December 23, 2000
December 17, 2000
Luhring Augustine, New York
December 16, 2000 – January 27, 2001
December 10, 2000
The Dada movement emerged in Europe and the United States in reaction to the horrors of World War I. This enclave of artists rebelled against artistic convention and sought to subvert the existing social and political order. Artists such as Marcel Janco, Raoul Hausmann, Max Ernst, and Francis Picabia represent this movement through works exemplify the key tenants of Dada: the accidental, the absurd, protest, and criticism.
The revolutionary work of Marcel Duchamp and Man Ray had a profound influence on Dada and Surrealist artists and was central to later trends in twentieth-century art. Duchamp and Man Ray met in New York in 1915, and from that time on were active, both independently and jointly, in avant-garde circles in New York and Paris. Arturo Schwarz met the two artists in the 1950's and demonstrated his appreciation for their work by arranging exhibitions, acquiring dozens of works, and composing scholarship on them. Seventy works by Man Ray and Duchamp reflect their fertile imaginations, and their preoccupation with humor, playfulness, and eroticism.
The Arturo Schwarz collection includes a sizable body of pre-Surrealist work, which, like the Surrealist movement that would follow, demonstrates a timeless interest in dreams, the supernatural, and the irrational. This portion of the collection includes paintings, prints, and drawings from the 16th through the 20th centuries by artists such as Durer, Goya, Moreau, and Redon, along with tribal masks and artifacts from Africa, Oceania, and North America. Surrealism The works of dozens of Surrealist artists from the 1920's to the 1980's are arranged in the exhibition according to visual and thematic criteria. The ideological platform of the Surrealist movement, formulated by Andre Breton in the 1920's, called for a new way of seeing. Disappointed by modern Western culture, many artists and writers had been inspired by Dada and had adopted a nihilist or anarchic stance. But Surrealism did not simply advocate subversion, it called for a change in values. The movement sought to stimulate the imagination, to expand the limits of awareness, and to tap into a non-rational, subconscious psychological realm, like that revealed in dreams and madness. Among the artists represented are some of the members of the original circle of the Surrealist movement in the 1920's and 1930's, such as Andre Breton, Joan Miro, Yves Tanguy, Andre Masson, and Max Ernst. Women artists including Claude Cahun, Remedios Varo, Kay Sage, and Dorothea Tanning are prominently featured among the Surrealist group on display, many of which achieved central standing in the canon of 20th century art history.
The final component of the exhibition is drawn from the Museum's extensive library of Dada and Surrealist materials, including a display of portraits of Surrealist artists and writers immortalized by their photographer and painter colleagues, as well as a selection of original Dada and Surrealist literary documents. The collaboration between artists revealed through these portraits and publications demonstrates the spiritual bond that existed among members of the movement.
Scholar and collector Arturo Schwarz was born in 1924 in Alexandria, Egypt to Jewish parents. In his youth he was very active in clandestine political circles and was arrested a number of times prior to his expulsion from Egypt in 1949. Settling in Milan in the early 1950's, he opened a publishing house and a bookstore that evolved into the Schwarz Gallery, which closed in 1975. The gallery held exhibitions of the best Dada and Surrealist artists and of contemporary artists from throughout the world. Simultaneously, Schwarz wrote poetry, published scholarly books including a catalogue raisonne of the works of Marcel Duchamp, gave lectures, and organized international Dada and Surrealist exhibitions. His intense involvement in the Surrealist movement and his personal acquaintance with many of its members has made him a leading authority on its history. "Dreaming with Open Eyes" is curated by Tamar Manor-Friedman and is accompanied by a comprehensive 250-page catalogue, which includes an illustrated inventory of the works in the Arturo Schwarz collection in the Israel Museum.
