December 5, 2002

Transcend CompactFlash Memory Card 1GB

Version en français à venir
DEC 05, 2002 - Transcend CompactFlash Memory Card Capacity Reaches 1GB
Now businessmen can carry a library of information in their pocket and professional digital photographers can get an entire photo shoot on a single memory card. Transcend Information Inc., the professional memory module and flash card manufacturer, has doubled the available capacity on a single Transcend Type I CompactFlash Memory Card to 1GB.
CompactFlash is the world's most popular removable mass storage device. CompactFlash was designed based on the popular PC Card (PCMCIA) standard, and the technology has resulted in the introduction of a new class of advanced, small, lightweight, low-power, mobile products that has significantly increased productivity and enhanced the lifestyle of millions of people. These mobile products include: digital cameras, digital MP3 players, handheld PCs, personal communicators, automobile PCs with GPS, digital voice recorders, digital photo printers, medical monitoring equipment, and many other devices.
With the rapid increase in the number of devices using CompactFlash memory cards, and people's enhanced reliance on them, capacity, stability, and reliability are the major factors users consider when selecting flash memory. Roy Wong, product manager for Transcend stated:
"Transcend's 1GB CompactFlash Memory Card uses four 2Gbit NAND Type flash memory chips with a high performance controller. The read speed is up to 5.2MB/sec and the write speed is up to 3.2MB/sec. The 1GB CompactFlash Memory Card has also passed compatibility testing to ensure users a hassle-free, worry-free digital life experience."
  • Fully compatible with CompactFlash Association and PCMCIA card standard
  • True Plug and Play
  • Low power consumption
  • Storage capacity up to 1GB
  • Single Power Supply: 5V ± 10% or 3.3V ± 10%
  • Recommended operating temperature: 0ºC (32°F) to 70ºC (158°F)
  • 5-year warranty
  • Capacity: 16MB, 32MB, 64MB, 128MB, 256MB, 512MB, and 1GB
Source : Transcend - Press Release - 05.12.2002

Albrecht Dürer at The British Museum, London

Albrecht Dürer and his legacy: The graphic work of a Renaissance artist 
The British Museum, London
5 December 2002 - 23 March 2003

Albrecht Dürer (1471–1528) was in a sense the first truly international artist. He was certainly the first who saw how to exploit the new technologies of printing to ensure that his works were known and sought after not just in his own country but across the whole of Europe, making him the great master of the multiple image and an international celebrity. The  AD monogram became a trademark recognised and respected world-wide. His drawings and his prints, on which his reputation was built, are at the heart of this exhibition, the first to be devoted to him in Britain for more than 30 years.

As a prelude to the Museum’s 250th anniversary year in 2003, the exhibition will celebrate the superlative collection of Albrecht Dürer prints, drawings and watercolours in The British Museum, many of which were Sir Hans Sloane’s original bequest to the Museum in 1753. In addition, there will be a number of outstanding loans, including the National Gallery’s Saint Jerome, and drawings of prime importance from the Ashmolean Museum, the Royal Collection, the Kupferstichkabinett in Berlin and the Albertina in Vienna. Two superb drawings, the Albertina’s Self-portrait as a thirteen-year old and the world famous Praying Hands, have never before been displayed in this country. The aim of the exhibition is to examine Albrecht Dürer’s extraordinary achievements as a draughtsman and printmaker during his own lifetime and to look at how the artist’s widely-disseminated and innovative imagery influenced artists and craftsmen for centuries to come.

The exhibition begins with an examination of the artist’s revolutionary approaches to self-portraiture and looks at the differing ways that other artists have represented and constructed his image over the centuries. The next sections follow the chronology of Albrecht Dürer’s life, with an emphasis on a particular period or project in each. 

They include his early years in Nuremberg; his first visit to Italy which stimulated him to produce the earliest-known group of watercolour landscapes drawn from nature to have survived in the history of western art; the production of his virtuoso engraving Adam and Eve in 1504 with its numerous related studies; his work for the Emperor Maximilian including the massive Triumphal Arch – one of the largest prints ever produced - and his three enigmatic master prints of 1513-1514, Knight, Death and the Devil, Melancholia and St Jerome in his Study. The following sections show the impact of Albrecht Dürer’s work on other artists, including Germany, Holland and Italy (Rembrandt among them), and his long-standing influence on ceramic designs from 16th century maiolica to 18th century Meissen.  A focus on the late 16th and early 17th century phenomenon known as the ‘Dürer Renaissance’, largely created by the scarcity of the master’s work, shows how glossy pastiches and elegant copies of his work became so highly sought after that artists such as Hans Hoffmann became well-known primarily for their skill at producing them. 

The exhibition concludes with Albrecht Dürer’s legacy in the 19th century, particularly the way in which his work was interpreted by Romantic artists such as Caspar David Friedrich. Amid the rise of German nationalism, Dürer’s name and art began to achieve a virtually iconic status and a final section looks at how the artist became an object of almost religious veneration in the elaborate festivals celebrating the anniversaries of his birth and death dates of 1828 and 1871.

The exhibition is accompanied by the fully-illustrated catalogue Albrecht Dürer and his Legacy (£35.00, British Museum Press, December 2002) by Giulia Bartrum, Joseph Leo Koerner and Ute Kuhlemann, with a text by Nobel Prize winning novelist Günter Grass written in 1971 in commemoration of the 500th anniversary of Dürer’s birth. 


December 1, 2002

Didier Gauducheau Impressions 2000-2001 Exposition Photo

Le photographe Didier Gauducheau a réalisé en 2000-2001 une série de portraits de réfugiés Roms du camps de Plemetina, au Kosovo. Ces photographies en noir et blanc, pleines d'émotions, sont exposées à Confluences. Impressions 2000-2001 Exposition du 3 décembre 2002 au 5 janvier 2003 Confluences Maison des Arts Urbains 190, boulevard de Charonne 75020 Paris Accès : Métro Ligne 2, Station Philippe Auguste ou Alexandre Dumas

November 15, 2002

Project Moby Click Kiasma Museum, Helsinki. Art works with the Nokia Camera Phone

Contemporary Art Exhibition in Finland

Project Moby Click

Kiasma Museum of Contemporary Art, Helsinki, November 13 - December 15, 2002

Students of ¨Photography and Product Design from Helsinki’s University of Art and Design presents Project Moby Click, a unique installation at the Kiasma Museum of Contemporary Art in Helsinki. In the exhibition, the young artists demonstrate multimedia art, creating live exchanges around image, place and time.

Two months ago, the nine students were each given a Nokia 7650 camera phone before setting out to explore the boundaries between art and real-time imaging with multimedia messaging (MMS).

“We use the camera phone for recording visual notes and impulses as we would a sketch book,” said student Tapio Laukkanen. ”It is more immediate than a camera or a tape recorder and needs no preparation.”

In addition to funding and implementation, project partners Kiasma, Satama Interactive and Nokia assisted the students in coming up with the concept behind the exhibition. Finnish mobile operator Sonera then lent its support by offering MMS transmission free of charge for the duration of the event.

Exhibition highlights

A Trip by Ea VASKO and Liisa VALONEN (prints) depicts an imaginary trip, in which the passage of time can be seen by movement and changes in the shooting location. The large prints consist of mosaics of dozens of MMS images.

Sight/Näky by Kitta PERTTULA, Antti OKSANEN and Eero KOKKO is an installation taking the image off its frame. The work studies the transmission of images in cyberspace. The images “come off the wall” to become active elements.

Momentary Impressions: Snapshots for the Curious by Antti HAHL and Tapio LAUKKANEN (on-screen flash presentations) uses the camera phone to photograph this image series. Visitors can select the series to be displayed on a computer screen.

Visual Discussion (big board) allows visitors to follow a happening in real time with the students on Fridays and Saturdays. A joint venture by Tatu Marttila, Mikko Saario and the group explores how MMS is bound up with time and place. The project also introduces a new way of discussing pre-selected topics, e.g. Art Talk, via MMS, using image, text and sound.  The discussions are projected onto a wall in the exhibition space, forming route maps that reveal the course of the discussion. Inside the Museum, members of the public are also invited to actively participate.


Previous posts about Nokia products and events

Nokia Camera Headset HS-1C

The Compact Nokia 6650 camera phone, the first to record video with sound

November 6, 2002

Nokia Camera Headset HS-1C


Nokia announces the Nokia Camera Headset HS-1C, a combined easy-to-wear digital camera and headset enhancement for compatible Nokia phone models with the Nokia Pop-Port  interface connector.* The Camera Headset enables users to take digital images and send them as multimedia messages (MMS) with text, image, and/or audio content. ** The Camera Headset will start shipping globally in December 2002.

“We are very excited to introduce a combined digital camera and headset. With two functions in one product, users have less to carry and yet can take advantage of the richness and fun of MMS,” said Waldemar Sakalus, Director, Terminal Enhancements in Mobile Enhancements Business Unit, Nokia Mobile Phones. “Images are a powerful way to communicate and the Camera Headset brings this ability to a wider number of Nokia phones.”

