December 6, 1998

Love Forever: Yayoi Kusama, 1958-1968 at Walker Art Center, Minneapolis

Love Forever: Yayoi Kusama, 1958-1968
Walker Art Center, Minneapolis
December 13, 1998 - March 7, 1999

More than any other postwar Japanese artist, Yayoi Kusama (b.1929, Japan) has influenced the form and direction of artistic production in the United States. Between 1958, when she arrived in New York City, and the late 1960s, when performance began to dominate her art, she created a body of work that made a widely known and highly significant contribution to the contemporary scene. A comprehensive exhibition of works from this period, Love Forever: Yayoi Kusama, 1958-1968 is co-organized by the Los Angeles County Museum of Art and the Japan Foundation, in collaboration with The Museum of Modern Art, New York. The exhibition is the first at a U.S. museum to focus on Yayoi Kusama's work. It includes more than 50 paintings, collages, and sculptures from Yayoi Kusama's New York period, as well as reconstructions of three of the artist's precedent-setting environmental installations.
"Kusama's work has been dominated by a marathon dance of production that obliterates any separation between art and life," said Lynn Zelevansky, co-curator of the exhibition. "She and her art are wedded so inextricably that it is impossible to tell where one begins and the other leaves off. In confronting the depth and breadth of her work one encounters an unusually raw form of invention."
Combining aspects of surrealism and abstract expressionism with elements from minimalism and pop art, Yayoi Kusama's work proved remarkably prescient of post-minimalism in the United States, a nascent trend that would not fully emerge until the latter half of the 1960s. It also set precedents for artwork focusing on the body that has been produced by some of today's most influential younger artists. Yet up until very recently Yayoi Kusama remained little known in the West, her vital contribution to contemporary art largely overlooked. Love Forever: Yayoi Kusama, 1958-1968 explores the decade that Yayoi Kusama lived and worked in New York. The exhibition premiered at the Los Angeles County Museum of Art in March 1998 followed by a stop at The Museum of Modern Art. Following its showing in Minneapolis, it will travel to the Museum of Contemporary Art in Tokyo (April 29 July 4, 1999).

Yayoi Kusama gained attention shortly after arriving in New York by producing a series of paintings of the late 1950s and early 1960s that are covered with all-over "nets" of pattern. These almost monochromatic paintings, which she called Infinity Nets, are made up of a single element that is repeated to cover an entire, often very large, canvas, edge to edge. In the early 1960s, Yayoi Kusama began working in other media. Collages of air-mail and file-folder labels constitute a visual pun on the new minimal art that is unusual in its mix of elegance and humor.

Her sculpture consists of household furniture and mundane objects covered with stuffed phallus-like protrusions, forecasting a preoccupation with the body. Her first sculpture, Accumulation No. 1 (1962) was made using a frame of an old armchair as a support covered with stuffed phallic protrusions sewn from canvas. Yayoi Kusama's sculptures from this period were handmade and extremely labor-intensive. In Ironing Board (1963) a steam iron sits, face down, threatening to scorch a sea of phalluses covering the surface.

By 1965 she had introduced a profusion of color into her sculpture through the use of dotted and striped fabrics. Red Stripes (1965) consists of phallic forms sewn from red and white striped fabric, stuffed and mounted onto a wood backing. In her food obsession sculptures Yayoi Kusama applied dried macaroni to the surfaces of clothing and accessories. Macaroni Handbag (1965) is a simple purse covered with pasta, and then painted gold.

The exhibition includes reconstructions of three of Yayoi Kusama's installations: Aggregation: One Thousand Boats Show (1964), Infinity Mirror Room (1965), and Narcissus Garden (1966). In Aggregation: One Thousand Boats Show , a protrusion-covered rowboat sits within a room papered with thousands of black-and-white reproductions of the same boat. Infinity Mirror Room consists of a four-sided mirrored room in which the floor has been taken over by red and white dotted phalluses. These are endlessly reflected and multiplied, along with the viewer, creating a dazzling and seemingly infinite space.

Yayoi Kusama's Narcissus Garden marks a pivotal moment in the artist's transition from installation to performance. It was created at the Venice Biennale in 1966. She was neither invited to show nor given permission to present her art that year at the Biennale, but her outdoor installation garnered a great deal of attention. The "garden" consisted of 1,500 identical mirrored balls spread across the lawns outside the Italian pavilion. At the Walker this work will be installed in the South house of the Cowles Conservatory in the Minneapolis Sculpture Garden.

YAYOI KUSAMA was born in 1929 in Japan and arrived in New York in 1958 at the age of 29. During the period in review, her work was shown extensively in the United States and Europe. In New York, she exhibited with major painters and sculptors of the time, among them Claes Oldenburg, Robert Morris, and Andy Warhol. Abroad, she was included in exhibitions of the Nul and Zero groups, together with such figures as Yves Klein and Piero Manzoni. After her return to Japan in the early 1970s, Yayoi Kusama was largely forgotten in this country. Recently, however, she has regained prominence, largely due to renewed interest and enthusiasm from a younger generation of artists.

