 11 in Kassel, Germany and was the first of Neshat’s pieces to be shown in her native country, at an exhibition in Tehran’s Museum of Contemporary Art. It was also exhibited at the Asia Society, New York.

Tooba was purchased by the SAM with generous contributions from Jeffrey and Susan Brotman, Jane and David Davis, Barney A. Ebsworth, Jeffrey and Judy Greenstein, Lyn and Jerry Grinstein, Richard and Betty Hedreen, Janet Ketcham, Kerry and Linda Killinger Foundation, James and Christina Lockwood, Michael McCafferty, Christine and Assen Nicolov, Faye and Herman Sarkowsky, Jon and Mary Shirley, Rebecca and Alexander Stewart, William and Ruth True, Bagley and Jinny Wright, Charles and Barbara Wright, and Ann P. Wyckoff.

 

This important acquisition of works of Shirin Neshat and Claude Zervas has been made to Honor Departing Curator Lisa Corrin. The former Deputy Director of Art/Jon and Mary Shirley Curator of Modern and Contemporary Art, resigned her position to become Director of the Williams College Museum of Art.

November 9, 2005

MAC/VAL Musée d’Art Contemporain du Val de Marne

 

mac_val_de_marne_communication_2 Le premier musée d'art contemporain en banlieue parisienne ouvre ses portes au public le 18 novembre 2005

Le MAC/VAL, musée d’art contemporain du Val-de-Marne, situé aux portes de Paris, à Vitry, ouvre ses portes au grand public le vendredi 18 novembre 2005. Symbole d’une politique culturelle départementale forte et innovante et du soutien du Conseil général à  la  création  contemporaine,  l’ouverture  d’un

  © CLM BBDO/ Photo : ARNO BANI                         

nouveau musée d’art contemporain, en banlieue parisienne, constitue un événement majeur à vocation internationale.

A cette occasion, le public est invité à venir découvrir gratuitement le nouveau musée, sa collection et la première exposition, lors des journées portes ouvertes organisées les 18, 19 et 20 novembre.

Le MAC/VAL, construit par l’architecte Jacques Ripault, et labellisé  « Musée de France », est le fruit et l’aboutissement de plus de vingt ans d’efforts menés par le Conseil général pour promouvoir l’art contemporain et favoriser sa rencontre avec tous les publics. Le Conseil général s’est engagé dans la réalisation de ce musée d’art contemporain pour permettre la mise en valeur d’une collection d’oeuvres d’art issues du Fonds Départemental d’Art Contemporain (FDAC). Le FDAC a été créé en 1982 à l'initiative du précédent président du Conseil général du Val-de-Marne, Michel Germa. Sa direction artistique était assurée par le journaliste et critique d'art, Raoul-Jean Moulin. Le Conseil général a conduit une politique active d’acquisitions depuis 1982. La collection est également constituée de nombreuses commandes d’estampes originales et du fonds Les Yeux  fertiles, Suite Paul Eluard, composé de travaux sur papier confrontant le regard d’un peintre et l’écriture d’un poète.

Une collection d’art contemporain de plus d’un millier d’oeuvres reflétant la scène artistique en France depuis les années 50 jusqu’à la création la plus récente y est présentée. Lumière !, Action !, Paysages, la Vie moderne, ce qui nous entoure, ce qui nous façonne, Face au monde et Exister sont parmi les grands axes qui guident le visiteur. Ils l’invitent à une promenade muséale et architecturale où les plus jeunes artistes dialoguent avec les figures plus historiques de la scène artistique française. Ainsi Ange Leccia et François Morellet, Annette Messager et César, Valérie Belin et Peter Stämpfli, ou encore Malachi Farrell et Jacques Monory, se répondent, cohabitent, s’interrogent et nous racontent une histoire de l’art renouvelée.

Implanté en centre ville de Vitry-sur-Seine, à immédiate proximité de Paris, entouré d’un jardin public de 10.000 m2, cet équipement, signalisé par Ruedi Baur, est doté d’une surface de 13.000 m2 dont 4.000 m2 sont dédiés aux expositions permanentes et temporaires.

Le MAC/VAL accueille également un cinéma de 150 places, un centre de documentation de 380m2, la librairie Bookstorming, le restaurant Le Transversal, et des ateliers-logements qui permettront d’accueillir des artistes internationaux en résidence.

Ce projet (inscrit au contrat de plan Etat-Région 2000-2006) représente un investissement de 30,5 millions d’euros HT financé, pour moitié, par le Conseil général du Val-de-Marne et pour l’autre moitié par le ministère de la Culture et de la Communication et la Région Ile-de-France.

La première exposition temporaire réunira, en deux temps, deux artistes majeurs de la scène artistique française :
Jacques Monory, exposition Détour, du 18 novembre 2005 au 26 mars 2006.
Claude Lévêque, exposition Le grand sommeil, de mi-mai à début septembre 2006.

Jacques Monory, Détour (18 novembre 2005 - 26 mars 2006). Cette exposition invite Jacques Monory, artiste de renom, à investir l’espace des expositions temporaires du musée avec les moyens qui lui sont propres. Il s’empare de motifs issus de la culture dite populaire (musique, cinéma, romans policiers) en convoquant la narration et la fiction, et met en scène des scénarios fictionnels et autobiographiques. Jacques Monory propose un parcours qui réinvestit au regard de ses obsessions sa production artistique des années 60 à aujourd’hui.

Le second volet de cette exposition sera consacré à Claude Lévêque, Le grand sommeil (mi-mai - début septembre 2006), qui proposera une installation in situ inédite.