The small and lightweight Camera Headset combines a digital VGA camera and the basic handsfree functionality of a headset with an answer/end button. Users can conveniently view through an optical viewfinder of the camera and snap an image. The image will be automatically transferred to the phone. The LED indicates the operating mode of the camera. Before taking a picture user can select between higher quality and lower quality image from the image quality switch. Afterwards the image can be viewed on the phone display and users can store, send or delete images from the Gallery menu on the phone.

Power for the Camera Headset comes from the phone via the Pop-Port connector. The Pop-Port interface has been designed for the mobile environment and it supports advanced functionalities such as power output support for terminal enhancements and fast data connectivity.

* These models currently support both Pop-Port interface and MMS: Nokia 7210, Nokia 6610, Nokia 5100, Nokia 6100 and Nokia 6800 phones.
** The MMS related services are dependent on the network as well as on the compatibility of the devices used and the content formats supported.

October 30, 2002

Daniel Berkeley Updike, The Well-Made Book - On the art of the book. Edited by William S. Peterson

Mark Batty Publisher announces the publication of “The Well-Made Book: Essays and Lectures by Daniel Berkeley Updike”, edited and with an introduction by William S. Peterson. This book is a collection of Daniel Berkeley Updike's writtings on the art of the book

The distinguished printer Daniel Berkeley Updike (1860-1941), proprietor of the Merrymount Press in Boston, has been described as “the most distinguished American printer,” and was also one of the most successful and influential book designers of the 20th century. This 400-page, illustrated collection encompasses virtually all of Updike’s writings on the arts of the book.

Daniel Berkeley Updike, The Well-Made Book: Essays and Lectures 
Image courtesy Mark Batty Publisher

Updike’s aesthetic philosophy and commitment of quality in the making of books have a special relevance today at a time of rapid change in the media arts. The Well-Made Book is a substantial and timeless collection of virtually all of Updike’s writings on the art of the book. William S. Peterson has researched, unearthed and assembled this wealth of material – much of which will be new even to those readers who are familiar with Updike’s writings. “Until the publication of The WellMade Book, many of these important and revealing essays have been hard to find,” notes publisher Mark Batty, “and some of Updike’s writing featured in this book appears here for the first time” There is a complete index, annotations, and a new scholarly introduction by Peterson.

The Well-Made Book is also available in a special, extra-illustrated edition of 40 copies featuring 11 ephemeral pieces: nine pages from books designed and printed by Updike spanning his 20th century career, together with specially prepared letterpress printed additional items, and a reproduction of an unpublished photographic portrait.

William S. Peterson is Professor of English at the University of Maryland, and the author of several books on William Morris and the Kelmscott Press, and the editor of The Ideal Book (1982), a collection of Morris’ writings on the book arts. His books have won numerous honors, including the Premio Felice Feliciano, the Besterman Award, and a nomination for the National Book Award.

About Mark Batty Publisher
Mark Batty Publisher LLC is dedicated to creating a list of distinctive books in these subject areas: graphic design; lettering and the printing arts; media and graphic communication; and art and popular culture. The books are chosen for their long-term relevance, for the clarity of their message, and their usefulness and aesthetic appeal. Each book is thoughtfully designed to the highest standards, produced for dependable use and manufactured employing quality archival materials. Most are extensively illustrated. 

The Well-Made Book: Essays and Lectures by Daniel Berkeley Updike
Edited by William S. Peterson
Mark Batty Publisher, West New York, NJ 
408 pages, 31 full page illustrations, many in 2 colors
Case bound in cloth, dust jacket, 6 x 9 inches - Price: $55
Special edition of 40 extra illustrated copies: $220

6050 Boulevard East, Suite 2H 
West New York, New Jersey 07093 

October 23, 2002

Lucian Freud Retrospective Exhibition

CaixaForum, Barcelona
24 October, 2002 - 12 January, 2003
Museum of Contemporary Art, Los Angeles
February 9 - May 25, 2003

“What do I demand of a painting? That it surprise, disturb, seduce, convince,” At 80, Lucian Freud is one of the greatest living realist painters. Known mainly for his unsettling portraits and nudes, he is the creator of a disturbing universe, populated mostly by models from his own circle: his mother, children, friends, artists, lovers, etc. “My work is completely autobiographical. It is about me and what surrounds me,” the artist has repeatedly declared. The "La Caixa" Foundation now presents Lucian Freud at CaixaForum, the largest retrospective exhibition ever held on the artist. With 126 paintings, drawings and etchings, some of recent creation, the show covers more than 60 years of Freud’s artistic career. Visitors are offered a chance to view works from the fruitful creative period of the past twenty years together with others of the first decades. Among the foremost works in the exhibition is the extraordinary series of portraits of the artist’s mother, portraits of his painter friends such as Francis Bacon, John Minton, Frank Auerbach and Michael Andrews, and a number of self-portraits, in addition to other emblematic paintings such as The Painter’s Room, Leigh Bowery (seated) and Girl with Roses. The Lucian Freud retrospective exhibition, organised by the Tate Britain Museum, (where it has run from 20 June to 22 September, 2002), has been produced by "La Caixa" Foundation in Barcelona. Following its exhibition at CaixaForum it will be shown at the Museum of Contemporary Art in Los Angeles from 9 February to 25 May, 2003.

The retrospective exhibition Lucian Freud at the CaixaForum premises, will map out a chronological journey through the British painter’s artistic career, covering more than 60 years. The show begins with a series of works from the decade of the 1940’s - Box of Apples in Wales (1939), The Painter’s Room (1943-1944) and Girl With Roses (1947-1948), among other oil paintings, and concludes with a group of recent works, such as Eli (2002), finished last August. The 126 works that make up the exhibition, distributed over nine rooms, invite the visitor to discover certain chapters in the life of Freud: his relationships with his mother, wives and children, his friendship with Francis Bacon, solitude, etc. After all, Freud has often stated, “Everything is autobiographical, and everything is a portrait.”

Lucian Freud Biography

Lucian Freud was born in Berlin on December 8th, 1922. His father, architect by profession, was the son of Sigmund Freud, the creator of psychoanalysis. The family came to England in 1933, a few months after the Nazi party came to power. Six years later, in 1939, Freud became a naturalised British subject. In that same year, he enrolled in Cedric Morris’s East Anglian School of Painting and Drawing, an informal painting institute. In 1941, after completing his brief academic career, he enlisted as merchant seaman in an Atlantic convoy. “I liked the idea of adventure – the figure of the old salt – but I was soon disappointed.” In 1944, the Lefevre Gallery put on Freud’s first solo exhibition, which included The Painter’s Room (1943-1944), a widely celebrated work that will be on display at CaixaForum. In 1948 he married Kitty Garman, daughter of Jacob Epstein, later marrying Caroline Blackwood in 1952. In the 1950’s he became famous in London, along with his cohort Francis Bacon. After spending periods in Paris and Greece, he settled in London, where he still lives and works.

“To me, the person is the painting”, says Lucian Freud, who is mainly known for his unsettling portraits and nudes, several of which can now be seen at CaixaForum within the retrospective exhibition. Among the foremost works in the exhibition is the extraordinary series of portraits of Freud’s mother, such as The Painter’s Mother Reading (1975). The series begins in 1972, the year in which the artist’s father died, and his mother sank into deep depression. It concludes in the year of her death, in 1989. “If my father hadn’t died, I never would have painted her,” says Freud who went to pick her up four or five times every week for her to pose.

The exhibition also contains several self-portraits of Lucian Freud, such as Reflection with Two Children (1965) – the two children are his, Rose and Ali – Interior With Mirror in Hand (1967) and Painter Working, Reflection (1993), a painting which, when Freud set to touching it up, “turned out to be of my father”. In that regard, Lucian Freud states, “My idea of the portrait emerges from my unhappiness with the portraits that look like their models. I want my portraits to be ‘of’ people, not like them. More than looking like the models, that they ‘be’ themselves.”

The show also offers some unsettling nudes, such as those of Leigh Bowery, a performer weighing over 200 pounds who became Lucian Freud’s first professional model, posing for him several days a week over two years. “I must have a fondness for unusual or oddly-proportioned people, and I don’t want to indulge it too much,” Lucian Freud has said. The daughters of the painter also posed for several nudes, such as Portrait of Rose (1978-1979). “There’s something in a nude person, when I see them before me, that appeals to my sense of respect. It could even be called my gentlemanliness. In the case of my daughters, it is the respect of a father in addition to that of a painter. They take my painting them well. They don’t make me feel uncomfortable.”

The Lucian Freud exhibition is organised by William Feaver.

Lucian Freud
24 October, 2002 - 12 January, 2003

Av. Marquès de Comillas, 6-8
08038 Barcelona

October 22, 2002

Abbas: Visions of Islam - Muncipal Museum of Ourense




 Visions of Islam

Muncipal Museum of Ourense, Spain 


“The day after its liberation by the Americans, I discovered a Kuwait littered by war debris and cadavers of Iraqi soldiers. Their withdrawal must have been a true ordeal.”