The exhibition is accompanied by a 192-page catalogue with essays by co-curators Lynn Zelevansky, Curator of Modern and Contemporary Art, Los Angeles County Museum of Art, and Laura Hoptman, Assistant Curator, Department of Drawing, The Museum of Modern Art, New York, and by two noted scholars of contemporary Japanese art, Alexandra Munroe and Akira Tatehata. The volume, published by the Los Angeles County Museum of Art, contains 94 color and 52 black-and-white illustrations.

Vineland Place, Minneapolis, MN 55403

Updated 23.06.2019

November 28, 1998

Andy Warhol at Dia Center for the Arts, New York

Andy Warhol: Shadows
Dia Center for the Arts, New York
December 4, 1998 - June 13, 1999

Dia Center for the Arts presents an exhibition of Andy Warhol's Shadows (1978), a single work comprised of over 100 panels. The installation will be on view in Dia's 545 West 22nd Street exhibition gallery. 

Acquired directly from the artist in 1979, Shadows remains a centerpiece of Dia's collection. The scale and ambition of Shadows, while grand even for Warhol, is characteristic of the key works in Dia's collection. This presentation of Shadows will constitute the second exhibition in Dia's new facility at 545 West 22nd Street. The paintings will be hung contiguously around the 298 feet of the gallery's perimeter, sequenced according to the artist's original plan, and in conformity with his conception of the work, which he designated as "one painting"

Each panel, measuring 76 x 52 inches, is of acrylic paint, variously silkscreened and handpainted on canvas. The whole encompasses an extraordinary range of colors, from subtle and muted to brilliant neon, placing Shadows among Warhol's most remarkable and compelling works.

Andy Warhol was born on August 6, 1928, in McKeesport, Pennsylvania, to immigrant parents of Czechoslovakian descent. He studied design at Carnegie Institute of Technology in Pittsburgh from 1945 to 1949. After a successful and distinguished career as a commercial illustrator in New York in the 1950s, he began exhibiting his paintings with silkscreened Pop imagery in 1962. In 1963 he began making films. Thereafter, his work was shown widely. Andy Warhol died on February 22, 1987.

Dia Center for the Arts

November 16, 1998

Olympus D-400 Zoom Digital Camera

Olympus D-400 Zoom Digital Camera

Olympus Camedia D-400 Zoom Digital Camera
(c) Olympus America Inc.

Announced on November 2, 1998, the Olympus D-400 Zoom filmless digital camera continues the Olympus winning tradition, as it is two weeks old today yet has already received its first award. Designed as a camera first and foremost, the D-400 Zoom has an ergonomically designed point & shoot body and features popular in today’s film cameras. These include a 4 mode pop-up intelligent flash, through-the-lens auto focus and 3X optical zoom (35-105mm lens system), auto white balance with 5-step manual override, center weighted and spot metering systems for exposure metering with +/-2 step manual EV control in ½ step increments. This camera is also designed as a "digital" device with many high-tech features, including a 1.3 megapixel resolution (1280 x 960) CCD censor, 2X Digital Telephoto at any focal length, floppy disk compatibility to computer systems, and reusable SmartMedia cards. Finally, it is a consumer electronics device, with video connectivity to popular consumer products and direct printing to the Olympus Personal Photo Printer without the need of a computer.

Olympus America Inc., today unveiled the world’s largest 360° panorama photo created with a digital camera. Shot with the Olympus D-400 Zoom, the newly announced point & shoot digital camera, if placed on end, the photo would tower four stories high. It is 45 feet x 3 feet tall, but is mounted end to end so attendees can view it from within. The photo will be displayed during Comdex in Las Vegas at the Olympus Booth #1648 (LVCC).

The image was created on busy Fremont Street in Las Vegas. This street was chosen because it is an extremely challenging subject for any camera to handle (digital or film-based alike), with great variations in the type of lighting and thousands of bright incandescent and fluorescent lights. The photographer used the Olympus D-400 Zoom’s autofocus and adjusted the exposure, color temperature and white balance to create the perfect image. White balance and exposure are automatic, but may be overriden by the user.

18 photos were taken with a 30% overlap at 1280 x 960 resolution in uncompressed mode to allow for the greatest detail. The photos were then enlarged with raster image software from 3M and automatically stitched with professional panorama stitching technology from Enroute Imaging’s QuickStitch. The finished panorama photo was then printed on a large format HP3500 CP printer at 600 dpi on opaque vinyl media, again from 3M. The resulting image is both technically and artistically stunning.

"The results are spectacular!" said Walter Urie, Professional Photographer. "The Olympus D-400 Zoom performed unbelievably. I’ve used expensive and sophisticated cameras in my profession, but this filmless camera outperformed these cameras creating a breathtaking panorama."