November 14, 2000
October 24, 2000
A DOLL’S HOUSE
IRINA BIRGER - KAREN RUSSO – RUTI NEMET – ZOYA CHERKASSKY
A Doll's House is the fourth exhibition in the framework of the Joint project for young art at the Israel Museum. The four women artists taking part in this exhibition: Irina Birger, Karen Russo, Ruti Nemet and Zoya Cherkassky, are showing three installations in the exhibition. On the surface, their installation works differ one from the other both in character and in creative process, yet the common element is almost immediately apparent. Each work is made up of images taken from different 'artistic' fields: painting, sculpture or photography as well as images drawn from media sources such as voices taped from the television and internet, animation and especially cinematic images.
These many sources do not only serve to concretize the interdisciplinary characteristic of contemporary culture, each one in its own way also raises and interprets images connected to the more hidden worlds of mythology, folktales, fairy stories and the research of the sub-conscience. In Karen Russo's installation, The Mute, for example, the descent into a complex, hidden world is immediate and concrete. The work opens with a staircase leading down into a mine, a dark passage that receives the viewer in a physical manner and 'initiates' him into the other aspects of the installation. Russo sees her installation space as a cave in the depths of the earth, representing hell, madness, the kingdom of darkness and irrationality. The space contains scientific data, archaeological finds and figures and objects from folktales, horror stories and movies.
Part of a Russian animated film, The Snow Queen, is at the center of Irina Birger's installation, also entitled The Snow Queen, - a nostalgic passage into the world of folk tales as seen through the cinematic experience of childhood. The scene shown here can be read as an index to the entire story, which depicts the boy Kay's exit from the world into the Ice Kingdom and the palace of the Snow Queen, who represents all that is irrational and lacking in emotion. Kay is eventually redeemed from his imprisonment and returned to the world and the realm of reality with the help of his love, Gerda. Birgir brings this tale of dark magic to life by screening her images on, and through, a screen of glass stalactites.
Through doll-like figures of themselves and their friends, Ruti Nemet and Zoya Cherkassky replicate the intimate world of their circle. In their installation entitled Study-cases, they are recreated as frozen bodies, dense and tactile, healthily "dead", without having died or been killed. Ruti and Zoya use the dolls as a game that becomes an alternative world, created by the precise copying of their existing one. The extended time taken to create the dolls and their environments sharpens their reality and dialectic existence, until there is no contradiction between the "real" and the alternative, illusory time and place. Dream markers and realms of the imagination are only hinted at within the doll's bodies. The figures' faces are slightly contorted, bordering on the edge of a grotesque countenance, which hints at the possibilities of their belonging to a species of harmful figures.
The immediacy and concreteness of these installations, on the one hand, and their complexity as stories which also hint at a secret world, on the other, gives these works by Ruti Nemet and Zoya Cherkassky, Karen Russo, and Irina Birger an allegorical touch, a dimension of a fable whose meaning has vanished.
The exhibition was curated by Sarit Shapira.
Closing: January 2001
October 20, 2000
September 30, 2000
September 15, 2000
17 septembre - 31 décembre 2000
Entrée : CHF 15.- et CHF 11.-, 5.- (tarifs réduits)
September 4, 2000
Name of company: Nikon Instruments Inc.
Head office: Melville, New York
Representative: HIRAI, Takeshi President & CEO
Principal business: sales, marketing and after-sales service of microscope, measuring instrument, inspection instrument, surveying instrument in the North and South America
Start of operation October 1, 2000
Name of company: Nikon Eyewear Inc.
Head office: Melville, New York
Representative: HANAGATA, Masaki President
Principal business: sales, marketing and after-sales service of eyeglass frames in the United States
Start of operation: October 1, 2000
Outline of the holding company effective October 1, 2000
Name of company: Nikon Americas Inc.
Head office: Melville, New York
Representative: FUKUCHI, Hideo President & CEO
- Integrated financing in the United States
- Consolidated tax payment
- Coordination of new business in the United States which any in-house company does not cover
- Publicity including the IR
- Legal matters such as brand protection
- Nikon Precision Inc.