These are the words of Abbas, an Iranian photographer who “writes with light”. After visiting 28 countries –from Sinkiang to Morocco– between 1987 and 1994, Abbas portrayed the resurgence of Islam and the contradictions between an ideology inspired by a mythical past and the universal yearning for modernity and democracy. Under the title Abbas: Visions of Islam, Fundació “la Caixa” now presents these 99 photographs -in reference to the 99 names and epithets of Allah-, accompanied by excerpts from books by famous historical travellers, and fragments from the diaries of this photojournalist who has been a member of the Magnum Photos agency since 1981. On exhibit at the Municipal Museum of Ourense, the photographs show revolution and war; daily life in the cities; the world of the women, particularly downtrodden by the fundamentalists -Abbas dedicates the exhibition to the women of Afghanistan-; children who attend the Koran schools, the cradle of the most orthodox Islamism; stark landscapes consisting of streets, cemeteries and sanctuaries; protests against the writer Salman Rushdie by European Muslims; demonstrations in support of the chador, prohibited in secular schools... In other words, an eyewitness account of Islam and its peoples.


From Sinkiang to Morocco, from London to Timbuktu, including even Mecca, the exhibition Abbas: Visions of Islam reflects the day-to-day life of the Muslims, their spirituality and their mysticism, the rituals of their faith and the political phenomenon that Islam represents today. Taken in 28 countries (Egypt, Afghanistan, Tajikistan, China, Indonesia, Brunei, India, Great Britain, Spain, Algeria, Senegal, Sudan, Israel, Bosnia and Iran, among others), the photographs are displayed together with fragments from the personal diaries of Abbas himself and other historically famous travellers. These texts provide a counterpoint to the images, explaining the context in which a specific photograph was captured. A prime example is that of little Gulbibi (“Queen of the Flowers”), portrayed in Kabul (Afghanistan), and whose startling text states, “Her left foot was amputated as the result of a mine explosion. Her leg and right arm are a mass of raw flesh. Lying on her bed, an icon of suffering and dignity, she has to be given anaesthetic each time her dressing is changed, so intense is her pain.”

Abbas explains how, in 1987, before leaving Paris to undertake his long journey through these 28 countries, a friend of his –a woman– recommended that he read the Voyages of Ibn Batuta, the legendary traveller who had roamed Islamic lands centuries before. Abbas discovered an Ibn Batuta who ordered hands to be cut off, who abused the female slaves and who had innocent people whipped. Thus it was that Abbas made a journey of contrasts. His camera captured, for example, a militant feminist who fought against the Family Code in Algeria; the religious fervour of Mecca; the leaders of Dar al-Ulum, the flagship university of orthodox Islam, a branch of which is established in a town in the county of Yorkshire (Great Britain), and so on. Such scenes and accounts reveal the different realities and contradictions of Islam.

Abbas Biography

Of Iranian background, the photographer Abbas lives in Paris and has been a member of the Magnum Photos agency since 1981. Between 1970 and 1978, his work was published in magazines of international scope, reflecting the political and social conflicts of southern hemisphere countries, such as Chile, South Africa, Vietnam, Bangladesh and Biafra. Between 1978 and 1980, he covered the Iranian revolution. His book Iran, la Révolution Confisquée (Clérat, 1979) forced him into a voluntary exile that would last 17 years. Between 1983 and 1986, he travelled to Mexico and published Return to Mexico, Journeys beyond the Mask (W.W. Norton, 1992). Following Allah O Akbar, voyages dans l’Islam militant (1994), and between 1995 and 2000, he visited Christian countries (Voyage en Chrétientés, La Martinière, 2000). He is currently investigating paganism.

Some of his solo exhibitions have been hosted by the Musée d’Art Moderne of Teheran (1980), the Escuela de Bellas Artes of Almería (1991), the Centro de la Imagen of Mexico (1994), the Palace Royale of Brussels (1999), the Institut du Monde Arabe of Paris (2001) and the Palazzo Vecchio of Florence (2002). Referring to his work, Abbas writes: “At present, my photography is a reflection that comes to life in action and leads to meditation. Spontaneity –the suspended moment– intervenes during action, in the viewfinder. A reflection on the subject precedes it. A meditation on finality follows it, and it is here, during this exalting and fragile moment, that the real photographic writing develops, sequencing the images. For this reason, a writer's spirit is necessary to this enterprise. Isn't photography "writing with light"? But with the difference that while the writer possesses his word, the photographer is himself possessed by his photography, by the limit of the real which he must transcend so as not to become its prisoner.”


Abbas: Visions of Islam
23 October - 17 November 2002

Muncipal Museum of Ourense
Rúa Lepanto, 8
32005 Ourense

The exhibition is open to the public:
Tuesdays to Saturdays, 11:00 a.m. – 1:30 p.m. and 6:00 p.m. – 9:00 p.m.
Sundays, 11:00 a.m. – 1:30 p.m.
Closed Mondays and holidays

Admission free of charge


Autres messages plus récents sur ce thème (French)

Abbas / Magnum, Au nom de qui ? Le monde musulman après le 11 septembre 2001, Editions du Pacifique, 2009.



October 20, 2002

Jonathan Horowitz: Pillow Talk at Sadie Coles HQ, London

Jonathan Horowitz: Pillow Talk
Sadie Coles HQ, London
17 October - 16 November 2002

For his first show at Sadie Coles HQ, JONATHAN HOROWITZ presents Pillow Talk. The installation centres around the video work It’s Magic/Acting the Part: the Biographies of Doris Day and Rock Hudson. On two separate monitors the life stories of these two film icons run parallel, each one freezing to accommodate the other. Horowitz appropriates footage from television biographies of the stars’ lives, focusing on their final television reunion, when Rock appeared as the first guest on Doris’s talk show on the Christian Broadcasting Network. Suffering from dementia caused by HIV related illness, Rock showed up at the studio in a shockingly haggard state. Rock had not yet revealed his condition to Doris or the rest of the public, but when images from the recording were broadcast around the world, Rock was forced to acknowledge that he had AIDS.

With this admission the heterosexual, macho image Rock had maintained throughout his life was instantaneously shattered. As the footage demonstrates, his life and career would become a footnote to his homosexuality and death. In contrast, as portrayed in the Doris Day biography, the adversity that Doris experienced in her personal life served to reinforce her professional accomplishments and make her character more sympathetic.

In It’s Magic/Acting the Part, Jonathan Horowitz explores the peculiar balance between the public and private lives of stars of the small and large screens. In an age in which viewers believe they know intimately the actors they are watching, television becomes the only vehicle through which these actors can communicate with each other and perhaps even themselves.

Extending his focus from the romantic fiction of the Rock and Doris partnership, Horowitz examines the weird world of the celebrity couple. A mattress lies on a plinth in the gallery, on which rest two pillows silk-screened with the names of an improbable romantic pairing. On the walls above are photographs of over 100 sets of pillows, each bearing the names, in different typefaces, of more odd-ball partnerships: Dumb and Dumber; Leverne and Shirley; Liza and David; Ben and Jerry. Jonathan Horowitz highlights the pivotal role romantic couples play in popular culture and assesses the way this has forced people, and in particular gay people, to identify with the most unlikely characters. Jonathan Horowitz employs video to deliver a sharp critique of the socio-political manipulation of television and the impact it has on our lives.

JONATHAN HOROWITZ was born in New York and continues to live and work there. Recent exhibitions include solo shows at Greene Naftali in New York (2002) and at Kunsthalle St. Gallen in Switzerland (2001) and group shows in the U.S.A. and Europe, including at the Kunstverein Hamburg (2002) and The Americans at the Barbican Art Centre in London (2001).

35 Heddon Street, London W1

October 6, 2002

Judy Chicago at NMWA, Washington DC - National Museum of Woman in the Arts

Judy Chicago
National Museum of Woman in the Arts, Washington DC
October 11, 2002 - January 5, 2003

Judy Chicago, one of America’s artistic trailblazers and a pioneer of the feminist art movement, is the subject of an exhibition at the National Museum of Women in the Arts (NMWA). The exhibition features over 90 works from the 1960s to the present, and includes selections from Judy Chicago’s best-known work as well as rarely seen early and recent autobiographical pieces.

Judy Chicago’s monumental installation The Dinner Party (1979), a symbolic history of women in Western civilization in visual and textual form, has become an icon of the 20th century. Her two autobiographies, Through the Flower and Beyond the Flower, have been sold around the world. The NMWA exhibition provides an overview of the artist’s career in the following sections: Early California Years, 1964-71; Breakthrough Years, 1972-75; The Dinner Party, 1974-79; Birth Project, 1980-85; Powerplay, 1983-86; Holocaust Project, 1985-93; and The End of the Century, 1993-2000.

At a time when women artists had very few role models and even fewer opportunities for recognition and success, Judy Chicago looked to her female forebears for inspiration and began to explore identity and other issues from a woman’s perspective. She established the first feminist art program in 1970 at Fresno State College in California. In 1972 she collaborated with Miriam Schapiro under the sponsorship of Cal Arts on the groundbreaking art/performance space Womanhouse, continuing to generate a great deal of debate with her art and activist stance. Judy Chicago’s art also underwent a transformation at this time as her early paintings and sculptures gave way in the late 1960s to large spray-painted canvases of centered geometric forms —works celebrating women’s spirit, power, and generative strength.

With The Dinner Party, Judy Chicago distinguished herself further as an artist determined to change the way women, and women artists in particular, are remembered and regarded. Going against traditional societal taboos in choosing the vulva as her main symbolic image, Judy Chicago also rejected art hierarchies by working with craft as well as fine arts, and foregrounded the idea of artistic collaboration rather than lone artistic genius. The Dinner Party solidified Judy Chicago’s place as a feminist and has become an icon of feminist art.