"The Olympus camera is so powerful that it allowed us to stitch the world’s largest panorama with our QuickStitch software without retouching the images," said Paul Cha, Executive Vice President, Enroute Imaging. "This panorama photo surpasses any ever taken with a digital camera and is our most aggressive effort to date."

"The D-400 Zoom is the perfect camera for taking panorama photos since it has a special panorama mode built in," said Dave Veilleux, Director of Marketing Communications, Olympus America, Digital & Imaging Systems Group. "The exposure is automatically locked with the first image in a panoramic set so subsequent photos are consistently exposed – even in widely illuminated subjects. This results in a smooth, even panoramic photograph."

October 18, 1998

Berenice Abbott: Changing New York, NMWA, Washington DC - National Museum of Woman in the Arts

Berenice Abbott: Changing New York 
National Museum of Woman in the Arts, Washington DC
October 22, 1998 - January 19, 1999

To put it mildly, I have and have had a fantastic passion
for New York, photographically speaking.
Berenice Abbott

Changing New York is photographer Berenice Abbott’s extraordinary documentation of New York from 1935 to 1939, when the city lost its 19th-century trappings to skyscrapers that would transform the skyline. From Oct. 22, 1998 through Jan. 19, 1999, the National Museum of Women in the Arts (NMWA) exhibits 126 of the 305 unique vintage prints produced by Berenice Abbott for the project, many on display for the first time.

Berenice Abbott (1898-1991) arrived in New York as an aspiring sculptor from her native Ohio in 1918, then joined the expatriate exodus of artists to Paris in 1921. She began work in photographer Man Ray’s studio, beginning as a darkroom assistant and building a reputation as a portraitist of the cultural elite that rivaled his. Berenice Abbott found her aesthetic muse in Eugene Atget, and rescued his photographs documenting the streets of Paris. When she returned to New York in January 1929 to locate a publisher for a book of Eugene Atget’s photographs, Berenice Abbott was inspired by the change: "The new things that had cropped up in eight years, the sights of the city, the human gesture here sent me mad with joy and I decided to come back to America for good."

In 1935, with the patronage of the Museum of the City of New York, Berenice Abbott received funding from the Federal Arts Project that allowed her to work for the next four years creating her masterpiece, Changing New York. She concentrated not only on new skyscrapers and mass transit but also on subjects that were disappearing because of these changes. Although people are represented, architecture is the principal subject. Berenice Abbott and an assistant transported 60 pounds of camera equipment through the city streets of New York, including a large view camera with negatives measuring 8-by-10 inches, the same size as the prints.

As the project progressed, Berenice Abbott developed a more daring, experimental style, and she returned to some sites, such as the Flatiron Building, with new compositional ideas. She exposed the last negative for Changing New York in November 1938; due to financial and bureaucratic difficulties she never finished her master plan. Because of its support of Berenice Abbott’s work, the Museum of the City of New York received a unique set of mounted prints, as well as the project’s negatives, proofs, and research files.

The prints selected for this exhibition are arranged in eight geographical sections, mirroring Berenice Abbott’s approach to her subject: Wall Street, Lower East Side, Greenwich Village, Lower West Side, Middle West Side, Middle East Side, North of 59th Street, and Outer Boroughs. More than half of the project depicts sites in lower Manhattan, more due to historical importance than artistic preference.

Berenice Abbott’s Changing New York, 1935-1939 was organized by the Museum of the City of New York. It is curated by Bonnie Yochelson, consulting curator at MCNY, who will lecture at NMWA on Nov. 3 at 7 p.m. Yochelson is also the author of Berenice Abbott: Changing New York, the Complete WPA Project (The New Press), the first comprehensive catalogue of MCNY’s Abbott collection, available in NMWA’s museum shop in hardcover ($60). 

Funding for the exhibition and the accompanying book has been provided by the National Endowment for the Arts, the Furthermore Division of the J.M. Kaplan Fund, and Commerce Graphics, Ltd, Inc. Presentation at NMWA is generously supported by the Women’s Committee and the Members’ Exhibition Fund.

The exhibition will travel to der Kunstverein für die Rheinlande und Westfalen in Düsseldorf, March 26—June 24, 1999; Musée Carnavalet in Paris, Oct. 11, 1999—Jan. 16, 2000; and the Stockholms Stadsmuseum, Feb.—May 2000.

1250 New York Avenue, NW, Washington DC

Updated 05.07.2019

October 16, 1998

Compact numérique Nikon Coolpix 600

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

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

October 1, 1998

Trance: Hypnotic Video Art

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

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

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

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

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

September 29, 1998

Sony announces Mavica Printer FVP-1

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

September 16, 1998

Polaroid at Photokina 1998

Polaroid at Photokina 1998

Polaroid opened its Photokina’98 exhibition today in Cologne, Germany, highlighting new products for amateur photographers and new cyber-ready imaging techniques for professional photographers and business communicators. Polaroid’s "Live For The Moment" exhibition at Photokina ‘98 runs through September 21.