 

La campagne de communication pour accompagner l’événement

 

mac_val_de_marne_communication_3 A partir du 8 novembre, une campagne de communication inédite est déclinée en télévision (sur France 3 paris Ile-de-France Centre), au cinéma (salles de cinémas du Val-de-Marne et de l’est parisien, du 16 novembre 2005 au 4 janvier 2006), ainsi que dans la presse (différents magazines et quotidiens nationaux), par voie d'affichage (dans le métro et sur les panneaux d’affichage du Val-de-Marne et de l’est parisien) et sur internet (sites web du musée, du Monde et de Télérama).

  © CLM BBDO / Photo : ARNO BANI

 

La campagne s’inscrit dans une démarche d’impression des émotions provoquées par l’art contemporain. Le slogan « Venez prendre l’art » invite le public à vivre au MAC/VAL un moment de découverte et de plaisir. Pour répondre de façon littérale à ce slogan, le film et les affiches mettent en scène des acteurs qui reçoivent réellement l’art en pleine figure puisque des litres de peinture ont été déversés sur eux.

mac_val_de_marne_communication_1

  © CLM BBDO / Photo : ARNO BANI

 

Fiche technique de la campagne de communication

Annonceur : MAC/VAL, musée d’art contemporain du Val-de-Marne, Conseil Général du Val-de-Marne
Responsables annonceur : Alexia Fabre, Marie Rotkopf, France Jouineau
Agence : CLM BBDO
Direction de la création : Pascal Grégoire / Anne de Maupeou
Equipe création : Frédéric Lutge (Concepteur-rédacteur), Dimitri Guerassimov (Direction artistique)
Réalisateur/ photographe : Arno Bani (auteur des photographies reproduites)
Equipe commerciale : Pascal Couvry, Julien Lemoine
Achat d’art - TV producer : Isabelle Baud
Production : Wanda
Musique : Coco Rosie

 

INFORMATIONS PRATIQUES

MAC/VAL
Musée d’art contemporain du Val-de-Marne

Place de la Libération
94400 Vitry-sur-Seine

T +33 (0)1 43 91 64 20
E contact (at) macval.fr

Site internet : www.macval.fr

 

Conservateur du musée : Alexia Fabre
Responsable de la communication : Marie Rotkopf

Horaires d’ouverture

Mardi, mercredi, vendredi, samedi, dimanche : 12 heures à 19 heures
Nocturne le jeudi jusqu’à 21 heures
Fermeture le lundi

Accès

En métro :
Ligne 7 direction Mairie d’Ivry
Arrêt Porte de Choisy
Bus 183 direction Orly Teminal Sud
Arrêt : Moulin de Saquet-Pelletan
RER C : Gare de Vitry-sur-Seine
Puis bus n°180 direction Villejuif-Louis Aragon
Arrêt: Moulin de Saquet-Pelletan
En Bus :
172, 180 et 183.