Her next large work, Birth Project, celebrates women’s role as the giver of life, with 150 needleworkers showcasing once again Judy Chicago’s collaborative interests. The Powerplay series explores the distortion that power has when it dominates men's lives and its wrenching emotional effects on both sexes. In the Holocaust Project, Judy Chicago worked with her husband, photographer Donald Woodman, to use the Holocaust as a point of departure in addressing the suffering of all victims of genocide. Autobiographical and recent work reveals the emotions of the artist at different points in her career, and includes her recent Song of Songs (1998).

Judy Chicago is presented at NMWA through the generous sponsorship of The Elizabeth A. Sackler Foundation. The foundation seeks to raise awareness of the contributions of women in all areas of art and culture with specific focus on feminist art. According to Elizabeth A. Sackler, "This exhibition is a glimpse of the breadth and range of Judy Chicago’s oeuvre, her groundbreaking contributions to the world of art and to women. She has fought the status quo with the same single-minded tenacity, resilience, and gumption with which she has conducted her life and forged her life’s work."

The exhibition’s consulting curators are John Bullard, director of the New Orleans Museum of Art, and Viki Wylder, curator of education at Florida State University Museum of Fine Arts. Liaison curator is NMWA Chief Curator Susan Fisher Sterling. An accompanying book, Judy Chicago, with more than 100 full-color illustrations will be available in NMWA’s museum shop. Spanning four decades of Chicago’s work, the book features an interview with the artist by renowned feminist art critic and historian Lucy R. Lippard and biographical text by Wylder.

Coinciding with NMWA’s exhibition, Judy Chicago’s The Dinner Party will be exhibited at the Brooklyn Museum of Art from September 20, 2002 through February 9, 2003. This gift to the Brooklyn Museum of Art from The Elizabeth A. Sackler Foundation will be permanently installed in 2004.

1250 New York Avenue, NW, Washington DC

Updated 05.07.2019

October 5, 2002

Sharon Ellis, San Jose Museum of Art, California - Evocations

Evocations: Sharon Ellis, 1991 - 2001 
San Jose Museum of Art
October 11, 2002 – February 16, 2003 

The San Jose Museum of Art will present Evocations: Sharon Ellis, 1991 – 2001, the first in-depth study of the work of noted Los Angeles-based painter SHARON ELLIS. The exhibition was organized by the Long Beach Museum of Art and is completing its national tour at SJMA. 

Sharon Ellis, best known for her modestly-sized paintings of expansive, visionary landscapes, juxtaposes epic subjects such as brilliant night skies, vast roiling oceans, and distant solar systems with intricately depicted details of nature — a tangle of blossoms, a single twig, or silhouetted tree branches. These subjects from nature, while painstakingly rendered, are significantly altered through the artist’s highly inventive imagination. Ellis completes only three to four of her richly detailed, vibrantly colored canvases in a year. 

In the early 1990s, influenced by Romantic and Symbolist painting, theory and poetry, Sharon Ellis produced several paintings of gardens — Garden (1993), Sunken Garden (1993), and Cathedral of Dandelions (1993) — which portray aspects of nature in eerie, lush detail that transforms the imagery into highly fanciful, imaginary outdoor spaces. While referring outwardly to the world of nature, these paintings are also hauntingly anthropomorphic in their references to internal organs and parts of the human body. 

Since 1995, Sharon Ellis has explored temporal themes through several series of time-based subjects. Among these are The Four Seasons (Summer, Fall, Winter, Spring) and The Times of the Day (Dawn, Morning, Midday, Afternoon, Dusk, Night). 

In her most recent work, Sharon Ellis’ landscape subjects are influenced by her interest in nineteenth- and twentieth-century poetry, particularly Brönte, Wordsworth, and Hart Crane. 

Born in Great Lakes, Illinois in 1955, Sharon Ellis received a Bachelor of Arts from the University of California, Irvine in 1978 and a Master of Fine Arts from Mills College in 1984. She has lived in Los Angeles since 1989. In 1996, Sharon Ellis had her first museum exhibition, The Four Seasons, at the Long Beach Museum of Art. Her work was also featured at the J. Paul Getty Museum in Departures: Eleven Artists at the Getty in 2000. 

The exhibition is accompanied by a four-color, fully illustrated catalogue with essays by noted art critic Dave Hickey and Sue Spaid, curator at the Contemporary Arts Center, Cincinnati, Ohio. 

110 S. Market Street, San Jose, California 95113

Updated 27.06.2019

Irish 20th century art National Gallery Dubin

The National Gallery of Ireland's permanent collection of Irish art drawn from the first half of the 20th century goes back on display in the Millennium Wing from Monday, October 7th. Included are new works acquired by the Gallery in recent years and some on loan from private and public collections.

All the greats are featured such as William Leech's Convent Garden, Brittany; and Sunshade ; a selection of Paul Henry Western Ireland landscapes, and a large magnificent portrait of Lady Hazel Lavery by her husband, Sir John Lavery.

A special bay is given to William Orpen with his famous portraits of The Vere Foster Family; Noll Gogarty; The Dead Ptarmigan -a self-portrait, and The Artist's Parents. Those influenced by Orpen, such as Sean Keating, James Humbert Craig, Patrick Tuohy, James Sleator, Margaret Clarke and Dermod O'Brien have a special bay.

The modernists are represented by Mainie Jellett, Norah McGuinness, Mary Swanzy, Evie Hone, Grace Henry and Jack B. Yeats.

The last bay is dedicated to 'Artistic Trends in Irish Art 1930-1959', represented by painters Colin Middleton, Gerard Dillon, Patrick Collins, Harry Kernoff William Scott Daniel O'Neill, John Luke and Louis le Brocquy.

Admission to the permanent collection is free.

National Gallery of Ireland Merrion Square West and Clare Street
Dublin 2
Opening hours: Mon-Sat 9.30am-5.30pm; Thu 9.30am-8.30pm; Sun 12.00pm-5.30pm

September 30, 2002

Fusion between TV Imaging Phones - The Nokia Mediamaster 230 S


The Nokia's latest innovation for the home, is a satellite digital television receiver that provides access to the highest quality digital television. For the first time, Nokia's new 230 S Mediamaster provides consumers the possibility to transfer digital images from any Bluetooth version 1.1 (object push profile) enabled camera phone, like Nokia's 7650, to the receiver and view them on the TV screen.

With the new Nokia Mediamaster 230S image viewer, consumers can enjoy the images from their camera phones in a larger format and store the most favored in their Navi Bars image folder. Storage is available for more than 30 images at one time. By also providing all the benefits of a digital satellite receiver, it is a fusion that enhances the pure entertainment experience of digital TV.

Based on Digital Video Broadcast (DVB) standards, Nokia's Mediamaster 230 S supports various Pay TV operators via a common interface module and also provides access to all digital free-to-air television and radio channels available. The Nokia Mediamaster 230 S offers an attractive compact design featuring a titanium grey flap, with blue black cabinet. 

"The Nokia Mediamaster 230 S offers access to a huge array of digital content available, while at the same time providing the unique image viewer and the ability to view digital images from camera phones", said Pekka Kuusela, General Manager Sales, Nokia Home Communications. "Now that there is connectivity between the digital TV receiver and the mobile phone , the family TV becomes a true information and entertainment hub for the home. The launch of the Nokia Mediamaster 230 S demonstrates Nokia's role in creating innovative functionalities for the digital receiver market."

The Nokia Mediamaster 230 S is easy to use, offering the onscreen Nokia Navi Bars user menu and an electronic program guide (EPG), thus allowing rapid navigation between TV and other digital content. Consumers have the ability to create up to eight personal favorite lists from a memory of hundreds of channels. The Nokia Mediamaster 230 S also features some of Nokia's most popular games, such as Snake, Tic-Tac-Toe and the new Card Deck game. It also supports Dolby Digital (Bitstream Out).

Nokia's new 230 S Mediamaster will be available in Europe at the end of 2002.

Next posts about Nokia products and events

• Nokia Camera Headset HS-1C

• Project Moby Click at Kiasma Museum of Contemporary Art: Helsinki art students get visual with Nokia camera phone

Previous posts

• The Compact Nokia 6650 camera phone

Four Thirds System Digital SLR Camera Standard: Olympus and Kodak Agreement

Olympus and Kodak Agree to Implement Four Thirds System Digital SLR Camera Standard

Olympus Optical Co., Ltd. of Japan and Eastman Kodak Company of the United States recently announced that they have agreed to implement the Four Thirds System (4/3 System), a new standard for next-generation digital SLR camera systems that will ensure interchangeable lens mount compatibility. The two companies have resolved to aggressively implement this new standard in their respective product lines, and to establish the Universal Digital Interchangeable Lens System Forum, an industry forum that will promote acceptance of the Four Thirds System by other camera manufacturers. Fuji Photo Film Co., Ltd. has already agreed to participate in the new standard.

About Four Thirds System
The Four Thirds System is not based on existing standards for 35mm film SLR camera system lenses, but instead establishes a new common standard for the interchange of lenses developed exclusively to meet the optical design requirements of digital SLR cameras.