For the consumer, Polaroid is extending its "Live For The Moment" lifestyle message with the introduction of new and enhanced products for amateur photographers and special niche markets.

New Cameras

At Photokina 1998, Polaroid is introducing the world’s first single-use, totally recyclable instant camera that comes complete with ten ready-to-go instant pictures, measuring 4-3/8 x 2-1/2-inches (11.2 x 6.4cm).

The same film format in an economical reloadable camera with its own unique contemporary styling also makes its first European appearance at the Cologne photographic show. Launched earlier this year in Japan, the new Polaroid JoyCam "Hippaley" (Japanese for "pull out") compact camera, like Single-Use Instant , features manual film ejection and a go-anywhere configuration. The new JoyCam has rapidly become the camera of choice in its premiere market among trend-setting teens and young adults, along with the new Polaroid Xiao (from the Chinese for "small" and "smile"), the world’s smallest Polaroid camera. Also a major hit from Nippon Polaroid K.K., the Xiao camera produces mini Polaroid instant pictures measuring 1.4 x 1-inch

(36 x 24mm) and has proven to be the ideal portrait camera with photos being taken, traded, worn on clothing and attached to notebooks and schoolbags. The Xiao camera accepts new 12-exposure Polaroid "Pocket Film." The new, very fun camera and film are scheduled for global introduction in 1999.

New Polaroid ColorShot: World’s Fastest Digital Photo Printer

Following its introduction in its advanced USB (Universal Serial Bus) version in Hanover, Germany, earlier this year, Polaroid’s new ColorShot digital color printer premieres at Photokina ‘98 in a parallel-port version designed for "legacy" computers.

Polaroid ColorShot is the world’s fastest (as quick as 25 seconds) digital color printer providing photo-quality instant color pictures on the desktop using new self-developing Polaroid ColorShot film or Polaroid Image film. The new ColorShot printer provides a true digital "darkroom" for rapid hard-copies of photos captured on the Internet, from e-mail, from a digital camera and from scanned images.

Accompanying the ColorShot debut is the premiere of Polaroid’s new "Connectibles" series of "DirectConnect" cables with integral control unit allowing transfer of digital images to the ColorShot digital printer without the intervention of a computer.

Polaroid is demonstrating its new software called DirectPhoto that permits inclusion of photos in e-mail without the recipient requiring special photo-receipt software and for incorporating photos in desktop publications.

Extreme Films

Also on view at Photokina were Polaroid’s "Extreme" films: a sharper, brighter, bolder, faster-appearing film for Polaroid 600-series cameras and larger-format Image cameras (known as Spectra cameras in the United States) called Extreme Gloss; a matte-surfaced film called Extreme Matte for Polaroid 600 instant photography permits after-exposure creative enhancement with pen, pencils and markers; and black-and-white Extreme Monochrome film for Polaroid 600-series cameras. In the United States and other select world markets, Polaroid’s new Extreme film generation is known as Platinum (Extreme Gloss), AlterImage (Extreme Matte) and Black-and-White (Extreme Monochrome) film.

Newly Styled Cameras for New Customers, New Markets

Complementing Polaroid’s new Extreme film line is the new Polaroid 600 Extreme instant camera, sporting the recently Euro-restyled architecture of the newest Polaroid 600 camera line.

Also on display is the Polaroid SpiceCam -- the European hit in instant photography over the past year and the first Polaroid camera to be named after a rock group -- the Spice Girls.

BabyCam Kit Polaroid is also launching its first-ever "BabyCam" kit in Europe, which features a Polaroid 600 instant camera, an instant visual diary/album for "your baby’s first moments shared in an instant," and distinctive new packaging. The BabyCam kit is designed and packaged to allow retailers, photographic outlets, specialty baby and maternity shops as well as mass merchandisers to promote via point-of-sale displays the once-in-a-lifetime benefits of taking Polaroid instant photographs of the new baby.

35mm Cameras

Making their world debut at Photokina ‘98 are three ultra-contemporary cameras in Polaroid’s new 900 series. They include the 900 FF (for Focus Free) and 900 AF (for Auto Focus) -- both featuring an extra-large viewfinder for more accurate photo composition. The new Polaroid 900-series of high-fashion, high-style 35mm cameras includes the economically priced new Polaroid 900 Zoom camera with a macro-lens setting for dramatic close-ups and a 2:1 (35mm-70mm) motorized zoom-lens. All three new Polaroid 35mm cameras are fully automatic in operation.

New Polaroid Professional Films

For professional photographers, Polaroid has expanded the formats available in its latest highly acclaimed professional film range to include a new 4 x 5-inch

- (9 x 12cm) instant color sheet film called Polacolor 79 and a new 8 x 10-inch

- (18 x 24cm) instant color film called Polacolor 879. The new films, making their world debut at Photokina ‘98, join with the range of Polaroid professional "peel-apart" instant films launched earlier including 10-exposure 3-1/4 x 4-1/4-inch

- (8.2 x 10.8cm) films for professional photographers and for "Studio Polaroid" franchisees, as well as a convenient 4 x 5-inch (9 x 12 cm) Polacolor pack film.