November 2, 2005

Nikon Digital SLR Camera D200 Specifications

  • Type of Camera: Single-lens reflex digital camera
  • Effective Pixels: 10.2 million
  • Image Sensor: RGB CCD, 23.6 x 15.8mm; total pixels: 10.92 million
  • Image Size (pixels): 3,872 x 2,592 [L], 2,896 x 1,944 [M], 1,936 x 1,296 [S]
  • ISO Sensitivity (Recommended Exposure Index): 100 to 1600 in steps of 1/3, 1/2 or 1 EV with additional settings up to 1 EV over 1600
  • Storage Media: CompactFlash™ (CF) Card (Type I and II) and Microdrive™
  • Storage System: Compressed NEF (RAW): 12-bit compression, JPEG: JPEG baseline-compliant
  • File System: Exif 2.21, Compliant DCF 2.0 and DPOF
  • White Balance: Auto (TTL white balance with 1,005-pixel RGB sensor), six manual modes with fine-tuning, colour temperature setting, preset white balance, white balance bracketing possible (2 to 9 frames in increments of 1, 2 or 3)
  • LCD Monitor: 2.5-in., 230,000-dot, low-temperature polysilicon TFT LCD with brightness adjustment
  • Playback Function: 1) Full frame 2) Thumbnail (4 or 9 segments) 3) Zoom 4) Slideshow 5) RGB histogram indication 6) Shooting data 7) Highlight point display 8) Auto image rotation
  • Delete Function: Card format, All photographs delete, Selected photographs delete
  • Video Output: Can be selected from NTSC and PAL
  • Interface: USB 2.0(Hi-speed) (mini-B connector); mass storage and PTP connectable; FTP file transfer and PTP/IP camera control/file transfer is also available with optional WT-3 (IEEE 802.11b/g); CF card slot Type II: supports firmware updates via CF cards
  • Text Input: Up to 36 characters of alphanumeric text input available with LCD monitor and multi-selector; stored in Exif header
  • Compatible Lenses: Nikon F mount (with AF coupling and AF contacts)
  • Picture Angle: Equivalent in 35mm [135] format is approx. 1.5 times lens focal length
  • Viewfinder: Fixed eye-level pentaprism; built-in diopter adjustment (-2.0 to +1.0m-1)
  • Eyepoint: 19.5mm (-1.0m-1)
  • Focusing Screen: Type-B BriteView Clear Matte screen Mark II with superimposed focus brackets and On-Demand grid lines
  • Viewfinder Frame Coverage: Approx. 95% (vertical & horizontal)
  • Viewfinder Magnification: Approx. 0.94x with 50mm lens at infinity; -1.0m-1
  • Viewfinder Information: Focus indications, Metering system, AE/FV lock indicator, Flash sync indicator, Shutter speed, Aperture value, Exposure/Exposure compensation indicator, ISO sensitivity, Exposure mode, Flash output level compensation, Exposure compensation, Number of remaining exposures
  • Autofocus: TTL phase detection by Nikon Multi-CAM 1000 autofocus module with AF-assist illuminator (approx. 0.5m to 3.0m) Detection range: EV -1 to +19 (ISO 100 equivalent, at normal temperature: 20°C/68°F)
  • Lens Servo: Instant single-servo AF (S); continuous-servo AF (C); manual (M); predictive focus tracking automatically activated according to subject status in continuous-servo AF
  • Focus Area: Normal: 11 areas; single area or group can be selected; Wide: focus area can be selected from 7 areas
  • AF Area Mode: 1) Single Area AF 2) Dynamic Area AF 3) Group Dynamic AF 4) Dynamic area AF with closest subject priority
  • Focus Lock: Focus can be locked by pressing shutter-release button halfway (single-servo AF) or by pressing AE-L/AF-L button
  • Exposure Metering System: Three-mode through-the-lens (TTL) exposure metering. 1) 3D Colour Matrix Metering II (type G and D lenses); colour matrix metering II (other CPU lenses); colour matrix metering available with non-CPU lenses if user provides lens data; metering performed by 1,005-segment RGB sensor. 2) Centre-weighted: Weight of 75% given to 6, 8, 10, or 13mm dia. circle in centre of frame. 3) Spot: Meters 3mm dia. circle (about 2.0% of frame) centred on active focus area (on centre focus area when non-CPU lens is used)
  • Exposure Metering Range (ISO 100, f/1.4 lens, 20°C/68°F): 1) EV 0 to 20 (3D Colour Matrix or centre-weighted metering) 2) EV 2 to 20 (spot metering)
  • Exposure Meter Coupling: Combined CPU and AI
  • Exposure Modes: Programmed Auto [P] with flexible program; Shutter-Priority Auto [S]; Aperture Priority Auto [A]; Manual [M]
  • Exposure Compensation: ±5 EV in increments of 1/3, 1/2 or 1 EV
  • Auto Exposure Lock: Luminosity locked at detected value with AE-L/AF-L button
  • Auto Exposure Bracketing: 2 to 9 exposures in increments of 1, 1/2 or 1/3
  • Shooting Modes: 1) Single frame shooting mode 2) Continuous low speed (CL) shooting mode: 1-4 frames per second 3) Continuous high-speed shooting mode: 5 frames per second 4) Self-timer shooting mode 5) Mirror-up mode
  • Shutter: Electronically-controlled vertical-travel focal plane shutter, 30 to 1/8000 sec. in steps of 1/3, 1/2 or 1 EV, bulb
  • Sync Contact: X-contact only; flash synchronization at up to 1/250 sec.
  • Flash Control: 1) TTL: TTL flash control by 1,005-pixel RGB sensor
  • Built-in Speedlight: i-TTL balanced fill-flash or standard i-TTL flash (spot metering or mode dial set to [M]). SB-800, SB-600 or SB-R200: i-TTL balanced fill-flash for digital SLR and standard i-TTL flash for digital SLR. 2) Auto aperture: Available with SB-800 with CPU lens. 3) Non-TTL Auto: Available with Speedlights such as SB-800, 80DX, 28DX, 28, 27, and 22s. 4) Range-priority manual; available with SB-800.
  • Flash Sync Mode: 1) Front-curtain Sync (normal sync), 2) Red-eye Reduction, 3) Red-eye Reduction with Slow Sync, 4) Slow Sync, 5) Rear-curtain Sync
  • Built-in Flash: Manual pop-up with button release; Guide number (ISO 100, m/ft and 20°C/68°F): approx. 12/39 (manual 13/42)
  • Flash Compensation: -3 to +1 EV in increments of 1/3 or 1/2 EV
  • Accessory Shoe: Standard ISO hot-shoe contact with safety lock provided
  • Sync Terminal: ISO 519 standard terminal
  • Self-timer: Electronically controlled timer with 2 to 20 seconds duration
  • Depth of Field Preview: When CPU lens is attached, lens aperture can be stopped down to value selected by user (A and M modes) or value selected by camera (P and S modes)
  • Remote Control: Via 10-pin Remote Cord MC-30/36 (optional) or Wireless Remote Control WT-3 (optional)
  • GPS: NMEA 0183 (Ver. 2.01) interface standard supported with 9-pin D-sub cable (optional) and GPS Adapter Cord MC-35 (optional)
  • Power Source: One Rechargeable Li-ion Battery EN-EL3e, MB-D200 battery pack (optional) with one or two rechargeable Nikon EN-EL3e Li-ion batteries or six AA alkaline (LR6), NiMH (HR6), lithium (FR6) batteries, or ZR6 nickel-manganese AA batteries, AC Adapter EH-6 (optional)
  • Tripod Socket: 1/4 in. (ISO 1222)
  • Dimensions (W x H x D): Approx. 147 x 113 x 74mm (5.8 x 4.4 x 2.9 in.)
  • Weight: Approx. 830g (1 lbs 13 oz) without battery, memory card, body cap, or monitor cover
  • Supplied Accessories*: Rechargeable Li-ion Battery EN-EL3e, Quick Charger MH-18a, Video Cable, USB Cable UC-E4, Strap, Body cap, Eyepiece Cap DK-5, Rubber Eyecup DK-21, LCD monitor cover BM-6, PictureProject CD-ROM
  • Optional Accessories: Multi-Power Battery pack MB-D200, Wireless Transmitter WT-3, Semi-soft case D200, Magnifying Eyepiece DK-21M, Remote cord MC-36/30, GPS Adapter Cord MC-35, AC Adapter EH-6, Speedlight SB-800/SB-600/SB-R200, Nikon Capture 4 (Ver. 4.4)
    * Supplied accessories may differ in each country or area.
    CompactFlash™ is a trademark of SanDisk Corporation. Products and brand names are trademarks or registered trademarks of their respective companies. Note: Specifications are subject to change without notice of the manufacturer.

