March 30, 2004

Epson RD1

Brève note pour ceux qui souhaiteraient se le procurer d'occasion
Le RD1 est sortie en 2004.
Capteur de 6,1 Mégapixels - Visée télémétrique

Objectif : Interchangeable, accepte les objectifs argentiques de la série M
Fichiers RAW/JPEG
Exposition : 1/2000 à 1 seconde.
Sensibilité : 200, 400 et 800 ISO.
Mémoire : SD card
Batterie Li-ion rechargeable
Prix : 3000 € à sa sortie
Cet
appareil est le fruit d'une coopération entre Epson et Epson and Cosina/Voigtlander
Message connexe : Epson RD1S

Mise à jour : 10.2008

March 22, 2004

Leaf Valeo 22Wi and Leaf Valeo 17Wi Go Wireless

The fastest digital camera back system — the Leaf™ Valeo — is now wireless. This next generation Leaf Valeo is being introduced with an innovative wireless display on two models: the Leaf Valeo22Wi and the new Leaf Valeo 17Wi, with resolutions of 22 and 17 million pixels respectively. Both camerabacks feature an unmatched fast capture rate, optimized 3:4 format ratio CCD, Portable Power technology,and In-Studio Large Format Power.
The new Leaf Valeo Wi family uses built-in Bluetooth® wireless technology to accomplish two-way communication between the camera and the Leaf DP-67, a 6 x 7 cm (3.9 inch) image display and control unit, based on the HP iPAQ pocket PC. By using the Leaf DP-67 image display and control unit, users can zoom-inon high resolution images that display instantly, verify focus, set camera parameters or even manage files andfolders from a distance of up to 10 meters (33 feet). The DP-67 acts as both a “digital proof” and a “personal photographic assistant”.
The Leaf Valeo Wi family is the fastest digital back system in the market at 1.2 sec/frame with its unique DSR (Dual Sensor Readout) technology (patent pending). DSR technology achieves record capture rate by utilizingthe CCD two-channel simultaneous readout. Both the 17 mega pixel and the 22 mega pixel CCDs present an optimized 3:4 format for a classic photographic ratio that’s efficient and minimizes cropping.
Leaf’s Large Format Power turns existing large format analog cameras into digital systems, allowing users to control aperture and shutter speed from their computer. The electronic lens control allows speeds up to 1/500 sec in 1/10 f-stop intervals producing accurate and consistent shutter performance. A Live Video View feature enables easy and accurate composition by superimposing a designer layout over the live image as well as on sensor absolute focusing.
The 16-bit A/D (analog to digital) converter assures the widest tonal range for rich and smooth tonal transitions. An advanced scaling algorithm enables a smooth film-like look in high-scale enlargements for files over 300 MB.

March 13, 2004

Art Karlsruhe 2014 : Bilan positif pour le salon d'art

Lancement couronné de succès pour le nouveau salon artistique art KARLSRUHE

La première édition du nouveau salon art KARLSRUHE a été un franc succès. Selon les organisateurs, plus de 20 500 personnes ont visité ce salon artistique qui s’est tenu pendant quatre jours au nouveau parc des expositions de Rheinstetten et qui a fermé ses portes dimanche. « Nous sommes fiers de Karlsruhe et du land de Bade-Wurtemberg » a déclaré Claus Hähnel, gérant de la société organisatrice Karlsruher Messe- und Kongress-GmbH, qui avait espéré pour sa part une affluence entre 12 000 et 17 000 personnes. « Tout salon artistique vit de l’acceptation de la région au sens large et ce salon nous a démontré que de nombreux d’amateurs d’art au Bade-Wurtemberg, mais aussi en Hesse, en Rhénanie Westphalie et en Alsace sont réellement intéressés par la mise en place d’un salon à cet endroit » a renchéri M. Hähnel. Ewald Karl Schrade, chef de projet et administrateur d’art KARLSRUHE tire le bilan suivant : « Le salon n’a pas seulement dépassé toutes nos attentes, il a même exaucé nos vœux les plus chers. Sur ce salon, une sensation d’appartenance à un même tout s’est vite faite ressentir. »