Products for Retailers and Studio Express Franchisees

Bringing the latest technology to instant document portraiture for retailers and Studio Express franchisees, Polaroid is unveiling its new Studio Polaroid 302 Camera System featuring a handheld video camera with built-in LCD "pose preview" screen for passport and other document portraits; the economical new Studio Polaroid 350 Video Document Picture System for Polaroid instant photographic prints; and the ultimate digital "solution" for portrait documents and other client photo services -- the new, high-tech Studio Polaroid 700 Digital Document Imaging System.

Polaroid DirectPhoto software is also "bundled" in a new Polaroid Digital DirectPhoto kit that includes a Polaroid 600 CloseUp camera and a 20-exposure twin-pack of new Polaroid NotePad film, a dedicated "business edition" film based on Polaroid’s latest instant film chemistry.

Because of the film’s high definition colors and edge sharpness, NotePad film is billed as "great for scanning," affording the rapid cyber-transfer of visual information over e-mail, via the Internet or for computer-transferring both visual and written data (NotePad film features note-book-like lines on the lower white border to facilitate on-location notations or written cutlines) in a single visual/written cyber-document.

Additional Polaroid business edition films designed for both office and home use are Polaroid’s new Write-On film affording the ability to add notes or highlight areas directly on the matte-surface print. Called a "writable & drawable" film, new Write-On film can also be scanned and transmitted via computer using Polaroid’s DirectPhoto software. Completing Polaroid’s new commercial film portfolio is new Copy & Fax film, a black-and-white film that produces already "screened" instant prints ideal for photocopying and faxing. A built-in 85-line screen within the new Copy & Fax 10-exposure film pack provides clear "newspaper-like" photo quality images when received by fax or used to add illustrations to photocopied documents.

Polaroid DirectPhoto Imaging Software, the Digital DirectPhoto kit and new NotePad, Write-On and Copy & Fax film highlight Polaroid’s new Digital Imaging Center designed for retailers eager to service the growing Small Office/Home Office (SOHO) market and for retailers now servicing customers with office supplies. Polaroid’s new compact Digital Imaging Center merchandiser makes its world premiere at Photokina ‘98 as a customizable self-serve merchandiser designed to expand to feature such other Polaroid business imaging products as scanners, printers, projectors and the new multi-format range of Polaroid photo-quality inkjet paper.

Polaroid Corporation

Image and Society in the Weimar Republic

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

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


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

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

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


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

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

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

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

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


Related Events

Gallery talks at Busch-Reisinger Museum

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

Film Series - Weimar Cinema

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

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

Destiny (1920), directed by Fritz Lang

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

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

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

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

Metropolis (1927), directed by Fritz Lang

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

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

M (1931), directed by Fritz Lang

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

Mädchen in Uniform (1931), directed by Leontine Sagan

The Blue Light (1932), directed by Leni Riefenstahl



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

September 13, 1998

Delacroix: The Late Work, Philadelphia Museum of Art

Delacroix: The Late Work
Philadelphia Museum of Art
September 15, 1998 - January 3, 1999

In celebration of the 200th anniversary of the artist's birth, the Philadelphia Museum of Art presents Delacroix: The Late Work, an exhibition exploring the final years of the great French painter Eugène Delacroix (1798-1863). Some 70 paintings and 40 works on paper by one of the most important artists of the 19th century, lent by museums and private collections throughout Europe and the Americas, are arranged by theme in six categories—animals, allegory and mythology, flowers and landscapes, literary illustrations, scenes of North Africa, and religion—that reveal the artist's immense achievement during the last 15 years of his life. 

Delacroix: The Late Work sheds new light on this monumental figure in the history of art, whom the renowned French poet Charles Baudelaire described in 1845 as "the most original painter of ancient or modern times." Considered the last "Old Master," Delacroix consciously placed himself in the painterly tradition of Veronese, Titian, Rubens, and Rembrandt, yet he was also the driving force in the French Romantic Movement, a radical new approach to art developed in Paris in the early decades of the 1800s. Delacroix formed the link between the traditions of the past and the modern movements, ultimately having a profound influence upon the Impressionists, particularly Renoir and Cézanne, as well as such 20th-century masters as Picasso and Matisse. Cézanne said that Delacroix had "the greatest palette of France, and no one beneath our skies possessed to a greater extent the vibration of color. We all paint through him."