- Nikon Research Corp. of America
- Nikon Inc. Nikon Instruments Inc.
- Nikon Eyewear Inc.
Name of company: Nikon Inc.
Head office: Melville, New York
Representative: ABRAMS, Jack President & CEO
Principal business: sales, marketing and after-sales service of photo imaging products and sports and recreational optics in the North and South America
The information is current as of the date of publication : (c) Nikon - Investor Relation News - 04.09.2000
Nikon Corporation ( YOSHIDA, Shoichiro, president) establishes the holding company in Europe and its operation will start from October 1 this year
This company will integrally hold the whole Nikon group capital in Europe and aim for efficient financing and tax related operation in this region.
Nikon has been restructuring its operation in Europe to better cope with European unification as well as to further promote the integrated system of full authority and responsibilities for each product business sector in line with its in-house company structure which had been introduced last October. This pursuit led to establishment of the new company .
Outline of the new company
Name of company: Nikon Holdings Europe B.V.
Head office: Amsterdam, The Netherlands
Representative: IKEDA, Yoya President
- Integrated financing in Europe
- Coordination of new business in Europe which any in-house company does not cover
- Publicity including the IR
- Legal matters such as brand protection
Start of operation: October 1, 2000
- Nikon Precision Europe GmbH, Germany
- Nikon Europe B.V., The Netherlands
- Nikon GmbH, Germany
- Nikon U.K. Ltd., United Kingdom
- Nikon France S.A., France
- Nikon AG, Switzerland
- Nikon Svenska AB, Sweden
- Nikon s.r.o., Czech Republic
- Nikon Kft., Hungary
- Nikon Instruments S.p.A., Italy
The information is current as of the date of publication : Nikon - Investor Relation News - 04.09.2000
September 1, 2000
The Contemporary, Atlanta
September 9 - October 21, 2000
THE CONTEMPORARY, ATLANTA
Atlanta Contemporary Art Center
535 Means Street NW, off of Marietta St. downtown
August 25, 2000
Canon USA is introducing the Speedlite 420EX, a compact flash unit developed simultaneously with the new EOS Elan 7/7E but compatible with all EOS System cameras including the new EOS D30 digital SLR. Building on the outstanding features of the popular Speedlite 380EX flash, the new 420EX replaces that product with the added capability of E-TTL wireless autoflash, giving EOS System photographers an alternative in a wireless flash system. Additionally, the 420EX’s AF-assist beam has been improved to cover all 7 focusing zones of the EOS Elan 7/7E.
“The Canon Speedlite 420EX was designed to give EOS System users extended creative options during flash photography while emphasizing Canon’s continued commitment to providing a truly advanced, cost-effective way of making better photographs,” said Yukiaki Hashimoto, vice president and general manager of Canon’s Photographic Products Group. “The new flash combines a number of Canon technologies to create a high-output, compact flash unit with wireless remote capabilities and we will continue to develop imaging products and accessories that allow photographers to concentrate on their subjects, not the technology,” Mr. Hashimoto added.
The new Speedlite 420EX can be used with most current EOS cameras as a remote flash in an E-TTL wireless autoflash system. Canon’s E-TTL wireless autoflash system is ideal for creating advanced lighting effects in a wide variety of applications such as nature photography, close-ups, and portraiture.
Remote flash firing is controlled entirely by a master unit such as Speedlite Transmitter ST-E2, Speedlite 550EX or Macro Ring Lite MR-14EX connected to the camera, making it fast and simple to set up. Up to 3 remote flash groups can be designated, and the maximum number of 550EX and 420EX Speedlites per group is unlimited. When used with the EOS-1V, EOS-3 or EOS D30 cameras, additional features such as lighting ratio control and modeling flash are also supported by the 420EX.