82 galeries venant de neuf pays différents ont participé au premier salon artistique à jamais avoir eu lieu dans le land de Bade-Wurtemberg. Le bilan est positif sur toute la ligne. Le salon art KARLSRUHE s’est avéré être une « perle entre Bâle et Cologne », c’est du moins ce qu’a déclaré Norbert Blaeser, propriétaire d’une galerie à Steffeln. Et Klauspeter Westenhoff de l’association de galeries Westenhoff Schwarzer sise à Hambourg et Düsseldorf de confirmer « tout nouveau, tout beau. » Les éloges n’ont pas tari sur l’ambiance dans ces halls légers et baignés de soleil. Le concept misant sur des stands aux dimensions généreuses, des suspensions aériennes, de larges allées et des places pour sculptures ouvertes a touché, selon les dires des galeristes, le cœur des visiteurs. De nombreux exposants ont annoncé avoir fait d’importants bénéfices. La galerie de Mayence van der Koelen a trouvé entre autres un acheteur pour la sculpture « Baum » [arbre] de Günther Uecker (75 000 euros). La galerie CP de Wiesbaden a vendu au collectionneur de Baden-Baden, Frieder Burda, deux peintures à l’huile de Michael Bach (7 000 resp. 8 500 euros)

Les artistes émergents ont également su emballer le public de Karlsruhe. La galerie Rothamel d’Erfurt a vendu la toile grand format nommée « So oder so » [d’une manière ou d’une autre] de Moritz Götze (12 000 euros) ainsi que le collage urbain « Flatiron » du jeune artiste Thitz (6 000 euros). Dans les premières 24 heures ayant suivi l’ouverture du salon, la galerie munichoise An der Pinakothek der Monderne a vendu trois œuvres de l’étoile montante italienne Marco Tamburro ainsi que cinq travaux de l’artiste féminine originaire de Karlsruhe, Susanne Zuehlke.

« Je reviendrais quoi qu’il advienne » a annoncé Edwin Vömel, propriétaire d’une galerie à Düsseldorf et affirme vouloir à l’avenir concentrer ses activités en matière de foire et d’exposition sur le salon art KARLSRUHE. Gérard Schneider de la Galerie Française munichoise désire également rester fidèle à ce salon. Il a en effet trouvé des acheteurs pour les œuvres graphiques de Georges Braque, Pablo Picasso et de Serge Poliakoff.

Parmi les galeries étrangères, les échos sont tout aussi positifs. Le galeriste Roland Aphold venu de Bâle par exemple a accueilli à son stand des « clients venant de Bonn à Bâle ». La galerie parisienne Arlette Gimaray, une des huit galeries françaises représentées au salon art KARLSRUHE, a vendu entre autres quatre collages de Bernard Aubertin (5 200 euros chacun) réalisés à base d’allumettes.

Dans le cadre d’une enquête réalisée auprès des visiteurs, 95 pour cent des personnes interrogées se sont déclarées prêtes à revenir pour la prochaine édition d’art KARLSRUHE. Les compétences en matière d’art du public ayant visité le salon de Karlsruhe se voient confirmées non seulement par les nombreuses déclarations des galeristes mais également par les résultats de l’enquête : plus de 70 pour cent des personnes interrogées ont déclaré visiter d’autres salons artistiques. La majeure partie des visiteurs est venue le week-end et à l’occasion du vernissage qui a eu lieu mercredi après-midi. Les autres journées ont toutefois connu une grande affluence. « Je n’ai encore jamais vu un salon artistique ayant enregistré tant de visiteurs le jeudi » se réjouit Friedrich W. Kasten, propriétaire d’une galerie d’art à Mannheim.

La deuxième édition d’art KARLSRUHE aura lieu du 3 au 6 mars 2005 au parc des expositions de Rheinstetten.