November 1, 2005

AF-S DX VR Zoom-Nikkor 18-200mm

En Français

New DX Zoom-Nikkor lens from Nikon features enhanced Vibration Reduction system
Compact, lightweight and packed with an array of advanced features, the AF-S DX VR Zoom-Nikkor lens offers 18-200mm f/3.5-5.6G IF-ED focal range length and 11.1x zoom coupled with Nikon ED glass, Silent Wave Motor and enhanced Vibration Reduction (VR II). The VR II feature enables significantly sharper handheld images at slower shutter speeds and in a wider range of lighting conditions than previous models. Equipped with the new lens, users can take pictures at shutter speeds up to four times slower than is possible with a non-VR lens. The combination of the VR II technology, the 11x zoom feature and the focal length range – equivalent to a 27mm-300mm lens in 35mm format – means the AF-S DX VR Zoom-Nikkor is an ideal total package for dedicated amateurs and professionals alike. Nikon’s second generation VR technology offers users two modes to match different shooting conditions. First, the VR Normal Mode, which compensates for camera shake and includes automatic panning detection, as well as automatic tripod detection. And second, VR Active Mode, which compensates for pronounced or regular vibration, for example when shooting from a moving vehicle. Like all AF-S Nikkors, the AF-S DX VR Zoom-Nikkor 18-200mm f/3.5-5.6G IF-ED features the compact Silent Wave Motor which enables high-speed autofocus that is not only extremely accurate but also super quiet, making it ideal for wildlife photography. In addition, the new lens has a minimum focus distance of 0.5m applicable to the entire zoom range. Major Features • Offers the broad 18-200mm focal range (11.1x zoom) for use in a variety of situations (equivalent to a 27-300 mm lens in 35mm format)
• VR II system offers the equivalent of using a shutter speed 4 stops faster
• Two ED glass and three aspherical lens elements minimize chromatic aberration, astigmatism and other forms of distortion, while ensuring high resolution and contrast
• Incorporates a compact SWM (Silent Wave Motor) for quiet focusing
• Delivers high-level optical performance that is specially designed for use with the Nikon digital SLRs
• Employs a seven-blade rounded diaphragm opening that achieves a natural blur for out-of-focus elements
• Enables focusing from as close as 50cm (20 in.) from the subject through its entire focal range
• M/A mode for rapid switching between autofocus and manual focus operation
• Internal Focusing (IF) design enables use of circular polarizing filters
• High-grade Nikon Super Integrated Coating (SIC) offers superb color reproduction while minimizing ghosting and flare
• Flower-shaped Lens Hood HB-35 (provided) greatly reduces stray light
Specifications
  • Focal length: 18-200mm (equivalent to a 27-300mm lens in 35mm format)
  • Maximum aperture: f/3.5-5.6
  • Minimum aperture: f/22-36
  • Lens construction: 16 elements in 12 groups (two ED glass elements, three aspherical lens elements)
  • Picture angle: 76° - 8°
  • Minimum focus range: 0.5m (1.6 ft.)
  • Attachment size: 72mm
  • Dimensions (approx.): 77 x 96.5mm (3.0 x 3.8 in.)
  • Weight (approx.): 560g (19.8 oz.)
  • Included accessories: 72mm Snap-on front lens cap (LC-72), Rear lens cap (LF-1), Bayonet hood (HB-35), Soft lens pouch (CL-1018)
  • Optional accessories: 72mm screw-in filters

Available: End of December 2005

RRP: £549.99 / €821

Specifications and equipment are subject to change without any notice or obligation on the part of Nikon Corp. November 2005.

October 20, 2005

Agfa Launches :Afirma FlexCam at Ifra 2005

IFRA 2005 > AGFA

Agfa Launches :Afirma FlexCam.
Shown with :Afirma Process Control for CtP, the Universal Video Camera Provides Continuous Hands Free Assurance of Plate Quality.

Agfa announced at Ifra 2005 the addition of :Afirma FlexCam to its :Afirma CtP process-control system. The universal flexible video camera can be adapted to fit onto any belt or roller conveyor to automatically capture and interpret plate control targets. At IFRA, Agfa will demonstrate the FlexCam to capture critical plate quality parameters.

The :Afirma FlexCam automatically captures the plate i.d. in the form of a 2D barcode, which eliminates the need for a separate barcode reader. The FlexCam works in concert with Agfa's :Afirma process-control solution to provide continuous, hands-free assurance of plate quality and CtP production tracking. :Afirma FlexCam will be available in the first quarter of 2006.

About :Afirma.
:Afirma is Agfa's industrial process-control and production tracking solution for digital plate production. Designed for newspapers who manage multiple CtP systems with minimal staff, :Afirma removes the burden of quality assurance by providing complete control of the digital plate-making operation. :Afirma addresses the variables that can affect imaging accuracy - unexpected temperature changes for example, plate and processing variations, or punch and bender misalignments. The Early Warning System automatically monitors and tracks all the parameters that can cause a deviation from the target values. Agfa offers :Afirma in three configurations to meet individual customer requirements:

:Afirma Monitor uses surveillance sensors to continuously monitor the vital signs of the platesetter, processor and punch bender. These include engine readiness, laser power and temperature, transport motor, plate transport, processor variables, image accuracy, punch bender cycle time, engine status, and more.