Canon Speedlite 420EX has a maximum Guide Number of 42/138 (ISO 100, meters/feet) and the flash head’s autozoom provides edge-to-edge coverage for focal lengths from 24mm to 105mm with bounce and swivel capabilities. Higher flash output in a more compact body (approximately 10% smaller than the Speedlite 380EX) is made possible due to a large storage capacitor and higher flash efficiency using an improved reflector and fresnel lens.
The AF-assist beam of the 420EX is emitted automatically when necessary in low light situations to ensure accurate focusing. It is capable of covering all 7 focusing points of the EOS Elan 7/7E by using two new ultra-bright LEDs that emit a cross-type pattern with vertical and horizontal stripes. The effective range of the AF-assist beam is approximately 2.7 ft. to 23 ft using the central focusing points, and approximately 2.7 ft. to 16.4 ft. for other focusing points.
The new Speedlite 420EX is powered by the user’s choice of four AA-size Alkaline, Ni-CD, Lithium or Nickel-Metal-Hydride (Ni-MH) cells, with a shooting capacity of up to 400 full-power flashes per set when AA-size lithium cells are used.
Other key features include:
With Type-A EOS System cameras (including most current models): -- E-TTL autoflash (preflash evaluative metering linked to the focusing points) -- FP Flash (high-speed sync) -- FE Lock (flash exposure lock, a form of spot metering with flash) -- Second-curtain sync (using camera’s Custom Functions) With Type-B EOS System cameras (including early EOS models and the T90): -- TTL autoflash (multi-zone off-the-film flash metering linked to the focusing points with cameras that have more than one focusing point).
With all EOS System cameras: -- Autozoom head for 24-105mm focal lengths -- Bounce and swivel -- SE (Save Energy) mode -- Shoe-lock provided
The flash measures 71.5 (W) x 123 (H) x 99.4 (D) mm and weighs 10.6 ounces. The Speedlite 420EX will be available at USA retailers in October, 2000 and have a suggested list price of $340.00.
Canon USA is introducing three new zoom lenses for its line-up of EOS cameras: EF 28-90mm f/4.0-5.6 USM, EF 28-105mm f/3.5-4.5 II USM, and EF 28-200mm f/3.5-5.6 USM. The new zooms strengthen and expand Canon's selection of autofocus lenses, bringing the total number of current lenses to 56.
The new Canon EF 28-90mm f/4.0-5.6 USM lens joins an impressive line-up of multi-function, wide-angle-to-telephoto standard zoom lenses for the EOS System. It will be available initially as the standard lens for entry-level and mid-range EOS cameras including the best-selling EOS Rebel 2000 series as well as the new EOS Elan 7 and 7E. Compared to the current EF 28-80mm f/3.5-5.6 V USM standard zoom, the new EF 28-90mm USM lens provides extended telephoto range useful for portraiture and a variety of other applications with virtually no increase in size, weight or cost. This technological achievement is due in great part to the incorporation of a newly-developed optical system featuring an aspherical lens element.
The Canon EF 28-105mm f/3.5-4.5 II USM lens replaces the popular EF 28-105mm f/3.5-4.5 USM originally marketed in 1992. The new lens has the same optics and internal mechanical construction as its predecessor while sporting a new, more luxurious exterior finish and zoom ring design to match the appearance of current EF lenses.
The Canon EF 28-200mm f/3.5-5.6 USM lens allows EOS users to travel light by transporting only one lens for most focal length needs. The extended zoom range of this lens makes it ideal for a variety of photographic subjects including landscapes, portraits and sports.
The EF 28-200mm f/3.5-5.6 USM is the first Canon lens in its focal length range and provides photographers with additional creative latitude in one lens. It uses the company’s patented Super Inner Cam design to achieve the closest minimum focusing distance in its class (17.7 inches at all focal lengths), resulting in an unprecedented magnification factor of 0.28x for spectacular close-up photography at the 200mm setting. Due to the inner focusing design, the lens’ filter thread remains stationary, allowing users to add attachments such as circular polarizing or graduated neutral density filters without being hindered by lens rotation. Two aspherical surfaces are incorporated for high image quality at all focal lengths, and a Micro USM makes the new EF 28-200mm lens the only zoom in its class to feature Ultrasonic Motor technology for high-speed and silent autofocusing.