March 5, 2004

Acquisition of Ed Ruscha Photographs by the Whitney Museum

Adam D. Weinberg, Alice Pratt Brown Director, today announced that the Whitney Museum of American Art has acquired a major body of original photographic works from American artist Ed Ruscha through the generosity of The Leonard and Evelyn Lauder Foundation, with additional support from Tom and Diane Tuft, and through a significant gift of unique early works from the artist. This acquisition of 456 objects makes the Whitney the principal repository of Ruscha’s photographic works and an essential resource for the study and appreciation of the art of Ruscha, a key figure in American Conceptual art and a significant influence on international artists in all media for over forty years.
Sylvia Wolf, Sondra Gilman Curator of Photography, who initiated the acquisition, remarked, “Ed Ruscha’s books are among the most original achievements in the art of the 1960s and 1970s, and are the photographic works he is most known for. There have, however, been pictures tucked away in boxes in his studio and photographs that are unpublished or rarely seen, which shed light on Ruscha’s career as a wholeItalique.”
The Acquisition - The Whitney acquisition of 456 objects represents all facets of Ruscha’s photographic work. Mr. Weinberg remarked, “In the scope and rarity of the material, this acquisition is unparalleled. It exemplifies the Whitney’s goal to acquire defining works by contemporary American artists.” Included are original prints from his photographic books Twentysix Gasoline Stations (1963); Various Small Fires and Milk (1964); Some Los Angeles Apartments (1965); Thirty-Four Parking Lots in Los Angeles (1967); Royal Road Test (1967); Babycakes with Weights (1970) and Real Estate Opportunities (1970). Also in this acquisition are several photographs Ruscha never published, in particular 16 images from Twentysix Gasoline Stations (1963) that were not included in the book.
In addition, the acquisition contains over 300 unique vintage photographs from a seven-month tour of Europe in 1961. Photographs from Austria, England, France, Greece, Italy, Spain, and Yugoslavia feature many motifs and stylistic elements that have marked Ruscha’s work over the past 40 years, in particular his interest in typography and signage, and his strong graphic sensibility. They also show him experimenting with the camera. Ms. Wolf observes, “The lack of self-consciousness and intense curiosity reflected in these early photographs makes them both refreshing and revelatory of a fertile time in a young artist’s career. Ruscha’s use of photography would later develop into a systematic inquiry with clarity of purpose, but during his months in Europe his pictures suggest spontaneity, playfulness, and a pure delight in seeing.”
The Whitney is planning a publication of works from this acquisition and an exhibition to open on June 24, 2004, concurrent with a landmark exhibition of Ruscha’s drawings that is being organized by the Whitney. The acquisition is a partial purchase from and partial donation by the artist.
Ed Ruscha - Born in 1937 in Omaha, Nebraska, and raised in Oklahoma City, Ruscha moved to Los Angeles when he was 18. He attended the Chouinard Art Institute until 1960, before working briefly in commercial advertising. In 1961, Ruscha embarked on a career as an artist and produced enigmatic paintings, drawings, and photographic books of gasoline stations, apartment buildings, palm trees, vacant lots, and Los Angeles’s famous “Hollywood” sign. His works were often drawn from photographs of mundane subjects shot from a distance. The irony and objective stance of his works from this period placed him in the context of Pop art and Conceptualism, but Ruscha consistently defies categorization. Now 66, Ruscha is recognized as one of our most important and influential contemporary American artists.
Ruscha’s photographic books of the 1960s and 1970s have come to embody the Conceptualists’s embrace of serial imaging and photographic documentation. The books have also had an impact on the art and careers of many American artists, including Lewis Baltz, Dan Graham, and Robert Venturi. German photographers Bernd and Hilla Becher enthusiastically presented Ruscha’s work to their students, including Thomas Struth and Andreas Gursky, whose own work incorporates a similar dry documentary aesthetic. And Canadian artist Jeff Wall has called Ruscha the “American Everyman.” Ruscha, in turn, identifies photographers Walker Evans and Robert Frank as influential to his art.
Whitney Holdings and Exhibitions - The Whitney first exhibited Ed Ruscha’s work in the 1967 Annual Exhibition of Contemporary Painting. It has since collected his art and exhibited it in several group exhibitions. In 1982, the Whitney was the New York venue for an SFMoMA retrospective. Among the Whitney’s holdings are two master paintings, Large Trademark with Eight Spotlights (1962) and Hollywood to Pico (1998), two portfolios of prints, eight individual prints, and three drawings. This initiative extends a vigorous program of acquisitions in contemporary photography that began with the formation of the Photography Collection Committee in 1991.