Eugène Delacroix was a remarkably prolific artist, creating in his lifetime over 850 paintings and more than 2000 watercolors and drawings. This exhibition focuses on the works of the mature artist, from the year 1848 to his death in 1863 at the age of 65. These last years of his life were a time of profound reflection for Delacroix, steeped in nostalgia and swept by deep, erotically charged, emotions. Among the great admirers of Delacroix's talent was the American novelist Henry James, who in 1872 remarked that the painter's "imaginative impulse begins where that of most painters ends."

The exhibition features a selection of Eugène Delacroix's late representations of North Africa, a place where the artist had spent several months in 1832. It was a visit that would have a profound effect on the light, color, and imagery of his painting for the rest of his life. These subjects, reconsidered some 30 years after his actual experience, are a vivid testimony to his love of North Africa and its hold on his imagination. Delacroix will conclude with an exploration of the artist's representations of religious subjects. It is one of the great paradoxes of modern art history that Delacroix, a worldly Parisian who confessed skepticism of any organized religion, should be the greatest religious painter of the 19th century. This exhibition presents a unique opportunity to examine the range and power Delacroix's biblical subjects, such as The Good Samaritan (c. 1850; Waterhouse Collection), which were executed with a deep awareness of similar works by such masters as Rembrandt, Rubens, Titian, and Veronese, as well as the sequence of closely related compositions of Christ on the Sea of Galilee that also look forward to Monet's famous series paintings.

Delacroix: The Late Work presents paintings and works on paper that are multi-faceted and introspective, suffused by an increasingly complex and passionate use of color as well as a renewed spiritual intensity. Soon after the artist's death, Théophile Silvestre spoke to these same qualities in the final years of the artist's life: "Delacroix died, almost smiling...a painter of great genius, who had the sun in his head and storms in his heart, who for forty years played the entire keyboard of human emotion, and whose grandiose, terrible, and delicate brushes passed from saints to warriors, from warriors to lovers, from lovers to tigers and from tigers to flowers."

The exhibition is accompanied by a fully illustrated, 350-page catalogue, with essays on subjects including Delacroix's technique, how the artist was viewed by his contemporaries, and issues of continuity and variation in his work.

The exhibition has been organized by the Philadelphia Museum of Art in conjunction with the Réunion des Musées Nationaux in Paris. The curators of the exhibition are Joseph J. Rishel, Senior Curator of European Painting at the Philadelphia Museum of Art; Arlette Sérullaz, Curator of Prints at the Musée du Louvre and Director of the Musée Delacroix; and Vincente Pomarède, Chief Curator of Paintings at the Musée du Louvre. The Philadelphia Museum of Art is the exhibition's only venue in North America.


Peter Saul: Recent Drawing, Nolan Eckman Gallery, NYC

Peter Saul: Recent Drawing
Nolan/Eckman Gallery, New York
September 17 – October 17, 1998

Peter Saul likens his art to a cold shower or unwelcome interrogation. Clearly, what the artist has in mind is a confrontation. Notwithstanding, the work that he extends to us as provocation is revealing and elemental, highly personal, and fully imbued with humor and charm (a pie in the face, perhaps?).

Peter Saul’s bright colors and lunatic subjects are also litmus tests for the soul; fearlessly visceral, incendiary, and downright disturbing. Define the opposite of political correctness and you will have found Peter Saul. He will accept any reaction but indifference. He speaks in the language of everyday people, uses familiar images and trusts unfailingly in our judgment and humanity.

Over the years, Peter Saul has methodically cut and slashed his way through much of American culture. He has grappled with Vietnam, Angela Davis, the Women’s Movement, racism, Ronald Regan, the male ego, and (recently) Viagra. Through political and topical commentary, Saul partakes of the artistic tradition of social criticism and satire, as embodied by Rabelais, Hogarth, Gross, and Dix.

Peter Saul was born in 1934 in San Francisco. As a young man, he moved between Holland, Paris, and Rome before returning to California in 1964. He resided in Austin, Texas since 1981, and continues to exhibit in this country and internationally. This is his first exhibition at Nolan/Eckman.

560 Broadway, New York, NY 10012

September 9, 1998

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

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

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

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

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

Canon Speedlite Transmitter ST-E2

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

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

August 30, 1998

Hasselblad XPan Dual-format Camera

US Launch of Hasselblad XPan Dual-format Camera

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

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

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

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

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

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

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

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

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

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


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

Updated Post

July 22, 1998

Polaroid PDC 640 Digital Camera

Polaroid PDC 640 Digital Camera

Building on the success of its PDC 300 digital camera, Polaroid Corporation today announced its newest consumer digital camera, the PDC 640 Digital Camera, offering consumers more features and better resolution for an affordable suggested retail price of $299. Leveraging its consumer and retail marketing expertise, Polaroid is leading the industry in driving digital photography to the mainstream, and is currently the leading digital camera company in the mass merchandising outlets.