The Canon EF 28-90mm f/4.0-5.6 USM lens weighs 7.1 oz. and measure 2-5/8 inches (diameter) x 2-13/16 inches (minimum length).
The Canon EF 28-105mm f/3.5-4.5 II USM lens weighs 13.1 oz. and measures 2-3/4 inches (diameter) x 3 inches (minimum length).
The Canon EF 28-200mm f/3.5-5.6 USM lens weighs 1.1 lb. and measures 3-1/8 inches (diameter) x 3-1/2 inches (minimum length).
All three lenses will be available at USA photo retailers in October, 2000 and have the following suggested list prices:
Canon EF 28-90mm f/4.0-5.6 USM lens $250.00
Canon EF 28-105mm f/3.5-4.5 II USM lens $540.00
Canon EF 28-200mm f/3.5-5.6 USM lens $800.00
August 22, 2000
Olympus Optical Co., Ltd., however, has emphasized the development of consumer-oriented models since it first entered the digital camera market. In the fall of 1997, it introduced its first digital SLR, the CAMEDIA C-1400L. This was followed in the fall of 1999 by the CAMEDIA C-2500L digital SLR. Now, with the launch of the CAMEDIA E-10, it has a flagship digital SLR that breaks significant new ground in terms of image quality and functionality. Despite being brought to market at moderate price, the CAMEDIA E-10 offers truly outstanding photo-imaging quality, functionality, reliability and features. As such, it brings ultra-high digital SLR performance to a much wider market segment than ever before.
The CAMEDIA E-10 is the first camera in its class to feature a 4-megapixel*, 2/3-inch, primary-color CCD. In addition, by freeing its lens designers from the constraints of conventional 35mm-format interchangeable lens design, Olympus was able to develop a new 4x optical zoom lens that is specifically designed to match the size and performance characteristics of CAMEDIA E-10's CCD. In addition to offering 4x zoom, the lens has the exceptional light-gathering power of an F2-F2.4 aperture range. One ED (Extra-low Dispersion) and two aspherical lens elements are used to assure excellent edge-to-edge resolving power, and all lens elements are multicoated to limit internal reflection and assure crisp, clear imaging. Other advanced features include TruePic image processing, which assures that 4-megapixel image data is accurately represented at all output resolutions, and a new white-balance function for superior image quality in a wide range of shooting situations.
A shutter-release lag-time of only about 60 milliseconds was achieved by using a proprietary new auto exposure algorithm and a dual active/passive autofocus system for high-speed focusing. As a result, responsiveness and shooting ease are truly outstanding.
A variety of extension lenses, external flash unit "FL-40 electronic flash" and a remote cable and a wireless remote control are also available, making the CAMEDIA E-10 a digital SLR camera that is fully able to meet the needs of commercial and professional users.
* Number of effective pixels is 3,900,000.
1. Professional-Oriented, Ultra-High Image Quality
4-Megapixel 2/3-Inch Primary-Color CCD At 4,000,000 pixels (3,900,000 effective), the CAMEDIA E-10's CCD imaging device offers the highest resolution currently available in a consumer-use digital camera. In addition, the CCD's large, 2/3-inch imaging area ensures excellent tonal sensitivity, while primary-color filtering is used to ensure vivid color reproduction.
Large-Aperture, High-Performance 4x Optical Zoom Lens
The lens is an F2-F2.4, equivalent to 35-140mm (in a 35mm format) bright, large-aperture zoom lens that is specifically designed to maximize the imaging potential of the camera's CCD. An ED glass lens element minimizes color aberration, and two aspherical lens elements correct distortion. In addition, all lens elements are multi-coated to ensure exceptionally crisp imaging.