:Afirma Digital works with the :Afirma FlexCam to check every element that can impede plate performance-from dust particles to emulsion variations.

:Afirma Server combines :Afirma Monitor and :Afirma Digital to provide an all-inclusive complete system solution for process control.

Agfa Adds Features to :Arkitex Workflow Solution

IFRA 2005 > AGFA

Agfa Adds Powerful Features to :Arkitex Workflow Solution. New Capabilities Increase Productivity, Quality and Flexibility.

Agfa announced at Ifra 2005 the addition of powerful new features for :Arkitex, the world's number one selling newspaper workflow system. Fan-out adjustment, variable plate furniture, creep adjustment, hard proofing by content and automatic handling of multi-page PDFs are just some of :Arkitex's new capabilities.

:Arkitex is the most popular system because it simplifies workflow automation with advanced production planning techniques and because it is modular and scalable, allowing it to accommodate any size operation.
":Arkitex was developed to provide a flexible workflow management solution that can adjust to the needs of any newspaper. It was designed to be evolutionary so that Agfa can take advantage of the latest advances in technology to continually add new capabilities and to respond newspapers' changing needs. This new release of :Arkitex is a reflection of these goals," said Andy Grant, worldwide business manager for Agfa's newspaper workflow solutions.
The new features are available immediately. Agfa will upgrade :Arkitex users who are under warranty or who have a service contract. All other :Arkitex customers may purchase the upgrade.

New :Arkitex Capabilities.

Fan-out adjustment: 
To ensure best registration and consistent quality, fan-out adjustment allows user-defined page adjustment, per plate template and per colour. In a PS/PDF workflow, these adjustments can include page size scaling as well. Variable Plate Furniture: To increase control and flexibility, this feature allows the placement of furniture on the plate based on the colour contents of the pages. For example, colour marks will appear on the plate only if the first page or the second page on the plate are colour pages. Otherwise the colour marks will not appear on the plate. Other variables such as page number, high/low imposition, even/odd, can be used as well.

Creep Adjustment: 
Creep is when pages in the centre of a book stick out farther than the pages closer to the cover. Creep adjustment automatically positions the pages on the sheet so that after the bindery process the distance between the edge of the page and the edge of the sheet are more consistent.

Hard Proofing by Content: 
Users can automatically define their hard copy proofing needs based on page content, including Advertising or Editorial pages, colour or monochrome content, etc. For example, this allows users to automatically proof all pages with colour editorial or colour advertising.

Automation of Multi-Page PDF Files: 
Users can handle multiple PDF files with minimal intervention. The user merely identifies the pages in the PDF and the engine automatically splits the PDF into separate files. This is a perfect solution for those wanting to increase their productivity when doing commercial work.

Other features include enhanced imager feedback, enhanced messaging between systems, auto re-conversion from colour to monochrome, separation ordering in XML Workflows and more.

The future of Camera phones

Camera phones to represent 90% of total Western European mobile phone shipments by 2009, says IDC.

According to a recent forecast published by IDC, camera phone shipments in Western Europe are set to reach 179 million units in 2009, to constitute just over 90% of total mobile phone shipments. IDC predicts a compound annual growth rate of 8%, slightly higher than the growth forecast for the total mobile phone market, with converged devices positioned as multimedia and imaging solutions expected to demonstrate the largest growth during the forecast period.

"The integrated digital camera has become the most visible illustration to date of the progress of convergence in the mobile market," said Andrew Brown, program manager of IDC's European Mobile Devices service. "2004 witnessed the proportion of handsets with integrated cameras grow to 70% of total Western European mobile phone shipments from just 15% in 2003, illustrating the growing importance of imaging from high-end smart phones down to basic midrange and increasingly low-end mobile phones."

The declining costs of components and manufacturing/production efficiencies will be a key driver of the integrated digital camera into low-end handsets market, according to IDC, while the advent of high-speed networks and technologies such as SIP (session initiation protocol) and IMS (IP multimedia subsystem) will maximize the role of the digital camera in high-end devices as a mechanism central to rich content sharing across fixed and mobile networks and between IP-enabled devices.

However, despite the positive outlook for the future of the integrated digital camera within the mobile phone, IDC advises vendors to exercise caution with regard to the notion of the mobile phone's long-term prospects as a converged alternative to a dedicated digital camera.

"Limitations on component quality caused by the requirement to limit BOM (build of material), costs, and total strain on the battery means the dedicated digital camera will always retain both a quality and cost advantage over the mobile phone," said Geoff Blaber, research analyst, European Mobile Devices. "While camera phones will cannibalize limited demand at the low end of the digital camera market, IDC believes that integrated cameras will largely assist digital camera market growth by alerting a broader demographic to the capability of digital photography."

IDC stresses that the requirement for spontaneous image capture, rich image/video messaging, and increasingly the need for two-way cameras to enable video calling will constitute the primary accelerator of camera phone market development between 2005 and 2009.