“Based on the success the PhotoMAX digital imaging cameras, software and peripherals have had to date with consumers and our retailers, we will continue to focus our efforts on this growing consumer imaging market space,” said Steve Golden, senior marketing manager, Consumer Electronics New Product Team.  “Polaroid understands the consumer’s need for easy-to-use, affordable technology.  The PDC 640 offers our consumers a better value with a higher resolution digital camera and more features to meet the growing needs of the new ‘cyber-shutterbugs.’”

Polaroid’s PhotoMAX PDC 640 provides point and shoot simplicity and offers high quality digital images with 640 x 480 resolution.  The PDC 640 features both an optical viewfinder and a LCD monitor that allows users to record, playback or delete images.  The camera has storage capacity of up to 64 images (24 in VGA resolution), and includes traditional camera features such as a built-in flash and self-timer.

The PDC 640 is bundled with Polaroid’s PhotoMAX Image Maker Software, the fun easy-to-use, creative imaging software package featured in Polaroid’s new consumer digital product line.  PhotoMAX takes the difficulty out of digital imaging with a new, easy-to-use, program for capturing, editing and utilizing digital images on PCs.  PhotoMAX Image Maker Software combines six digital imaging applications in one easy-to-use format, offering consumers all the techniques needed to manipulate and experiment with images.

The new PDC 640 Digital Camera Creative Kit has everything contemporary “cyber-shutterbugs” need to take pictures and download them to the computer.  The Creative Kit includes the PDC 640 Digital Camera, the PhotoMAX Image Maker Software CD, batteries, PC and TV Cables, an AC adapter, a wrist strap, Quick Start Guide and online tutorials.

PhotoMAX PDC 640 is the latest addition to the new line of Polaroid consumer digital imaging products that already includes the Polaroid PhotoMAX PDC 300 Digital Camera Creative Kit, the first truly consumer-friendly digital camera and software package.

Suggested retail price for the complete PhotoMAX  PDC 640 Digital Camera Creative Kit is $299. The PDC 640 Digital Camera Creative Kit and the stand-alone software are available at major retailers, traditional photographic stores and computer and electronic stores nationwide.

To use the PDC 640 Digital Camera a Pentium class personal computer, CD-ROM drive, 12 MB of RAM, 60 MB of hard disk space, a color monitor and sound card are recommended. 


May 30, 1998

Philadelphia Photographic Publications awarded

Philadelphia Museum of Art Publications Receive US National Recognition

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

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

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

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

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

Philadelphia Artists Celebrating Fleisher Challenge

Philadelphia Arts

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

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

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

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

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

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

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

May 20, 1998

Roy Lichtenstein – Exposition Fondation Beyeler

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

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

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

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

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

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

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

April 26, 1998

Wolfgang Laib, Sperone Westwater, NYC

Wolfgang Laib: Nowhere-Everywhere 
Sperone Westwater, New York
2 May - 13 June 1998

Sperone Westwater announces an exhibition by WOLFGANG LAIB.

The artist presents a new installation of ziggurat-like forms in beeswax, which will fill the gallery from floor to ceiling concealing various architectural details of the gallery space. The exhibition also features Rice House, 1996, a five-foot long marble floor sculpture in the shape of a house surrounded by mounds of white rice. The ziggurat and the house are primary structures, reflecting the artist's interest in pre-modern and non-western dwellings and spiritual places.

Born in 1950 in Metzingen, Germany, WOLFGANG LAIB originally studied medicine at the University of Tübingen. Disillusioned with Western medicine and science, he came to view the natural sciences as limited in their dependency on logic and the material world. His search for something else led him to Eastern spiritualism, philosophy, and pre-Renaissance thought. Since 1975, Wolfgang Laib has worked exclusively as an artist and has built an international reputation. A one-person exhibition was recently held at The Arts Club of Chicago. Wolfang Laib has held solo shows at the Capc/Musee d'art contemporain de Bordeaux (1986 and 1992), the Museum of Contemporary Art, Chicago (1989), the Museum of Contemporary Art, Tokyo (1990), the Centre George Pompidou, Paris (1992), The Museum of Contemporary Art, Los Angeles, and the Kunstmuseum Bonn (1993). In the past year he participated in the Venice Biennale. His work was also included in Objects of Desire: The Modern Still Life, which was organized by The Museum of Modern Art, New York and traveled to the Hayward Gallery, London. His work can be found in museum collections worldwide.


Updated 04.07.2019

April 15, 1998

Mark Rothko, National Gallery of Art, Washington

Mark Rothko
National Gallery of Art, Washington
May 3 - August 16, 1998

The first comprehensive American retrospective in twenty years of paintings and works on paper by Mark Rothko (1903-1970), long recognized as one of America's foremost artists, will be on view at the National Gallery of Art, East Building. This exhibition will take full advantage of the National Gallery's unique Rothko holdings, a gift of The Mark Rothko Foundation, which constitute the largest public repository of the artist's works. One hundred fifteen paintings and works on paper will be included, dating from the 1930s to 1970, with an emphasis on his surrealist and classic periods. Arranged chronologically, the exhibition will reveal the extent of Rothko's prolific and wide-ranging output throughout a career that spanned five decades.