Proprietary TruePic Image Processing
A refined version of the TruePic processing algorithm introduced on the CAMEDIA C-2500L ensures superior image quality at any resolution. As a result, even small images can take full advantage of the CCD's 4-megapixel imaging power.
Digital ESP Metering for Correct Exposures
New auto-exposure algorithms assure balanced exposures. In addition, the camera offers a choice of center-weighted average metering or spot metering.
New White-Balance System for Natural Skin Tones
A newly developed white-balance system provides more accurate assessment of white values than previous systems. Color fidelity is enhanced, and skin tones are more natural and lifelike.
2. Professional-Oriented Speed and Responsiveness
Dual Autofocus System for Quick Focusing
Fast, accurate focusing is provided by an advanced dual autofocus system that combines single-beam, twin-sensor active AF technology with passive AF technology. After initial measurement is made with the single-beam, twin sensor system, fine tuning is carried out with the passive system. In extreme low-light conditions, the twin-sensor active system alone can be used, thus greatly extending the range of situations in which digital photographs can be taken.
Shutter-Release Lag Time of Only 60ms (approx.)
A shutter-release lag-time is only about 60 milliseconds when LCD monitor and internal flash are turned off. Shutter release is smooth and responsive for stress-free shooting.
4-Shot Continuous Shooting at Speeds Up To 3 fps
A 32MB buffer memory and dedicated ASIC (Application-Specific Integrated Circuit) provide high-speed image processing for megapixel images. As a result, continuous shooting capability is offered in all image quality modes, up to a maximum of four frames at three frames-per-second.
High-Capacity Lithium-Polymer Battery Support
An optional Power Battery Holder Kit and high-capacity lithium-polymer batteries can be used to handle long photo sessions and high-volume shooting.
4 ISO Sensitivity Settings
ISO sensitivity settings include Auto, 80, 160 and 320, allowing photographers to shoot indoors without flash and avoid camera-shake blurring on telephoto shots.
Rugged, Die-Cast Aluminium Body
The rugged, die-cast aluminium body is built to withstand the rigors of adverse shooting conditions.
3. Professional-Oriented Features and Functions
TTL Viewfinder with 95% Field of View
The TTL viewfinder eliminates framing errors caused by parallax displacement and provides a field of view that covers 95% of the total image area. Indicators within the viewfinder allow essential settings to be confirmed without taking the eye away from the eyepiece. In addition, the eyepiece features -3 - +1 dioptric correction and a special shutter that prevents light from entering the eyepiece when a picture is taken.
Multi-Angle 1.8-Inch TFT Color LCD Monitor
A quick-response 1.8-inch color LCD monitor allows captured images to be instantly viewed. It can also be used as a viewfinder, with multi-angle display that provides a clear view for waist-level or high-angle shooting.
Fast, Easy Mode Selection
Individual buttons are provided for all frequently used shooting modes, and are positioned for easy access when the camera is held in the normal shooting grip.
Advanced Flash Control System
A powerful GN13 (ISO 80) pop-up flash is built-in. Featuring advanced 'scene detection' technology, it automatically adjusts flash illumination to suit the subject's position, assuring beautiful auto flash exposures. +/- 2-step flash power compensation can also be used to achieve an ideal balance between natural light and flash illumination. In addition to forced (fill-in), slow-synchro and red-eye reduction modes, the flash also offers rear-curtain synchronization. An optional FL-40 external flash unit can also be connected via hot shoe or cable for full-auto, dual-flash shooting, and an external PC synchro socket allows other external flash units to be connected for multi-flash shooting.
FL-40 Electronic Flash for Creative Flash Photography
A powerful GN40 dedicated external flash unit with a rotating head for creative bounce-flash photography.
Remote Cable Release
The RM-CB1 Remote Cable allows remote shutter operation.The multi-function RM-1 is an optional remote control unit that allows functions such as shooting and image playback to be controlled from a distance. Can also be used to control the camera when it is being used as a playback device for slideshows and business presentations displayed on a video monitor.