October 19, 2005

Apple Introduces Aperture

First All-in-One Post Production Tool for Photographers
CUPERTINO, California—October 19, 2005—Apple® today introduced Aperture, the first all-in-one post production tool that provides everything photographers need after the shoot. Aperture offers an advanced and incredibly fast RAW workflow that makes working with a camera’s RAW images as easy as JPEG. Built from the ground up for pros, Aperture features powerful compare and select tools, nondestructive image processing, color managed printing and custom web and book publishing.
“Aperture is to professional photography what Final Cut Pro is to filmmaking,” said Rob Schoeben, Apple’s vice president of Applications Marketing. “Finally, an innovative post production tool that revolutionizes the pro photo workflow from compare and select to retouching to output.”
“Until now, RAW files have taken so long to work with,” said Heinz Kluetmeier, renowned sports photographer whose credits include over 100 Sports Illustrated covers. “What amazed me about Aperture is that you can work directly with RAW files, you can loupe and stack them and it’s almost instantaneous—I suspect that I’m going to stop shooting JPEGs. Aperture just blew me away.”
Unique compare and select tools in Aperture allow photographers to easily sift through massive photo projects and quickly identify their final selections. Aperture is the first application that automatically groups sequences of photos into easy-to-manage Stacks based on the time interval between exposures. In an industry first, Aperture allows photographers to navigate through entire projects in a full-screen workspace that can be extended to span multiple displays, tiling multiple images side-by-side for a faster, easier compare and select. With Aperture’s Loupe magnifying tool, portions of images can be examined in fine detail without having to zoom and pan across large files. In addition, a virtual Light Table provides the ideal canvas for building simple photo layouts, allowing them to be arranged, resized and piled together in a free-form space.
RAW images are maintained natively throughout Aperture without any intermediate conversion process, and can be retouched with stunning results using a suite of adjustment tools designed especially for photographers. Aperture’s nondestructive image processing engine never alters a single pixel of original photos so photographers have the power and flexibility to modify or delete changes at any point in the workflow. As Aperture allows users to create multiple versions of a single image without duplicating files, photographers can experiment without risk of overwriting the master image or using up large amounts of hard drive space. Aperture images can also be launched directly into Adobe Photoshop for compositing and layer effects.
Aperture features a complete color-managed pipeline with support for device specific ColorSync profiles and a set of high-quality output tools for photographers to showcase their work. Print options include customizable contact sheets, high-quality local printing and color-managed online prints. Aperture provides a deceptively simple layout environment where photographers can quickly create and order custom professional-caliber books and publish stunning web galleries. Aperture makes it easy to back up an entire library of images with a single click and streamline complex workflows with AppleScript® and Automator actions.
Pricing & Availability Aperture will be available in November through the Apple Store® (http://www.apple.com/), Apple’s retail stores and Apple Authorized Resellers for a suggested retail price of $499 (US). Full system requirements and more information on Aperture can be found at www.apple.com/aperture
Apple ignited the personal computer revolution in the 1970s with the Apple II and reinvented the personal computer in the 1980s with the Macintosh. Today, Apple continues to lead the industry in innovation with its award-winning desktop and notebook computers, OS X operating system, and iLife and professional applications. Apple is also spearheading the digital music revolution with its iPod portable music players and iTunes online music store.
APPLE -PRESS RELEASE - 19.10.2005

October 18, 2005

Agfa unveiled two new CtP systems for newspaper printers at Ifra 2005

IFRA 2005 > AGFA 

Agfa Expands Violet CtP Range With New Platesetters at More Affordable Cost.
:Advantage Xm and Xs Bring Digital Platemaking to Medium-sized Newspaper Printers.

Agfa unveiled two new CtP systems for newspaper printers at Ifra. The :Advantage Xm and :Advantage Xs bring the benefits of computer-to-plate operations within the reach of newspapers with limited investment capabilities or medium throughput requirements. The new CtP systems are also suitable as backup systems or for printers with hybrid portfolios including semi-commercial work such as supplements and catalogues.

:Advantage Xm (for Manual) and Xs (for Semi-Automatic) are loaded manually. Each offers a throughput of 85 plates per hour and multiple resolutions from 1000 to 2540 dpi. Thanks to their 3-point FleX registration system, they can image any plate format up to 1040 x 690 mm (41 x 25 in.) panorama. :Advantage Xm/Xs work with :Lithostar silver based or :N91v photopolymer plates. The Xs offers online processing using Agfa's LP68/85 or VPP 68/85 processors.

Both models are managed by :Arkitex Newsdrive software to optimise engine speed and reliability. Agfa has also created a full range of specific :Arkitex workflow packages for page pairing, tracking, imposition and RIPping to match the needs of :Advantage Xm/Xs users. 
"As we are unveiling the units at Ifra, we have already taken orders for eight systems to be installed before the end of the year," said Emma Isichei, director of Agfa's newspaper business. "Our customers are telling us that there is a clear need for these more affordable computer-to-plate systems today. With more newspaper installations worldwide than any other vendor, we are now bringing the low cost of ownership and the print quality of violet imaging to printing sites with modest throughput requirements."

This post has been updated

October 12, 2005

Livre - Brésil, l’héritage africain – Musée Dapper, Paris

A propos du livre Brésil, l’héritage africain édité par le Musée Dapper, Paris.

 

Brésil, l'héritage africain. (c) Musée Dapper La part africaine dans la culture brésilienne est un vaste sujet qui inspira et nourrit encore un nombre important d’études tant au Brésil que dans le monde entier. Cet ouvrage les rend accessibles à tous ceux qui s'intéressent à ce sujet passionnant qui permet une meilleure compréhension de l’art africain et brésilien.

Le livre montre la parenté des productions afro-brésiliennes et des arts de l’Afrique subsaharienne en privilégiant les regards croisés. Dans cette perspective, les auteurs, anthropologues, sociologue, ethno-musicologue et historienne d’art, chercheurs français et brésiliens, ont exploré les données matérielles et spirituelles à la lumière de cet héritage.

 

  © Musée Dapper, Paris.