March 1, 2004

Pop Art & Minimalism, Albertina Museum, Wien

Pop Art & Minimalism - The Serial Attitude
Albertina Museum, Wien
March 10 - August 29, 2004

As different as a drawing by Albrecht Dürer and one by Pablo Picasso may be in perspectives of time and of art, they are still connected by their being bound the same concept of the drawing, which is carried by the idea of subjective artistic signatures, and which is accompanied by the qualities of spontaneity and singularity, of caprice or masterful virtuosity. Even long before it was defined into an apparently generally valid definition, the art of drawing was immediately related to the history of genius and the signature-like externalisation of a singular personality. The ideal birthplace of the drawing is the private, intimate drawing cabinet, its locational opposite is the public billboard, technically the mechanic reproduction in an era of mass media is its diametrical opposite.

Against this background of the history and the alleged trans-chronologically valid nature of the idea of the drawing, the Albertina exhibition Pop Art & Minimalism: The Serial Attitude thus essentially marks a break with its own tradition, taking as its subject the common preference for the principle of „seriality“ in the allegedly non-related art movements of Pop and Minimal Art. Indeed, since the 1970’s a number of works that are marked by „seriality“ as a technical, conceptual and methodological process were acquired for the Albertina’s collections. The current exhibition clearly demonstrates the points of contact between the contrasting art movements without blurring the differences between the individual works.

The exhibition understands its subtitle The Serial Attitude essentially as guiding light, taken from the article by the same name published by the artist, critic and curator Mel Bochner in 1967 in the magazine Artforum. Bochner bids goodbye the traditional concept of an expressive art, whose origin is understood as the artist’s intuition in this essay – which is simultaneously analysis and manifesto – and proclaims a planned method following a pre-decided system analogous to contemporary modes of production. One could not imagine a greater difference to a Rembrandt drawing, the spontaneous capture of a coincidental observation.

Pop Art and Minimalism both consequentially include industrial production of series, preferably by screen printing and other mechanical methods of production, into the technical creation of a single work of art – as different as the appearance of the individual works may be. While Minimal Art is characterized by the radical negation of contents, Pop Art practically lived off the materiality of a commercial iconography spread by mass media.

Pop Art was the answer to an era of mass communication, of television, newspapers and magazines, and of advertising. Andy Warhol and Jim Dine, Roy Lichtenstein, Jasper Johns and Robert Rauschenberg reproduced the images of goods and objects of daily life, of billboards and of celebrities honoured as icons, spread far and wide via magazines’ offset print.

Minimal Art, on the other hand, negates in its self-reflection any form of representation. It prefers abstract primary structures and basic geometric forms. No subject and no motif, no ever so slight materiality feeds the illusion that was married to art for five centuries. The modules taken from the principle of industrial mass production break with any traditional idea of an artistic medium of the image.

Nevertheless, these differences must not obstruct the view of the commonalities. Serial methods such as addition, combination, permutation and mirroring shape the appearance and the design structures of the accordant print works by Donald Judd, the serigraphs of the Mao series by Andy Warhol or the 14-part series „Alex“ by Chuck Close.