5. Other Features and Functions
Shooting data such as aperture and shutter speed can be displayed on the monitor when viewing images.
Image histograms can be displayed on the monitor.
Time-lapse shooting intervals can be set from one minute to 24 hours.
Control panel is equipped with backlight.
Audible shutter release can be set to High, Low or Mute.
Olympus Optical Co., Ltd. was changed to OLYMPUS CORPORATION as of October 1, 2003. The company names and product names are the trademarks or registered trademarks of each company. Pictures (c) Olympus Corporation - Olympus Press Release - 22.08.2000 Update: 20.02.2001.
July 26, 2000
July 25, 2000
July 16, 2000
Close to three dozen pieces of the best digital artwork from North America will be featured for the first time at Macworld's Digital Art Contest & Gallery, July 18-21, 2000 at the Jacob K. Javits Convention Center.
Thirty-one award-winning designs, incorporating a variety of styles and disciplines, were selected from more than 600 images submitted by artists, professional graphic designers, hobbyists and students. Featuring artists' demonstrations, as well as examples of the latest software, products and techniques used to create digital art pieces, the Digital Art Contest and Gallery highlights the finest efforts in this rapidly growing art medium. Now in its third year, the Macworld Conference & Expo Digital Art Gallery also travels during the year as a formal exhibition to art galleries and universities throughout the U.S. to highlight this exciting new medium.
Divided into two judging categories, student and non-student, the thirty winning selections were chosen in three separate judging phases by a panel of leading experts from the digital art community, including:
· Nancy Hitchcock, Sr. Assoc. Editor, Electronic Publishing,
· Harold Helderman, Director, Center for Electronic Arts, SF,
· Daniel Carter, Design Director, WIRED Magazine,
· Karen Sperling, Editor and Publisher, Artistry Magazine,
· Rick DeCoyte, Owner, Silicon Gallery, Philadelphia, PA,
· Bert Monroy, Digital Artist, Teacher, Author,
· John Derry, digital artist/co-creator of Painter
· Pedro Meyer, photographer, artist
· Diane Fenster, digital artist
"The quality of the artwork this year is better than ever," according to Daryl Wise, Coordinator of the Macworld Conference & Expo Digital Art Contest and Gallery. "The artwork is professionally presented, and attendees are going to be impressed to see what these talented artists can do with this medium."
The grand prize winner of the Digital Art Contest receives a trip to a future Macworld Conference & Expo, including airfare, hotel and a Super Pass, along with a variety of new hardware and software. Other prizes include: Iomega Jaz drives, Wacom Intuos Graphic Tablets, Printers by Tektronix, Aladdin Systems utility software, subscriptions to Artistry, WIRED and Digital Fine Artist Magazines, Royality-free Klips from Comstock, asset management software from Canto, books by Peachpit Press and an Iris print of their image by Electric Paintbrush.
The Digital Art Contest and Gallery is sponsored by Iomega, Corel, Wacom, National Association of Photoshop Professionals and Tektronix printers by Xerox.
June 30, 2000
June 29, 2000
June 25, 2000
Museum of Fine Arts, Boston
July 2 - September 24, 2000
MUSEUM OF FINE ARTS, BOSTON
April 30, 2000
April 7, 2000
Davies, Grauerholz, Kozyra, Muller-Pohle, Smith at the Museum of Contemporary Photography in Chicago
The Museum of Contemporary Photography, Columbia College Chicago, presents exhibitions by five prominent contemporary artists working with photography: John Davies (UK), Angela Grauerholz (Germany), Katarzyna Kozyra (Poland), Andreas Müller-Pohle (Germany), and Seton Smith (USA, resides in France). The works on view have never before been shown in Chicago.