4/3-Inch (Type) Image Sensor Size
The Four Thirds System uses a 4/3-type CCD, CMOS or other image sensor, and will facilitate the development of dedicated digital camera lens systems that maximize image sensor performance and ensure outstanding image quality while also being smaller and easier to handle than 35mm film SLR camera lens systems.

Lens Mount Standardization
By establishing an open standard for camera body and lens mounts, the new system will make it possible to standardize lens mounting systems, something that has been impossible to achieve with digital SLR cameras that are based on existing 35mm film SLR lens systems. In addition, the new system defines standards for image circle size (the diameter of the area in which the subject is resolved) and back focus distance (the distance from the lens mount to the image sensor).

Development Background
Current digital SLR cameras with interchangeable lenses are basically based on conventional 35mm camera systems. As a result, they must be equipped with image sensors that are comparable in size to 35mm and APS film. However, because the imaging characteristics of these large CCDs are fundamentally different from those of film, a number of issues can prevent them from achieving their full performance potential. These include: (1) Although film is capable of responding to light striking the surface at a high angle of incidence, a high angle of incidence can prevent sufficient light from reaching sensor elements at the periphery of a CCD and result in reduced color definition, particularly when shooting with wide-angle lenses. (2) To achieve the resolutions required by the micron pitch of today's CCDs, the demands of optical design tend to result in the use of larger and heavier lenses.

Moreover, manufacturers of digital SLR camera systems have until now adopted the mounting systems used in their own respective 35mm film SLR cameras, making bodies and lenses produced by different manufacturers incompatible with one another.

In light of these circumstances, the new Four Thirds System standard was conceived to facilitate the design and development of digital SLR cameras and lenses that maximize the performance potential of digital imaging sensors, and provide users with product advantages such as compact size, handling ease, and enhanced functionality.

The major benefit of Four Thirds System is that it allows the design of dedicated, high-performance digital camera lens systems that are more compact than 35mm film SLRcamera lens systems. The impact of the more compact lens size will be especially marked on telephoto lenses, making it possible to produce a Four Thirds System 300mm telephoto lens, for example, that offers performance equivalent to an approximately 600mm lens on a 35mm film SLR camera. In other words, it will be possible to offer the same angle of view in a lens that is only about one-half as long. The 4/3-type image sensor size will also allow the development of bright, high-performance zoom lenses that are more compact than those needed for use with image sensors the size of APS or 35mm film. By taking advantage of the more compact lens size, it will therefore be possible to develop lens systems that are much easier to handle than conventional 35mm film SLR camera lens systems. Furthermore, standardization of the lens mounting system will make it possible for consumers to photograph combining with bodies and lenses produced by different manufacturers, and enjoy a wider range of product selection.

Eastman Kodak Company

August Sander: People of the 20th Century Photographs Exhibition

San Francisco Museum of Modern Art
August Sander, Hod carrier, 1928, gelatin silver print
Courtesy of the August Sander Archive, Cologne ;
ARS, New York, 2002
The San Francisco Museum of Modern Art (SFMOMA) presents August Sander: People of the 20th Century from November 29, 2002 through February 23, 2003. The exhibition comprises more than 200 vintage prints drawn from the photographer’s monumental portrait of German society, made for the most part between the two world wars. SFMOMA’s presentation is the most comprehensive showing in the United States of this seminal project, which has never been publicly displayed in its entirety in this country. The works on view are culled from the archives of the Photographische Sammlung of SK/Stiftung Kultur, Cologne, and supplemented by selected photographs on loan from international institutions and private collectors. The exhibition curator is Susanne Lange, director of the Photographische Sammlung of SK Stiftung Kultur, Cologne. Overseeing the San Francisco presentation is Douglas R. Nickel, SFMOMA curator of photography. Accompanying the exhibition is a newly revised seven-volume trilingual (German, English and French) monograph containing all 619 works in the portfolio, as well as Sander’s own annotations on the photographs and negatives, many categorized and evaluated for the first time.
August Sander (1876–1964) is widely hailed as an avatar of modern photography. His influence can be seen in the work of subsequent generations of international photographers, including that of Walker Evans, Diane Arbus, and Bernd and Hilla Becher. Sander’s exhaustive People of the 20th Century project set conceptual and aesthetic standards that were unprecedented in the history of photography; the achievement is still considered unparalleled today. Through this project, Sander created a compelling record of the world and time in which he lived by making direct, descriptive posed portraits of ordinary people from a broad cross section of German society—the farmer, businessman, bricklayer, painter, secretary, philosopher, dockworker, blacksmith and coal carrier, for instance—where individuals stood for and were grouped according to categorical occupational, social or familial types. He then collected the photographs into some 45 portfolios, which were finally assigned to seven archetypal categories: “The Farmer,” “The Skilled Tradesman,” “The Woman,” “Classes and Professions,” “The Artists,” and “The City.” The final category, “The Last People,” included the elderly as well as those with birth defects, disabilities, and mental disorders. Taken together, these images capture a detailed view of pre–World War II Germany and reflect Sander’s optimistic view of the prevailing social order.
Sander was born in 1876 in Herdorf, Germany, near Cologne, the son of a mining carpenter. Soon after receiving a camera from an uncle in 1892, he built a darkroom and began photographing. After his military service, he worked as a commercial photographer, specializing in architectural and industrial photography. Sander was most active creatively during the period between the two World Wars, when many German artists were stimulated by newfound political freedom. Inspired by the Cologne Progressives, a group of radical painters he met in the early 1920s, he conceived of his ambitious project in sympathy with the Neue Sachlichkeit, or “New Objectivity,” in art current in this circle. Sander worked on People of the 20th Century until his death in 1964, despite the tumultuous world events generated by the rise of Hitler and the Third Reich: Nazi authorities disapproved of Sander’s undifferentiated, unheroic depiction of the German people and for a time forced him to stop work on the project; thousands of his glass negatives were confiscated and destroyed. Eventually Sander relocated to the village of Kuchhausen—bringing with him and thus saving 10,000 negatives—and sat out the war years by devoting himself to a series of landscapes and nature studies. One of Sander’s sons, Erich, who joined the anti-Nazi Socialist Worker’s Party in 1933, was jailed for treason in 1934 and died in prison 10 years later. Erich’s brother, Gunther Sander, began working toward the publication of People of the 20th Century in 1980.
The first section of the exhibition, “The Farmer,” demonstrates Sander’s familiarity with the rural environment of his youth, as well as his view of the farmer as the basic archetype of society. The first section also includes a portfolio of 12 pictures that Sander created as a prologue to the total project. These images depict a broad cross section of social types as they relate to inner character: the man of the soil, the revolutionary, the philosopher and the sage. A second section, “The Skilled Tradesman,” includes images of members of the trades as they were understood in Sander’s age—the bricklayer, the locksmith, the shoemaker, the tailor, the potter and the pastry cook—as well as images of industrialists, technicians and inventors. In the third section, “The Woman,” women appear largely defined in relationship to other people in pictures with titles such as Wholesale Merchant and Wife, The Innkeeper and His Wife and Middle-Class Couple. In some of the later images, however, women do appear in autonomous social roles in occupations that were open to them, such as nun, dressmaker and secretary.
In the fourth section, “Classes and Professions,” Sander creates a complex image of society: the subsection “The Clergyman” includes both Roman Catholics and Protestants; “The Teacher and Educator” shows teachers from cities and villages; “The Businessman” ranges from match seller to publisher to art dealer. Sander’s comprehensive view of society is most apparent in his inclusion of people whose professional activity might be considered marginal, such as the hypnotist in the portfolio “The Doctor and the Pharmacist.” Also on view are portraits of politicians of multiple political persuasions. However, all Sander’s portraits are made in the same spirit of scientific objectivity and neutrality, including a series of national socialists, Jews, and soldiers of both world wars.
The cultural spectrum of “The Artists” ranges from world-class conductor to café musician, from film actor to touring player. The images in “The City” depict the life of urban dwellers on festive and solemn occasions; people living on the fringes of urban society, such as circus artists, gypsies, transients and city youth. The section also includes images of persecuted Jewish citizens, foreign workers and political prisoners. Sander devotes the final section, “The Last People,” to people on society’s outermost perimeters: the sick, the old and frail, and people born with physical or mental disabilities. On view in this section is an image of the death mask of his son Erich, who died as a political prisoner.
The seven-volume catalogue that accompanies the exhibition is available for purchase in the SFMOMA Museum Store. Published by Harry N. Abrams, the fully illustrated set is priced at $195, $175.50 for SFMOMA members.
Hours: Open daily (except Wednesdays) 11 a.m. to 6 p.m.; open late Thursdays until 9 p.m.; summer hours (Memorial Day to Labor Day) open at 10 a.m.; closed Wednesdays and the following public holidays: Thanksgiving, Christmas, New Year’s Day. Admission prices: Adults $10; seniors $7; students $6. SFMOMA members and children 12 and under are admitted free, sponsored by Thursday evenings, 6 to 9. The first Tuesday of each month admission is free.

September 28, 2002

Compact Nokia 6650 Camera Phone Records Video with Sound


The Nokia 6650 phone offers robust functionality with pocket size comfort. Encompassing a large color display, integrated camera with picture and video capture, as well as voice, multiple data connectivity options and an advanced user interface, this innovative product is ideally suited to anyone who desires a mobile phone that combines leading-edge functionality with a high quality feel.