The exhibition is organized by the National Gallery of Art. After Washington, it will travel to the Whitney Museum of American Art, New York (September 10-November 29, 1998) and the Musée d'art moderne de la Ville de Paris (winter 1998/1999).

"As the most important repository and study center of this great artist's work, the National Gallery has a special interest in bringing this retrospective to the public. A decade ago, the National Gallery received the core collection of The Mark Rothko Foundation, a gift that included 295 paintings and works on paper, and more than 650 sketches," said Earl A. Powell III, director, National Gallery of Art. "We are grateful to the artist's daughter and son, Kate Rothko Prizel and Christopher Rothko, who are lending numerous works for this important exhibition, and to New York's Museum of Modern Art and The Metropolitan Museum of Art and others for their generous loans," he added. The exhibition will draw on loans from other public and private collections in the United States, Europe, and Japan.

Mark Rothko's achievement has had a decisive impact on the course of twentieth-century art and has given rise to a wealth of critical interpretation. A central figure in the development of postwar abstract painting in the United States, Rothko is best known for the unique use of color in his paintings from around 1950 onward. These are considered among the most original landmarks of the New York School.

Mark Rothko, who committed suicide at age sixty-six, was born in Dvinsk, Russia, and immigrated to the United States at age ten. After two years of liberal arts study at Yale University, he moved to New York, where he took classes briefly at the Art Students League and began to paint. In many respects he considered himself a self-taught artist, although his early style was influenced by other painters such as Milton Avery, whom he knew well.

The exhibition includes figurative works ranging from the expressionist manner of Rothko's early period in New York City, to his experimentation with mythological themes during the early to middle 1940s, and his completely abstract "multiforms" of the late 1940s.

Also highlighted are Mark Rothko's classic paintings of the 1950s, which are distinguished by an emphasis on pure pictorial elements such as color, surface, and structure. His canvases from that period, characterized by expanding dimensions and an increasingly simplified use of form, brilliant luminosity, and broad, thin washes of color, are represented in the exhibition by No. 10, 1950 (The Museum of Modern Art, New York, Gift of Philip Johnson); Untitled [Blue, Green and Brown], 1952 (Collection of Mrs. Paul Mellon, Upperville, Virginia); and No. 1 (Royal Red and Blue) [Untitled],

While the large scale of Mark Rothko's classic paintings suggests that they are monumental, the artist believed that the large dimensions made the pictures intimate: they allow the viewer to relate to the canvas as if it were another living presence. In this way, Rothko also felt that the works could express emotions associated with major themes such as tragedy, ecstasy, and the sublime, but without the use of symbolic imagery. The impact of these commanding works is often described in spiritual as well as emotional terms.

In the late 1950s Mark Rothko began to explore the effects of a darker palette, which lent a dramatic new presence to paintings such as No. 10, 1958 (Private Collection); No. 207 (Red over Dark Blue on Dark Gray), 1961 (University of California, Berkeley Art Museum); and No. 3 (Bright Blue, Brown, Dark Blue on Wine), 1962 (Robert and Jane Meyerhoff, Phoenix, Maryland).

In 1964, Mark Rothko was commissioned by John and Dominique de Menil to paint murals for a nondenominational chapel in Houston, Texas. The exhibition includes works related to this project in which darkness has become the dominant pictorial and thematic element as can be seen in Untitled [White, Blacks, Grays on Maroon], 1963 (Kunsthaus Zürich).

There are also paintings and works on paper in the exhibition from the last three years of Mark Rothko's life, when he produced large paintings using a newly distilled compositional format and a reduced palette of black, gray, brown, muted ochres and blues. These include Untitled, 1969 (John and Mary Pappajohn, Des Moines, Iowa).

The curator for the National Gallery exhibition is Jeffrey Weiss, associate curator, twentieth-century art, National Gallery of Art. The consultants for the exhibition are Mark Rosenthal, curator of twentieth-century art, Solomon R. Guggenheim Museum, New York, and David Anfam, author of the forthcoming Rothko catalogue raisonné.

Accompanying the exhibition will be a fully illustrated catalogue, with color images of every work in the show. It will include contributions by John Gage, Carol Mancusi-Ungaro, Barbara Novak, Brian O'Doherty, Mark Rosenthal, Jessica Stewart, and Jeffrey Weiss. There will also be interviews with contemporary painters Ellsworth Kelly, Brice Marden, Gerhart Richter, Robert Ryman, and sculptor George Segal about Rothko's artistic legacy. The catalogue will be published by the National Gallery of Art and distributed in hard cover by Yale University Press.

The catalogue raisonné of Rothko's works on canvas is in preparation by the National Gallery of Art.

National Gallery of Art, Washington DC

April 3, 1998

Le magazine de cinéma Première au Japon

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

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

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

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

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

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

April 1, 1998

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

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