Seriality, however, is not only present in multi-part works: the multi-part picture series is just one special case of the principle of seriality. (Pop Art and Minimal Art used the techniques of mechanical production of images.)

Seriality becomes the real subject in the mechanical reproduction technique of screen printing. The principle of repetition is immanent here in the single work itself. This moves the form of technical production into focus: the matrix dots of offset print. The industrial printing methods from the entire realm of photo-graphics is the answer to Jackson Pollock or Franz Klime’s physical expressionism. These methods of mechanical printing preferred by Sol Lewitt, Donald Judd, Agnes Martin, Brice Marden as much as by Warhol, Tom Wesselmann, Lichtenstein, Rauschenberg and Sigmar Polke can moreover be read as an answer to the crisis of structure of the printing method that had become too technical and artisan. When Lichtenstein and Judd made a woodcut, it became a conscious aping of a screen print without wood grain, without the material’s resistance. The photo-mechanical printing technique of screen printing was seen by printing aficionados for a long time as reproduction without its own artistic value for a good reason.

The exhibition Pop Art and Minimalism: The Serial Attitude is dedicated to this process of gaining independence from the traditional concept of drawing and print work via the principle of seriality. As wide as the spectrum of this principle’s application may be: in its entirety this exhibition seems to be telling of the end of a historical idea of drawing and print that was once the raison d’etre for our collection’s birth. However, it does certainly not speak against our collection that all exhibited works are part of the Albertina collection. Quite to the contrary, this fact underlines the high degree of critical self-reflection of our own raison d’etre, it is witness to our consciousness of our collection’s historicity: that of its creation and its reason, its nature and its structure.

Klaus Albrecht Schröder

Exhibited Artists:

Josef Albers, March 19, 1888 Bottrop (Germany) - Orange (Connecticut) March 25, 1976
Donald Baechler, Born 1956 in Hartford, Connecticut
Chuck Close, July 5, 1940 Monroe, Washington; lives in New York
Jim Dine, June 16, 1940 Cincinnati, Ohio; lives in New York and Putney, Vermont
Jasper Johns, May 15, 1930 Augusta, Georgia; lives in New York and Saint-Martin (Caribbean)
Donald Judd, June, 3 1928 Excelsior Springs, Missouri - New York February 12, 1994
Alex Katz, New York July 24, 1927; lives in New York
Imi Knoebel, December 31, 1940 Dessau as Klaus Wolf Knoebel; lives in Düsseldorf
Sol Lewitt, September 9, 1928 Hartford, Connecticut; lives in Chester (Connecticut) and Bari (Italy)
Roy Lichtenstein, October 27, 1923 New York - New York, September 29, 1997
Robert Mangold, October 12, 1937 Tonawanda, NY; lives in New York
Brice Marden, Bronxville, New York, October 15, 1938; lives in New York, Hydra (Greece) and in Eagles Mere, Pennsylvania
Agnes Martin, March 22, 1912 Maklin (Saskatchewan, Canada); lives in Taos, New Mexico
Blinky Palermo, June 2, 1944 Leipzig - Kurumba (Maldives) February 17, 1977
Sigmar Polke, February 13, 1941 Oels (Silesia, now Poland); lives in Cologne
Robert Rauchsenberg, October 22, 1925 Port Arthur, Texas; lives in Captiva, Florida
Robert Ryman, May 30, 1930 Nashville, Tennessee; lives in New York
Sean Scully, June 30, 1945 Dublin; lives in New York, Barcelona and Munich
Richard Serra, November 2, 1939 in San Francisco; lives in New York and Novia Scotia (Canada)
James Turell, May 6, 1943 Los Angeles; lives in Flagstaff, Arizona and Inishkeame, Ireland
Andy Warhol, August 6, 1928 Pittsburgh, Pennsylvania - New York, February 22, 1987
Tom Wesselmann, Born 1931 in Cincinnati, Ohio, lives in the USA

ALBERTINA
Albertinaplatz 1, 1010 Wien
www.albertina.at