The Nokia 6650 is the first Nokia phone to incorporate the ability to record video simultaneously with sound. The VGA camera can be activated rapidly just by opening the lens cover of the camera. In addition to still pictures, you can capture video clips - with audio – for up to twenty seconds, in 4096 colors. The pictures or clips can be viewed and stored in the Nokia 6650, or sent to either a compatible phone or to an email address as a multimedia message.

With the Nokia PC Suite software for the Nokia 6650, users can view and edit the multimedia contents of the phone on the PC. They can even compose personal movies by collecting different video clips under the same playlist, arrange them into their preferred order and play them back like a movie. With the PC Suite for the Nokia 6650, it is also possible to synchronize personal data such as calendar and contacts between PC and the phone. The PC Suite will be delivered to the consumers as a part of the sales package of the Nokia 6650.

The compact Nokia 6650 camera phone marks an important milestone in the evolution to 3G

The Compact Nokia 6650 camera phone is the world’s first 3GPP (Third Generation Partnership Project) compliant mobile phone operating both in the GSM 900/1800 frequencies and on the WCDMA (Wideband Code Division Multiple Access) protocol. One of the benefits of the WCDMA radio interface in the Nokia 6650 phone is it allows running more than one data session simultaneously. This makes it possible, for example, to capture and share what the user sees whilst talking on the phone.

The dual-mode functionality makes the Nokia 6650 phone the world’s first GSM/WCDMA handset to work in Europe and Asia including Japan.

The first deliveries for operator-controlled live network tests of the Nokia 6650 phone will start during fourth quarter, 2002. Depending on the WCDMA networks’ opening schedules and the maturity of the interoperability between networks, services and terminals, the first commercial deliveries of the Nokia 6650 are estimated to start during first half of 2003.

“The launch of the Nokia 6650 is solid proof of our capability to build highly sophisticated, yet user-friendly phones for more complex and demanding operating environments using new radio standards, like WCDMA,” said Anssi Vanjoki, Executive Vice President, Nokia Mobile Phones. “Nokia is well prepared for - and indeed, driving - the technology transition to 3G application platforms and radio interfaces both in terminals as well as on the infrastructure side. We are working closely with all industry players to ensure both interoperability and a smooth technology take-off.”

The cutting-edge technical design of the new Nokia 6650 phone is based on a solution that brings both the GSM and WCDMA chips on to one circuit, enabling powerful talk times (up to 2h20min in WCDMA and up to 2h40min in GSM) and standby time (up to 14 days).

The Nokia 6650 phone includes a WAP 1.2.1 browser supported by GPRS, MIDP Java 1.0 technology for downloading additional applications to the phone, support for polyphonic ring tones, wallet application for mobile transactions and excellent data connectivity possibilities via USB, Bluetooth and infrared. The WCDMA bandwith support in the new phone provides mobile professionals with data connectivity from the laptop at significantly greater speeds than with ordinary landline modem.

With the new Bluetooth wireless headset also launched this month, the users of the Nokia 6650 will be able to handle phone calls and messaging comfortably on the go. The new headset is also compatible with other Bluetooth phones supporting the Bluetooth 1.1 standard version and Bluetooth handsfree or headset profiles, thereby offering improved possibilities for cross-brand interoperability across the industry. The phone weighs 141g and has a dynamic memory of 7MB.

Because of its technological merits and wide industry support, wideband radio technology offers a smooth evolution path from GSM to enriched mobile communications. WCDMA provides faster and more flexible use of mobile services thanks to increased bandwith, higher data speeds and improved roaming possibilities. As mobile services, applications and usage evolve, WCDMA will make it possible to further enhance the features and applications of mobile phones to utilize even greater voice and data capacity.   

Lee Wagstaff at The Proposition, NYC

Lee Wagstaff
The Proposition, New York
September 28 - October 26, 2002

The Proposition presents the first New York solo show by the British artist Lee Wagstaff inaugurating its new Chelsae space, in collaboration with Patrick Brillet.

The artist has spent the last four and a half years becoming heavily tatooed with his own designs. Raised as a Roman Catholic but with strong influences from Indian members of his family, Lee Wagstaff’s tattoo designs draw strongly on his religious upbringing and consists of symbols and patterns that are found in almost every culture in the world (circles, squares, swastikas, stars, triangles, etc.). Lee Wagstaff is interested in the migration and spontaneous generation of geometric forms; how the same shapes and patterns can be found in diverse cultures over vast geographic areas. 

The artist has used the medium of tattoo to transform his body into a work of “living art”; a celebration of form and geometry using the fundamental concept of mark making combined with the creative possibilities of the human body. Lee Wagstaff has become both form and content as well as subject and object.

Alongside the photographs, Lee Wagstaff will be showing “Shroud”; a life size impression of the artist screenprinted using his own blood. Blood is a byproduct of tattooing so it seemed natural for the artist to use this in his work.

“The emergence of Lee’s image on the Shroud elevates him to the status of a surrogate divine seemingly without the intervention of God. It comes off as both disquietingly heroic and at the same time spiritually arrogant.” -DAVID BOWIE

Lee Wagstaff sudied at the Royal College of Art in London, spending one semester studying with master woodblock printers in Kyoto, Japan. Lee Wagstaff’s graduation show in 2000 was greeted with a great deal of media interest and led the art critic Edward Lucie-Smith to say “...anyone looking for a genuine successor to the Hirst/Emin generation, in terms of potential public impact should make a note of his name.”

In the last year Lee Wagstaff’s international reputation has grown, taking part in exhibitions in seven countries (including five solo shows). Lee Wafstaff’s performance was included in the prestigious Ornament Und Abstraction show at the Foundation Beyeler in Basel Switzerland; he was also the first western artist ever to be included at Art Annual in Kobe Japan.

“Shroud” can currently be seen at the Victoria & Albert Museum in London in the exhibition ‘Impressions of the Century- 100 Years of the Fine Art Print.’

559 West 22nd Steet, New York, NY 10011

Updated 14.07.2019

September 25, 2002

Kodak at Photokina 2002

Kodak Introduces Broad Array of Products at Photokina Underscoring Confidence in Future of infoimaging Industry

Eastman Kodak Company introduced, at Photokina 2002, a broad array of traditional and digital photographic products and services that will give consumers, retailers, and professionals alike better ways to take, print and share pictures, extending the company's leadership position in imaging.

"The products we are introducing here at Photokina, from easy-to-use one-time-use cameras for consumers, to traditional photographic papers that last more than a century, to a breakthrough new 14-mega pixel digital camera for professionals, prove far better than words that Kodak is investing for future growth," said Daniel A. Carp, Kodak's chairman and chief executive officer.

Despite the current economic situation, Carp is bullish on the long- term prospects for the imaging industry and Kodak's leading role in delivering the benefits of the digital transition to customers.

"Every indication points to a continued appetite for pictures by consumers and commercial customers, despite the current tough economy," Carp added. "As the economy resumes growth, we expect the $80 billion worldwide photography industry to play a major role in the broader category of infoimaging, a $385 billion market formed by the convergence of imaging science and information technology. Kodak is well positioned within this field of opportunity in its consumer, commercial and professional businesses."

Kodak's investments are guided by four key strategies, according to Martin Coyne, II, executive vice president and head of the company's Photography Group. The group accounts for about 70% of Kodak's sales, which totaled $13.2 billion last year.

These four strategies, which Kodak calls the Critical Few, are:

- Expand the benefits of film.
- Drive output the printing of pictures in all forms.
- Make digital imaging easier.
- Create new businesses and new markets.

"Everything we do starts with the customer in mind," Coyne said. "We begin by understanding first what the customer needs, and then we work to develop products and services that give them better pictures and better ways to share those pictures."

A sampling of the Kodak products and services being introduced at Photokina reflect the company's effort to fulfill the four key strategies. For example:

Kodak is expanding the benefits of film with a completely new lineup of one-time-use cameras, the fastest growing traditional photographic product. New products cover all segments of the market, including a high- performance Kodak Ultra model that offers picture-taking performance that compares with a reloadable camera; a specialty Kodak Sport model for underwater use capable of picture taking at depths of 10 meters; and the Kodak Fun, a value tier offering that brings Kodak quality to price conscious consumers.

Kodak is making digital easier for professionals and consumers. A stunning new digital camera for professionals features a near 14 megapixel sensor and the industry's first 35-mm size CMOS sensor in an SLR model, giving professional photographers unprecedented performance and freedom. And the latest models in the company's EasyShare family of consumer digital cameras, led by a sleek, titanium-bodied zoom model, are the easiest-to-use digital cameras available from any manufacturer and are becoming the de facto industry standard for ease of use in consumer digital photography, according to industry reports.

Kodak is helping customers generate more output with new photographic papers for professionals, as well as consumer snapshots that will last more than a century in typical home display, enabling people to enjoy their photographs for generations. These papers are designed to produce outstanding results in either optical or digital processing equipment. Kodak also introduced a totally new family of photo kiosks designed to make it easier than ever for consumers to get great prints from their digital cameras at retail, or to make existing photographs better with easy-to-use software to improve and enhance pictures, making it easy to create enlargements, gifts and photo novelty items.