 

L’étude centrale d’Erwan Dianteill se concentre sur les principales religions afro-brésiliennes, candomblé, umbanda et macumba, avec leurs variantes régionales et leurs codes spécifiques, tandis qu’Ismael Pordeus analyse la séquence rituelle du culte de guérison olubajé du candomblé. La transmission des croyances et des mythes se fait notamment par l’intermédiaire des danses,des chants et des instruments de musique qui accompagnent les cérémonies. Xavier Vatin en souligne la dimension sacrée et les origines africaines.

Les moments de communion partagée avec les autres membres, lors des cérémonies ou à l’occasion des festivités, renforcent la cohésion des groupes de fidèles initiés au même culte. Ils transmettent non seulement des valeurs héritées de l’Afrique, mais aussi des codes marqués par le système esclavagiste qui, comme l’explique Roberto Motta, influent sur leur image et sur leur place dans une société encore inégalitaire.

Les systèmes cosmogoniques,les actes cérémoniels afro-brésiliens, trouvent leur justification dans des traditions anciennes. Sans oublier que les esclaves venaient de quelques autres pays d’Afrique, la contribution de Christiane Falgayrettes-Leveau remonte aux sources principales auxquelles se rattachent trois zones culturelles africaines : yoruba (Nigeria, Bénin), fon/ewe (Bénin, Togo) et bantu (République démocratique du Congo,Congo et Angola).

Au Brésil, la proximité et la complémentarité des croyances religieuses font se côtoyer des éléments de l’héritage africain et des figures de saintes et de saints noirs qui trouvent parfaitement leur place sur les autels, comme le montre Vagner Gonçalves da Silva.

Des artistes brésiliens, plasticiens et photographes dont les démarches originales sont évoquées par Joëlle Busca, puisent une part de leur inspiration dans les pratiques religieuses, à l’instar du Béninois Cyprien Tokoudagba pour le vodun.

Brésil, l’héritage africain est édité sous la direction de Christiane Falgayrettes-Leveau, directeur du musée Dapper, et avec la collaboration scientifique d’Erwan Dianteill, anthropologue,maître de conférences à l’EHESS, Ecole des hautes études en sciences sociales.

 

Brésil, l’héritage africain
Sous la direction de Christiane Falgayrettes-Leveau
Musée Dapper
Septembre 2005
256 pages - 24 x 32 cm
200 illustrations dont 180 en couleurs
Relié sous jaquette
Prix de vente public : 40 euros
ISBN : 2-915258-14-7
Version brochée, vente exclusive à la librairie du musée Dapper
Prix de vente public : 24 euros
ISBN : 2-915258-15-5

MUSEE DAPPER
35, rue Paul Valéry
75116 Paris

October 5, 2005

Jim Hodges This Line To You CGAC Spain

 

Art Exhibition

JIM HODGES

This Line to You

CGAC - Centro Galego de Arte Contemporanea   
Santiago de Compostela, Spain

 

Coming of artistic age in the early 90s, American artist Jim Hodges eschewed the irony and cynicism that prevailed in much of the art of the 80s and helped usher in a new era in art making that embraced beauty, intimacy and sincerity. Humming with soul, his works are sourced in his own life even as they open onto the universality of human experience.

Organized by New York-based, independent curator, Susan Harris, Jim Hodges: this line to you brings together 22 definitive works in order to explore the diversity and interconnectedness of an oeuvre that resists categorization or signature style. The exhibition highlights Jim Hodges’ well-known napkin, web and flower pieces as well as forays into other media that correspond to a journey of cultivating a personal vision and a facility for expressing it in disparate material languages. His ongoing experimentation is represented at CGAC in drawing, painting, sculpture, video, mirror, glass, photography, gold leaf, light bulbs, scarves, words—media and materials that serve his uncompromising commitment to process.

The context for this line to you is Santiago de Compostela, a legendary pilgrimage destination since the 9th century discovery there of relics of the Apostle and martyr, St. James—a city whose light, shadows and mystical aura are in keeping with qualities in Hodges’ work. The light-filled museum and adjacent 13th century church are the specific settings for works that are revealed anew along with their maker in a complex rhythm of overlapping and intersecting paths. As contrasting yet complimentary settings for Hodges’ art, the contemporary art museum and the medieval church underscore and illuminate the dualities inherent in the contents of the exhibition itself—of light and dark, of private and public, of hidden and exposed, of natural and artificial, of ethereal and material, of visual and textual, of abstract and representational.

Drawing is at the heart of Hodges’ practice and the exhibition. Sourced in the core of his being, it is a fundamental activity that manifests itself in a multitude of forms. He shares with artist-poet Richard Tuttle a reliance on drawing as a habitual preoccupation involving vigilant observation and a belief in drawing as the realm in which ideas are born and grow. Tuttle’s liberation of drawing from timeworn concepts of line, surface, color and space helped pave the way for Hodges’ own investigations that start with drawing and include painting, sculpture, collage, photography, poetry, sound, installation and video. Their mutual, expansive conception of drawing is reliant upon an active partnership with the materials of their art that, in turn, optimizes the power and breadth of expression in the work. Sustaining poetic insights, an openness to materials, and an active engagement with viewers,

Jim Hodges’ art is accessible to a wide public even as it springs from a personal quest for greater understanding of the natural world, the culture, humanity and his self. Jim Hodges: this line to you is occurring at an ideal moment in Hodges’ career as the work continues to evolve in eloquent forms and directions, and is recognized by a growing international audience as an intricate, elusive and potent expression that speaks of personal and universal truths.

The show will be accompanied by a fully illustrated publication designed in collaboration with the artist. It will include a text by the curator that will examine Hodges’ art and art-making practices in light of the personal and external forces with which his output is inextricably bound. It will also feature a fiction and essay by the renowned American novelist and essayist, Lynne Tillman.