In his silver gelatin prints, John Davies concentrates on investigating the modern landscape as it has evolved from natural to industrial environments. Although his work is informed by documentary photography, he does not present exclusively "objective" perspectives. He is famous for his ability to capture the "edge" between the urban and the rural, with precision and calculated detachment. These rich, black-and-white images of arresting open spaces reveal urban development both in and out of harmony with the natural environment.
Angela Grauerholz's work Sententia I to LXII, 1998, is comprised of sixty-two images housed in a specially made wooden cabinet that resembles a piece of antique library furniture, a fine retail display case, or, when closed, a tomb. To see the images, the viewer must slide the photographs from the case one at a time. The massive cabinet suggests permanence, importance, and authority. The photographs, however, are ambiguous and moody, soft-focus images of transitional spaces: windows, doors, railroad tracks, a fleeting glimpse of passers-by. This juxtaposition of image content and an unusual presentation raises questions regarding the veracity of information housed in historic archives and underscores the role of the archive as a place of intellectual "travel."
Katarzyna Kozyra made headlines in 1999 as the Polish representative at the Venice Biennale with her video piece entitled The Men's Bathhouse, for which she gathered footage by entering a men's bathhouse in Budapest disguised as a man and carrying a hidden camera. At The Museum of Contemporary Photography she is exhibiting a similar piece, The Bathhouse, 1997, shot clandestinely in a women's spa in Budapest. This video installation, comprising one large video projection and five video monitors, opens with Ingres’s painting The Turkish Bath. The painting, which depicts women as idealized figures fitting perfectly into a circular composition, provides a stark contrast to Katarzyna Kozyra’s video footage, which follows. By presenting the nude figure in its unashamed, unabashed form, she raises issues of voyeurism and privacy rights, as well as drawing attention to the fact that uncorrected, unimproved nudity is not often visible in our culture.
Andreas Müller-Pohle, a founding editor of European Photography magazine, believes that digital work is the purest form of the photographic medium owing to its universality. His Digital Scores I, II, and III, 1995—1998, are digital interpretations of the earliest known photograph, Nicephore Niepce's View from his Study, taken in 1826. In these works, Andreas Muller-Pohle has digitized Niepce's photograph, which presumably had an eight-hour exposure time, translated it into alphanumeric signs, and output it as ink-jet prints. The information contained in the resulting seven million bytes has been distributed over eight squares which are hung four across and two high, with each frame installed eight centimeters apart. In contrast, Andreas Müller-Pohle's video piece Entropia, 1996, shows an industrial shredder destroying photographs, lithographic films, and framed pictures. "What I don't see, I photograph. What I don't photograph, I see," Andreas Müller-Pohle has said.
Seton Smith's work Pale Guide to Transparent Things, 1997, examines the convergence of spaces: interior/exterior, public/private, real/imagined, past/present. This series is presented as an installation of large-scale (six-by-four feet) color transparencies mounted on light boxes and arranged on the walls and floor of the gallery. Recontextualized in the museum, the images interact with as well as change and add to the architecture of the space itself. Seton Smith's use of soft focus, tight cropping, and monochromatic colors alters the real objects she photographs, including Chinese-style chairs, seats in an auditorium, and institutional fluorescent lights. The resulting series of ambiguous images share a formal unity despite their disparate subjects. These images are unresolved, yet the scenes pictured seem vaguely familiar, as if recalled from dream or memory. "I create scenes, but they are open to interpretation. People project their own experiences onto them," Seton Smith says of this work.
Museum of Contemporary Photography, Chicago
April 8 - June 10, 2000
The exhibitions, presentations, and related programs of The Museum of Contemporary Photography are supported in part by grants from The Chicago Community Trust; The John D. and Catherine T. MacArthur Foundation; the Sara Lee Foundation; the Illinois Arts Council, a state agency, and the National Endowment for the Arts. This project is also sponsored in part by LOT Polish Airlines and Halina's European Restaurant & Deli. This ongoing series of exhibitions is principally sponsored by American Airlines, the official airlines of The Museum of Contemporary Photography.