Kodak demonstrated at Photokina the Kodak mobile photo album, a new business concept it is exploring to link the power of pictures with mobile communications. In test today in Germany, consumers can have a retailer upload their pictures to a special web site. They can then call up their images on the newest generation of mobile telephones and share their images with others via wireless communications. The company's components business also introduced a 22-megapixel image sensor the highest resolution digital imaging sensor available to the market today designed to give other camera manufacturers a device that brings Kodak technology to a broader set of customers.

Eastman Kodak Company

September 19, 2002

Appareil photo Casio EXILIM EX-S1

CASIO présente EXILIM, l'appareil photo numérique le plus plat (11 mm), le plus petit et le plus léger au monde*

Au Salon CeBIT d'Hanovre, CASIO a présenté un concept dernier cri en imagerie numérique : EXILIM EX-S1, au design exceptionnel et aux fonctionnalités attrayantes et innovantes. Pas plus grand qu'une carte de crédit, cet appareil photo est un véritable petit bijou dont l'épaisseur ne dépasse pas 11,3 mm pour 88 mm de large, 55 mm de haut et un poids plume de 86 g**. Grâce à son design exceptionnel, cet appareil fait preuve d'une élégance sans égale et peut être utilisé dans un grand nombre de situations. EXILIM vous accompagne partout : sur votre lieu de travail, lors de vos activités sportives, lors de vos soirées, pendant vos voyages ou en toutes autres occasions. Moments uniques, clichés hors du commun, situations mémorables, rien ne vous échappera : EXILIM sera toujours à portée de main. Il se glisse partout, passe totalement inaperçu et ne nécessite aucune sacoche encombrante.

Le mot « EXILIM » vient à la fois du latin et de l'anglais. Ses racines « eximius » (extraordinaire) et « slim » (plat) s'associent pour donner un qualificatif des plus adaptés : « extra-plat ».

La finition élégante aux reflets argentés souligne la grande qualité de cet appareil entièrement métallique. Cette petite merveille de miniaturisation offre tout un arsenal de fonctionnalités.

Avec deux systèmes de contrôle d'image, la petite merveille argentée brille de mille feux. Le viseur optique s'accompagne d'un écran numérique de 1,6 pouces qui garantit un parfait contraste des images claires et brillantes.

« Dès 1995, en lançant le QV-10, CASIO a révolutionné le marché des appareils photo numériques », déclare Kazuo Kashio, Président de CASIO Computer Co.,Ltd. « EXILIM ouvre une voie entièrement nouvelle, qui tranche nettement avec la tendance actuelle «Plus de pixels, plus de fonctions ». De la toute dernière génération, ces appareils photo numériques sont si plats et si compacts qu'ils trouvent leur place n'importe où et vous suivent où que vous alliez. Une nouvelle fois, CASIO cherche à proposer des produits favorisant la création d'applications innovantes et l'ouverture de nouveaux marchés ».Hiroshi Nakamura, Directeur général de CASIO Europe GmbH, ajoute : « Par l'innovation et les performances de ses produits, CASIO n'a cessé de consolider sa position sur le marché des appareils photo numériques. Grâce à la nouvelle stratégie commerciale adoptée pour EXILIM, nous continuerons à étendre et à renforcer notre position en Europe et au-delà. De plus, nous aiderons nos partenaires commerciaux à œuvrer dans ce sens ».

Le CCD 1/2,7 pouces d'EXILIM offre une résolution totale de 1,31 mégapixels, ce qui correspond à une image de format 1280 x 960 ppp. De plus, grâce à un logiciel sophistiqué, il est possible d'obtenir des images de 1600 x 1200 pixels. Avec une ouverture de 1:2,5, l'objectif possède une distance focale fixe de f=5,6 mm, soit l'équivalent d'une distance focale de 37 mm sur un appareil 35 mm. Le flash intégré se déclenche automatiquement en cas d'éclairage insuffisant.EXILIM enregistre les images dans sa mémoire interne. Vous pouvez également utiliser des cartes SD/MMC comme support de stockage. La station d'accueil USB joue deux rôles ; elle permet de transférer les données images vers un PC et de recharger la pile au lithium. L'alimentation électrique est assurée par une pile au lithium rechargeable et particulièrement puissante. EXILIM est livré avec une pile au lithium, une lanière, une station d'accueil USB + câble et un logiciel sur CD-ROM.

L'EX-S1 sera disponible dans les magasins spécialisés dès juillet 2002.

* Appareil photo numérique équipé d'un écran LCD à partir du 14 mars 2002

** Poids sans pile ni carte mémoire

De nouvelles technologies au service d'EXILIM

• Intégration de l'objectif et du CCD dans un seul et unique module
La technologie développée par CASIO qui permet de regrouper en un seul composant des objectifs asphériques et un CCD ultra-sensible contribue à réduire considérablement l'épaisseur d'EXILIM.

• CCD ultra-sensible
Les UC, CIAS et mémoires SDRAM et Flash nouvellement développées par CASIO permettent de réduire d'un tiers la consommation électrique et le bruit*. De plus, l'intégration de ces 4 puces dans un même module multipuce MCM permet de diminuer la taille de la carte à circuit imprimé de 70 %.***

• Ecran LCD TFT à interface numérique
EXILIM est le premier appareil photo numérique au monde à être doté d'un écran LCD TFT à interface numérique spécialement conçu et produit par CASIO. Dans la mesure où l'interface numérique permet de se passer d'un convertisseur, il est possible de réduire la taille de la carte de 10 %**** et de diminuer considérablement le nombre de composants nécessaires.

*** en comparaison avec les appareils photo numériques actuels

**** en comparaison avec la technologie LCD TFT utilisée sur nos appareils photo numériques actuels.

Caractéristiques techniques de l'EXILIM EX-S1

  • Enregistrement : CCD progressif 1/2,7 pouces à couleurs primaires et pixels carrés
  • Pixels efficaces : 1,24 millions (1,31 millions de pixels au total)
  • Format d'enregistrement des images : JPEG, norme DCF, compatible DPOF
  • Support d'enregistrement : Mémoire flash intégrée (environ 14 Mo) ; carte mémoire SD ; carte MultiMedia
  • Tailles des images enregistrées : Images fixes (données audio en plus avec EX-M1) de format 1600 x 1200 /1280 x 960 /640 x 480 pixels
  • Séquences vidéo (données audio en plus avec EX-M1) : 320 x 240 pixels
  • Enregistrement vocal : Enregistrement sur mémoire intégrée, carte mémoire SD / carte Multi Media
  • Lecture de fichiers audio : Format de fichier MP3 (EX-M1 uniquement)
  • Suppression d'images : Une seule image, une par une ou toutes les images stockées en mémoire (avec protection de la mémoire)
  • Objectif : 1:2,5, f=5,6 mm (soit l'équivalent d'un objectif de 37 mm sur un appareil 35 mm).
  • Zoom : Numérique 4X
  • Mise au point : Objectif à focale fixe
  • Réglage de l'exposition
  • Mesure de la lumière : point central par CCD ; contrôle : programme d'exposition automatique
  • Compensation de l'exposition : -2EV à +2EV (par incréments de 1/3EV)
  • Mode d'enregistrement : Instantané, retardateur, séquence vidéo, Best Shot, image fixe avec son audio (EX-M1 uniquement), enregistrement vocal (EX-M1 uniquement)
  • Obturateur : Obturateur CCD, obturateur mécanique
  • Balance des blancs : Automatique / Fixe (4 modes) / Commutation manuelle
  • Retardateur : 10 secondes
  • Flash intégré - Modes de flash : AUTO, OUI, NON, réducteur d'effet « yeux rouges »
  • Ecran : Ecran à cristaux liquides couleur TFT 1,6 pouces 84 960 pixels (354 x 240)
  • Viseur : Ecran et viseur optique
  • Enregistrement de la date : Enregistrement de la date et de l'heure avec l'image
  • Bornes d'entrée/sortie : Connecteur de station d'accueil USB
  • Alimentation : Pile au lithium-ion EX-M1
  • Dimensions/Poids : 88 (L) x 55(H) x 11,3 (P) mm (hors projections) / approx. 86 g (sans pile ni carte mémoire)

Accessoires fournis : Station d'accueil, adaptateur secteur pour station d'accueil, câble USB, lanière, pile au lithium-ion, CD-ROM.
Dernière mise à jour : 05.11.2008

September 18, 2002

Auguste Rodin Exhibition La Caixa Foundation Tarragona

Art Exhibition > Auguste Rodin
Art Exhibition > Spain > Tarragona


Auguste Rodin

Social and Cultural Centre of “la Caixa” Foundation

Tarragona, Spain

19 September - 10 November 2002


Today the work of Auguste Rodin (Paris, 1840 - Meudon, 1917) exerts the same fascination that it did half a century ago. The clarity of his insight, the newness of the concepts he developed, and the diversity of his styles, materials and modes of expression make Rodin one of the most brilliant sculptors in the history of art.“la Caixa”,Foundation in collaboration with the Rodin Museum of Paris, presents an exceptional collection of works at its Social and Cultural Centre in Tarragona, which show the grandeur of the master’s genius. The exhibition Auguste Rodin assembles 57 sculptures -including the monumental sculpture Jean de Fiennes, belonging to the famous sculptural group The Burghers of Calais-, as well as 25 drawings by the artist and 25 photographs of some of his most important works.

