デジタルと版

Digital Alchemy: Printmaking techniques for fine art, photography, and mixed media

Bonny Pierce Lhotk

Degital Alchemy

 

インクジェットプリンターを使って版画の版をつくる

 

最近のインクジェットプリンターの高性能化に伴って、写真のネガティブを印刷することが出来るようになっている。この本「Digital Alchemy」では、インクジェットプリンターで版を印刷し、版画に応用しています。

写真がデジタルへ移ったことで、使う素材もGelatin silver printの時代から大きく様変わりしてきた。版画においては、写真が印画紙から離れていったようなことは起きにくいのではないだろうか。むしろ技法の奥深さに入り込んでいく人々が多いと思う。写真はフィルムがデジタルになったことで、印画紙から離れ、インクジェットか液晶画面へと移行している。この流れゆく先は、美術館の中・外関係なく写真の世界の道へと続くことだろう。

落語とライブ、写真

先日、落語を聞きに銀座の方へ行ってきました。枕の話しが面白くて…ライブならではです。

その高座は文化放送の開局記念ということで、立川志の輔本人のラジオ体験談について語っている場面がありました。
ラジオはテレビとは違って、ある個人を想像しながらマイクに向かって伝えるメディアであると。

自分が目指している写真にも似たことが言える気がしました。写真には幾つか種類があって、見せ・伝えることを使命としているもの。
また、鑑賞者と定着しているイメージとの間を往復することを目指しているもの。
後者は伝え方が、ラジオの一人語りに近いような気がしました。落語に型があるように、写真の法則とはどんなものがあるのでしょうか。
立川志の輔…本当に面白いです。一人芝居のイッセイ尾形も非常に興味深いことを話していました。

(過去の自分のブログより)

Floris Neususs

Floris Neusüss: Ancient and Modern, London

A pioneer of photographic art, German artist Floris Neusüss depicts the human form, nature, and aspects of domestication through his camera-less photographs. Currently on view at ATLAS GalleryAncient and Modern unveils original works by Neusüss from the 1960s and 1970s that have not been previously released from his studio until now.

Neusüss portrays the ancient in a modern way in his works from the Aegineten photogram series, that include photogramic renditions of life-size ancient Greek statues from the Glypothek Museum in Munich. This older series is shown with newly released artworks from the 1970s of nudes conveyed in the same photogramic practice. Neusüss’ Nudogramms from 1974, displayed in the ground floor space, are aesthetically juxtaposed with the works featuring the ancient Greek statues downstairs, as the themes of new and old play against one another. The Nudogramms, which include figures that are caught in space in a dream-like state, seem to be stretching into the infinite space that exists in his photograms. According to Neusüss: “Perspective and horizon are absent from photograms, so the space is theoretically unending.”

This dreaming state and the play on light could perhaps be attributed to the Surrealists and the photograms of Man Ray, known as Rayographs. Neusüss has stated that a photogram is a kind of drawing with light, where, as his influence Moholy-Nagy once explained it, light can serve a similar central role as the pigments in a painting. Aware of the work of Moholy-Nagy and Man Ray in his youth, their influence encouraged Neusüss to become a photogram artist.

Neusüss appears to paint with light in the works on show, though the figures and shapes retain a realistic element that is similarly captured through photography. A photogram is created by placing objects (or the human figure) on light-sensitive paper or film. Once exposed to light, the shape of the object is revealed. The sharpness and saturation of the outlines, intensity, and transparency of the objects is dependent on the proximity of the object to the light-sensitive sheet and the amount of light used. The result is a negative image, as if the artist has “painted” with light.

A photogram, however, is like a painting, in that a picture is created on paper, step by step. Yet, Neusüss has expanded upon the conventional photogram by wiping a brush, sponge, or rag dipped in developer or fixer solution across the surface of the paper to produce controlled, painterly gestures. Like Man Ray, who was inspired by the Dada movement, Neusüss breaks away from traditional painting techniques in favour of various processes that automatically generate images. The use of this painterly technique using photographic chemicals is especially apparent in his Tellerbilder photograms that were created using various size household plates. Neusüss has illuminated these works with vibrant, psychedelic colors and designs, which can be compared to color combinations and designs from the 1970s.

In the downstairs room of the gallery space you will find the highlight of the exhibition: a newly unveiled work depicting a dinner table laden with the detritus of a long and messy meal, photographically printed onto canvas. The piece, entitled Table cloth, draws the viewer in as it reveals an imprinted narrative of a dinner party. The circular crockery works of the Tellerbild series are appropriately displayed on the opposing and congruent walls, unifying these similar-themed works. The inspiration Neusüss found in Bauhuas can be observed through this series through their colorful compositional design, while the inspiration of Constructivist painter Moholy-Nagy is also apparent in these photogramic images of household items and in his figurative works.

As Martin Barnes has described it, there exists in Neusüss’ works “a poetic dialogue between presence and absence”. The positive and negative space in his work presents the figures so that they seem to be so near, though their abstraction and presence in their infinite horizons suggest their unattainable distance. This exhibition of photograms collates the subjects of the human figure, nature, and domesticated objects, in scenes that provide insight into Neusüss’ oeuvre. The artist has dedicated his career to the practice by exploring, challenging and expanding its technical, conceptual, and visual possibilities. Ancient and Modern shines a light on the capabilities of the photogram and the art of camera-less photography.