Susan Harris, who curated this exhibition,  is a curator and writer of contemporary art. She has a Master’s Degree in Art History from the Institute of Fine Arts at New York University. Her recent curatorial projects include a Nancy Spero exhibition at the Centro Galego de Arte Contemporanea as well as two Richard Tuttle exhibitions at the MuseuSerralves in Porto, Portugal and at Centro Galego de Arte Contemporanea, respectively. She authored the publications that accompanied these exhibitions-- Nancy Spero: Weighing the Heart Against a Feather of Truth and Richard Tuttle: Memento/cENTER. Prior to this she was a curator of The American Century: 1950-2000 at the Whitney Museum of American Art. She is a contributing writer for Art in America.

Susan Harris, NYC, June 2005


Jim Hodges: this line to you

CGAC - Centro Galego de Arte Contemporanea   
Santiago de Compostela, Spain

October 18, 2005 - January 8, 2006

October 4, 2005

Minox DMP-1 Digital Media Player

The Minox DMP-1 is a pocket-sized digital photo album, MP3 player / recorder and FM radio in one tiny package.
Its weighs in at just 62 grams and fits into almost any pocket thanks to its compact dimensions of 75x52x15mm. Incorporating a digital photo album, MP3 player and recorder, FM radio, digital sound equalizer, E-book facility for storing and viewing text files and a selection of pre-installed games to play. A metal body with practical and well-situated controls completes the attractive look of the DMP-1. A central thumb-controlled joystick for easy menu navigation, and a surrounding array of buttons gives the user full control over all functions. The menu navigation on the display is simple and intuitive.
The integrated flash memory of 512 MB and an SD/MMC slot for cards of up to 1GB capacity give the Minox DMP-1 a maximum capacity for storing up to 18 hours of music, or up to 30,000 digital photos. Images can be viewed on the 2 inch pin-sharp LCD display and paged through as if using an electronic photo album, or the images can be conveniently and automatically presented using the slide mode – JPG, BMP or LGO files are supported. Downloading or uploading of images and music files is simple using the USB to PC interface thus making it the equivalent of a mini portable hard drive. The USB port and cable doubles as a means of recharging the integrated battery simply by plugging it into a laptop or desktop computer. With a fully charged battery the DMP-1 is ready to play music, record sound, play games or show photos for up to 12 hours.
The DMP-1’s MP3 player and FM radio facility offers a user-defined choice of listening through the earphones supplied, and with the digital sound equalizer it can be fine-tuned to the user’s liking. Preset equalized modes include rock, classical, pop and ‘live’ to name just a few. An on-board digital recorder allows the recording of MP3 files and the direct line-in socket allows radio programs to be recorded and stored. The incorporated microphone can be used for voice recordings. Accessories accompanying the Minox DMP-1 include a USB and Line-In cable, earphones, CD-Rom and manual.
Photo © MINOX - All rights reserved - http://www.minox.com/

September 28, 2005

Nokia today announced that it has started deliveries of the Nokia N70, a compact, easy-to-use 3G smartphone. Incorporating a complete smartphone feature set, as well as a 2 megapixel camera, flash and front camera for video calling, the Nokia N70 comes fully equipped with a digital music player and stereo audio.
"We are proud to announce the second device to hit the market from the Nokia Nseries high performance multimedia range," said Joe Coles, Director of imaging product marketing at Nokia. "The Nokia N70 is a great example of Nokia Nseries, combining the latest technologies and elegant design with a comprehensive set of multimedia features. Easy and intuitive mobile photography, automatic storing of those great quality shots, listening to music, reading and writing email, browsing favorite websites - the Nokia N70 is a true multimedia computer."
With its intuitive slide and shoot design, the 2 megapixel rear camera of the Nokia N70 can be quickly and conveniently activated, while a dedicated shutter key allows for greater stability and ease of use for picture taking. Incorporating an integrated flash, 20x digital zoom capability and a range of capture scene settings, the Nokia N70 allows for spontaneous capture of great quality photos and video regardless of time and place. Additionally, while retaining full image quality, the photos or video clips can also be instantly shared with others via email or Bluetooth wireless technology.
With the new Nokia XpressTransfer storing solution, all photos and video clips on the Nokia N70 can either be manually or automatically copied to compatible PCs. Furthermore, the standard Nokia N70 sales package also includes new Adobe Photoshop Album Starter Edition 3.0 software, offering users an efficient way for viewing, finding, fixing and sharing images and video clips on their compatible PC. For a multimedia diary experience, the in-box Nokia Lifeblog software automatically organizes photos, videos, text messages and multimedia messages into a chronology for easy browsing, searching and sharing.
The smartphone features of the Nokia N70 include extensive email attachment support, Internet browser, video streaming and 3G features, such as two-way video calling and video sharing. An embedded email configuration tool helps users to quickly set up their preferred mobile email settings. Once set up, the user will get notification of new email and can then log on to retrieve it. The Nokia N70 also supports Symantec Mobile Security, an integrated antivirus and firewall solution.
Equipped with a digital music player and FM radio with support for Visual Radio, the Nokia N70 also doubles as a great pocketable music device. Moreover, the music experience can be taken to the next level with the separately available Nokia Music Pack, with which users can transfer music quickly from compatible PCs, listen to music through standard stereo headphones or even plug the Nokia N70 to a compatible home stereo system for stereo playback or recording.
The Nokia N70 is among the first Nokia devices to include the Catalogs Client mobile shopping application, making it easy for users to quickly discover, trial, download and purchase new applications, services and content designed for the Nokia N70. The operator-brandable interface enables seamless access to mobile content catalogs from operators or third-party sources.
Nokia N70 Multimedia Mobile Phone Features