All of the works included in the exhibition are on loan from the Rodin Museum of Paris -the director of which is Jacques Vilain, curator general of Heritage-, without whose invaluable collaboration it would not have been possible to present this show in Spain. The exhibition curators are Antoinette Le Normand-Romain, curator general of Heritage and head of the Department of Sculpture of the Rodin Museum; Claudie Judrin, chief curator of Heritage and head of the Department of Drawings of the Rodin Museum, and Hélène Pinet, head of the Photograph Collection of the Rodin Museum.

The 57 sculptures assembled for the exhibition include some of Auguste Rodin’s most representative works, such as The Bronze Age (1877), The Thinker (1880), The Kiss (1882-1886), his likeness of Gustav Mahler (1909), Ugolino and his Children (1882), The Eternal Spring (1884) and two models of The Gates of Hell (1880). Also on display is the monumental sculpture Jean de Fiennes, which forms part of one of the artist’s most famous group sculptures, The Burghers of Calais.

A collection of 25 photographs and 25 drawings, the latter originally the property of the genius himself, round out the Auguste Rodin exhibition. Eugène Druet, Jean-François Limet and Jacques-Ernest Bulloz were a few of the early-twentieth-century photographers who succeeded in capturing the beauty of some of Rodin’s major works, such as the monument to The Burghers of Calais, The Bronze Age and The Thinker.

Under the title Auguste Rodin, this exhibition shows the grandeur of Rodin’s genius and illustrates some of his creative methods. The artist considered that his sculptures were never completed or fixed, but rather had infinite possibilities. Through reduction and enlargement, he would continually modify the scale of a given work, and, with it, its perception and meaning. In parallel fashion, he would recur to his “descartes” or spare parts (heads, arms and legs) and combine numerous independent figures to create unexpected and original compositions. Thus, several of the figures he sculpted for The Gates of Hell became famous quite independently of this grouping. These include The Kiss, The Thinker, Ugolino and his Children and others.

Auguste Rodin Biography

Auguste Rodin (Paris, 1840 - Meudon, 1917) began his artistic training at the age of fourteen under Horace Lecoq de Boisbaudran and Louis-Pierre Gustave Fort at the Special Imperial School. After withdrawing briefly to a monastery, he returned to secular life to attend Barye’s courses at the National Museum of Natural History and began to work in Carrier-Belleuse’s studio. His journey to Italy in 1875 enabled him to observe the classics, particularly Michelangelo, and from that point on he devoted himself uninterruptedly to the creation of eternal forms like The Bronze Age, The Walking Man or Saint John the Baptist within a universe that was uniquely his.

By the end of the nineteenth century, Auguste Rodin’s prestige had increased considerably and he was commissioned to create the monumental bronze door for the future Museum of Decorative Arts of Paris. For The Gates of Hell, Rodin sought inspiration in images from Dante’s Inferno, representing scenes like the agony of Ugolino, and employing contorted figures to symbolise the damned. During this period, Rodin received several commissions such as The Burghers of Calais or the monuments to Victor Hugo and Honoré de Balzac. In 1890, together with Carrière, Puvis de Chavannes, Dalou and Messonier, he founded the Société Nationale des Beaux-Arts.

Rodin’s role in the artistic milieu of his time was very significant. He portrayed his friends and the celebrities of the worlds of art, literature and politics, endowing his works with a personal and humane dimension at all times. In 1908 he undertook a group of sculptures, in which he focused on the body’s movement in dance, fascinated as he was by its freedom of gestures and postures. On the whole, Rodin’s work, which is placed at the turn of the twentieth century, offers a great variety of styles, materials and modes of expression. The artist created freely, using multiple combinations and developing original concepts that continue to be a contemporary artistic reference even today.

Auguste Rodin
19 September - 10 November 2002

Social and Cultural Centre of “la Caixa” Foundation in Tarragona
C/ Cristòfor Colom, 2
43001 Tarragona

The exhibition is open to the public:
Mondays to Fridays, 10 a.m. - 2 p.m. and 5 - 9 p.m.
Sundays and holidays, 11 a.m. - 2 p.m. and 6 p.m. - 9 p.m.

September 15, 2002

Cambo New Video Range at IBC 2002

Cambo New Video Range at IBC: V15 & V40 Booms, Pan-Tilt heads & Tripods

CAMBO – the name synonymous with over 30 years experience in designing and manufacturing studio cameras and stands in the photographic business, have turned their precision engineering skills to the video market with their latest developments launched at IBC. They will be displaying their range of Video booms, Pan-Tilt heads & Tripods on Stand 538 Hall 11 at 2002 exhibition.

Following its premier at last years’ IBC, the Cambo range has been expanded to provide products for the serious amateur videographer as well as to the professional video and broadcast market.

The range now features two booms – the lightweight V15 and the V40 - capable of supporting cameras weighing up to 30kg and extending to over 4.6 metres. Also available are mechanical and motorised pan & tilt head options plus two heavy-duty tripods. The comprehensive accessory range includes boom extensions, LCD screen fixings and a battery converter enabling the pan & tilt head to be used on location.

The V15 Boom has been designed to be highly portable and will appeal to the weight conscious videographer as well as those needing to operate in confined spaces. Capable of handling cameras up to 18kg it has an 88cm standard reach and 79cm operating range, yet assembles and breaks down in seconds to a compact 94cm length. With the addition of the 0.8 metre extension piece included with the boom, the reach can be extended to 170cm with a 222cm operating range. 

The V40 is Cambo’s premier boom and is the most complete boom system in the industry. Its modular design enables the user to extend the boom to just under 5 metres with the use of interlocking extension bars. The boom is quick & easy to set-up and has a high load to weight ratio with a carrying capacity of up to 30kg – remarkable in a boom weighing just 11kg.The smart counter balance system uses standard weights whilst the fine tuning blocks allows safe & secure camera lens and battery changes, without risk of damage to the camera. The V40 is designed to be easily operated by a single operator. Extremely portable with removable bowl arm, sectioned centre arm and removable counter-balance arm, the boom can be carried in the back of a car and quickly assembled for use.

Both booms feature 100mm detachable bowl arms, fluid-action base with locking facilty and universal 75mm & 100mm tripod mounts. The modular interlocking design provides fast, easy set-up with no screws or small pieces to lose.

To allow camera movement and positioning when the boom is extended or in-use, Cambo have developed a comprehensive range of accessories. The PT90 Pan-Tilt Unit provides precision controlled motorised movements with the V40 boom. The easy to use joystick control with Hall effect sensor operates two independent motors with 350-degree pan and a +/- 175 –degree tilt. 

A switchable direction control allows the user to set the rotation direction on both movements so that it can be personalised for use. Well thoughts out add-ons have been designed to make operation easier. An LCD screen Adapter allows the user to mount an LCD screen onto the boom, whilst counterweights and stabilisation systems are available to accommodate heavier cameras.

Two prototypes are also being displayed on the stand this year. The lightweight telescopic DV-Boom weighs just 5.5kg and is designed for lightweight cameras and accessories weighing up to 3kg. 

Like its V15 counterpart, it collapses down to a compact carrying size of just 121x22x16cm – so is highly portable. The boom extends from 135cm up to a maximum extension of 275cm in seven click stop positions. A useful feature is the tilt control handle which can be adjusted to keep the camera level or at a fixed angle throughout the vertical boom movement as well as allowing a full range of movements. 

Cambo are also highlighting a new mechanical Pan-Tilt unit for its V15 & V40 booms. Whilst V40 users may prefer the motorised PT-90 unit, budget conscious users may opt for the new MPT-9 model. Weighing just 3kg it will support cameras up to 10kg and features an impressive 345-degree pan & tilt movement. A single control operates the pan-tilt functions, although a separate pan-tilt control for more flexible operations is available. 

Both units will be available commercially in January 2003.

The Cambo Video Tripods boast an impressive 100kg-carrying load to accommodate the widest selection of professional broadcast video cameras with a choice of either a 100mm or 150mm bowl option dependent on the video head used.

The specification is virtually identical for each model – the differentiator being the size of video bowl offered. The TBV-100 features a 100mm bowl which can be adapted to 75mm with an optional bowl adapter, whilst the TBV-150 has a 150mm bowl – with 100mm bowl adapter as an optional accessory. The 150mm-bowl model provides the professional with the greatest functionality – enabling broadcast quality heads to be fitted. It is also capable of supporting ‘Box Lens’ models.

Both models mirror the other high specification features. Two section single lift adjustable height legs, high tensile aluminium construction for strength and rigidity, integrated bowl levelling device, extra sturdy leg locks, adjustable leg spreader and built-in spirit level. The legs are fitted with dual rubber feet with retractable spiked foot and the tripod body features a useful anchor point for securing a cable or chain for difficult location work. A new entry-level version of the TVB 100 is also available with chain spreader. 

The maximum load capacity of 100 kg is bound to attract the most interest. With a relatively lightweight of just over 8kg the Cambo tripods offer a high carrying to size capacity and feature a closed length of just 86cm and operating height from 77cm to 120cm

Cambo Video booms and tripods are available from international distributors.