Floris Neusüss: Ancient and Modern, until 12 January 2013, ATLAS Gallery, 49 Dorset Street, Greater London, W1U 7NF

Ashton Chandler

Credits
All images are courtesy of  Floris Neusüss and ATLAS Gallery London
1. Nudogramm, 1963.
2. Faust (positive),1984.
3. Nudogramm, 1964.
4. Tablecloth, 1983.

At Lacock Abbey in Wiltshire, England, Floris Neusüss reveals his preparations to make a picture without a camera – a ‘photogram’ – of the window that formed the subject of William Henry Fox Talbot’s first photographic negative, made there in 1835. In the Abbey’s grounds, Neusüss also demonstrates using fern leaves the creation of ‘cyanotype’ photograms, recreating the methods of the very first photographs.

IThe exhibition Shadow Catchers: Camera-less Photography(13 October 2010 – 20 February 2011) featured five international artists who challenge the assumption that a camera is necessary to make a photograph. The V&A commissioned five short films on each of the artists, showing their studios and places that inspire them. This is a revealing and evocative look at their working environments and an insight into their creative ideas.

Faking It Manipulated Photography Before Photoshop

興味深い展示がNYのメトロポリタンミュージアムで行われています。
去年の夏のニューヨーク滞在中にメトロポリタンミュージアムには何度も通い、東京にある美術館の企画展示と違うところに、企画の意図が広く万人に伝わりやすい構成になっている。単純で説得力がある。膨大なコレクションをどのように再構成して、来場者に展示に興味を持ってもらうか。今回の、フォトショップ以前の写真加工展。タイトルのなに年代ではなく、フォトショップというデジタル写真時代の象徴を入れてくるあたりのセンスは嫌いじゃありません。コマーシャルの匂いを嫌う人もいるかも知れませんが、人の興味を減らさずに増やすことへ確実につながっているでしょうね。メトロポリタンミュージアムのHPでは出品目録もあるので、それを見るだけでも楽しいです。約200点初めて見るものも沢山ありました。

Faking It

Manipulated Photography Before Photoshop

October 11, 2012–January 27, 2013

Please enable flash to view this media. Download the flash player. 

Please enable flash to view this media. Download the flash player.

 

Accompanied by a catalogue and a free iPad app

The urge to modify camera images is as old as photography itself—only the methods have changed. Nearly every type of manipulation we now associate with digital photography was also part of the medium’s pre-digital repertoire: smoothing away wrinkles, slimming waistlines, adding people to a scene (or removing them)—even fabricating events that never took place.

This international loan exhibition traces the history of manipulated photography from the 1840s through the early 1990s, when the computer replaced manual techniques as the dominant means of doctoring photographs. Most of the two hundred pictures on view were altered after the negative was exposed—through photomontage, combination printing, overpainting, retouching, or, as is often the case, a blend of several processes. In every instance, the final image differs significantly from what stood before the camera at any given moment.

Whether modified in the service of art, politics, news, entertainment, or commerce, the pictures featured in the exhibition adopt the seamlessly realistic appearance of conventional photographs. They aim to convince the eye, even if the mind rebels at the scenarios they conjure, such as a woman bathing in a glass of champagne or a man brandishing his own severed head.

Over the past two decades, digital technology has made us all more keenly aware of the malleability of the photographic image, and many lament a loss of faith in the testimony of the camera. What we have gained, however, is a fresh perspective on the history of the medium and its complex relationship to visual truth. Through today’s eyes, we can see that the old adage “the camera never lies” has always been photography’s supreme fiction.

コンテンポラリー写真

『SOURCE』という名の写真季刊誌のHPようです。

ここで、Conceptual Photographyについての特集が組まれています。

hpでは動画を3本紹介しています。そのなかから始めの1をここで。

昨年、仕事を通してイタリア人留学生の石彫作家と出会い、日本の現代美術が彼の目からどのように見えるのかについて質問をした。キリスト教宗教界画の時代の歴史を持たない日本の現代美術について、ヨーロッパ美術・特にイタリア古典人体彫刻と毎日接してきた彼の意見を是非聞いてみたいとの想いからやや興奮していたかもしれない。聞いてみたいことは山の様にあったけれど、その全ての質問に答えて貰うにはとても時間が足りなかった。だけれども、とても興味深い話しを聞かせてくれたことにとても感謝している。

さて、日本で現代写真というとなにを思い浮かべるのだろうか。作品、作家、評論、ギャラリー、展覧会、写真集…日本の写真史の流れは北米・南米、ヨーロッパと比べてどのように違い、どの部分が似ているのか。しかし、近未来を予測してみると、写真というメディアはインターネット時代のいま、流通量はどのメディアよりも量では一番なのではないか。もしかすると、写真史は国別で語るほどにローカル色はますます減退していくのではないだろうか。現代写真自体も1つのジャンルとして、近いうちにピリオドが打たれてしまうということは、誰かすでに考えていそうな気がする。

テグ・フォトビエンナーレ

━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━
The Daegu Photo Biennale 2012|大邱(テグ)フォトビエンナーレ 2012
http://daeguphoto.com/eng/
http://www.facebook.com/DPB2012
━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━

会期: 2012年9月20日(木)~10月28日(日) 会期中無休
時間: 10:00-20:00(最終入場19:00)
会場: 大邱文化芸術会館、大邱芸術発展所(旧KT&G)、国立大邱博物館 他
内容: メイン展/特別展1/特別展2、ポートフォリオレビュー、シンポジウム 他
主催: 大邱広域市
運営: The Daegu Photo Biennale 2012 組織委員会
後援: 文化観光委員会