| Feb 9, 2009 | Still-life: Apples | | | |
One of the most popular online exhibitions we put up on Luminous-lint was Still-life: Pears and I've always felt the fruit bowl was lacking variety so here are the apples. The French painter Paul Cezanne (1839-1906) is credited with the line “With an apple I will astonish Paris.” and I hope there are a few slices here to encourage thought. Further examples of well-known and original photographs most welcome to complement this series.
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Exhibition: Still-life: Apples
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| | Feb 7, 2009 | John Hannavy: Great Photographic Journeys | | | |
John Hannavy followed in the steps of William Henry Fox Talbot, Roger Fenton, Francis Frith, Charles Kinnear, Thomas Melville Raven, John Thomson, and Samuel Bourne for his book "Great Photographic Journeys – in the footsteps of Pioneer British Photographers" (Dewi Lewis Publishing, 2008). The domes of the Cathedral of the Assumption, Moscow that were photographed by Roger Fenton in 1852 were revisited along with the ruins of the mighty temple in Karnak, Egypt recorded on a wet plate collodion negative by Francis Firth. In his book ‘Egypt and Palastine photographed and described' (1859) Francis Firth wrote:
"When I reflect upon the circumstances under which many of the photographs were taken, I marvel greatly that they turned out so well. Now in a smothering little tent, my collodion fizzling – boiling up all over the glass the moment it touched – and, yet again, pushing my way backwards on my hands and knees, into a damp, slimy rock tomb to manipulate, – it is truly marvelous that the results should be presentable at all."
Many thanks to John Hannavy for providing this exhibition and I'd like to hear from others who have revisited the locations where notable photographs have been taken. Best, Alan
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| | Feb 5, 2009 | Pine & Woods: The American Typologies | | | |
On Luminous-Lint we've been fortunate with collectors and dealers who handle vernacular photographs and this exhibition assembles typologies but I'll let the artists Pine & Woods speak for themselves:
We are photo-based artists currently living and working in the Southern California area. We have, for the last ten years collaborated on a series of works, The American Typologies, composed of found photographs. The size and content of each Typology varies and is largely based on Middle America at mid 20th century. Our work depends for its strength on the preferences of two minds and four eyes.
Putting order to chaos is an integral part of our working process. We have assembled an archive in the tens of thousands of images. It is from this cataloged archive that our art is achieved. Finished works can take several months and result from the painstaking process of picking and choosing, arranging and rearranging. Each work is unique and can range in size from 36" x 36" to 72" x 72"containing from 9 to 36 images.
Thanks to Pine & Woods for their patience during my recent move.
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Exhibition: Pine & Woods: The American Typologies
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| | Feb 4, 2009 | Portrait: Beggars | | | |
To get things rolling again on Luminous-Lint after my move to Canada here is an exhibition of photographs of beggars. The Italian author and satirical journalist Giovanni Guareschi (1908-1968) best known for his Don Camillo books wrote:
"When you share your last crust of bread with a beggar, you mustn't behave as if you were throwing a bone to a dog. You must give humbly, and thank him for allowing you to have a part in his hunger."
We are seeking further examples for this exhibition and would be particularly interested in Daguerreotypes, ambrotypes, albumen prints and tintypes depicting beggars.
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Exhibition: Portrait: Beggars
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| | Feb 4, 2009 | George Eastman House Exhibition on pictorialism (Feb 7- May 31, 2009) | | | | Truth Beauty: Pictorialism and the Photograph as Art: 1845-1945
Exhibition opens Feb. 7 and continues until May 31, 2009 - George Eastman House
Take in the beauty of more than 100 treasures from the Eastman House collections. Featuring works by such well-known photographers as Alvin Langdon Coburn, Edward Steichen, Alfred Stieglitz, Robert Demachy, Frederick Evans, and F. Holland Day, this remarkable exhibition illustrates the Pictorialism movement's progression from its early influences to its lasting impact on photography and art. TruthBeauty curator and author Alison Nordström will provide a gallery tour of the exhibition on Thursday, Feb. 19, 6:30 p.m.
Exhibition details
Background information on Pictorialism
Thanks to the attentive support of collectors, particularly Photoseed, and galleries Luminous-Lint has been able to mount a number of online exhibitions that include many of the key publications on pictorialism along with exhibitions on significant photographers and schools. For those of you that see Camera Work as the most significant publication this will be a treat and a revelation as the less well known European publications started almost ten years earlier.
Publications
A Record of the Photographic Salon of 1895 (London)
Kodak Portfolio: Souvenir of the Eastman Photographic Exhibition 1897
Alfred Stieglitz: Picturesque Bits of New York and Other Studies (1897)
Die Kunst in der Photographie (1897)
Die Kunst in der Photographie (1898)
Die Kunst in der Photographie (1899)
Die Kunst in der Photographie (1900)
Die Kunst in der Photographie (1901)
Die Kunst in der Photographie (1897-1908)
G.L. Arlaud: Vingt Études de Nu en Plein Air
Gustave Marissiaux: Visions d’Artistes (1908)
Japanese pictorialism: Bunka Shashin-shu (1922)
Première Exposition d'Art Photographique - 1894 (The Photo-Club de Paris)
Deuxième Exposition d'Art Photographique - 1895 (The Photo-Club de Paris)
Troisième Exposition d'Art Photographique - 1896 (The Photo-Club de Paris)
Quatrième Année Salon de Photographie - 1897 (The Photo-Club de Paris)
Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien (1894)
Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien (1896)
American Pictorialism: Camera Work (1903-1917)
Photographers and schools
A. Aubrey Bodine: Baltimore Pictorialist
The Clarence H. White School of Photography
Themes
Erotica: A Pictorialist perspective
Flowers: A Pictorialist perspective
Trees: A Pictorialist perspective
Portraits: A Pictorialist perspective
Japanese Art Photography preserved on Postcards
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| | Feb 1, 2009 | Andrew Garn: Magnitogorsk | | | |
Most of us have everyday lives far removed from that of heavy industry and at times in my life I've worked for large conglomerates such as Firestone Tyres and in the cable and wire rope works of Bridon in the UK. There is a magnificence in heavy industry despite the grime and often terrible working conditions - the scale is awesome and the ingenuity that can create immense plants stretches the mind. The recording of working conditions has a long tradition in documentary photography and it was common in the earliest Daguerreotypes to record workers with the tools of their trades - painters with their brushes, miners with shovels and picks and so on. Lewis Hine recorded aspects of child labor in the USA and the Bernd & Hilla Becher the typologies of industrial buildings. On this website there already exhibitions on the industrial remains of Eastern Europe recorded by Bruce Haley and the English industrial decay photographed by John Darwell.
In this online exhibition New York based photographer Andrew Garn takes us to Magnitogorsk in Russia.
The Magnitogorsk Metal Kombinat (MMK), built in the late 1920s during Stalin's Five Year Plan, is the largest steel plant in the world today. The sheer vastness and architectural complexity of this Siberian metal city, conceived with the ambition to become the "Pittsburgh of the East", is unparalleled throughout the world. An important record of political, social and manufacturing history, Magnitogorsk is also a feat of engineering and socialist ideals. The Russian steel plant, constructed on an uninhabited barren and hostile plain near the Ural River and a mountain rich in iron ore, stretches for over thirteen miles. By comparison, the great US Steel plant in Pittsburgh, PA, was a third of this size.
Thanks to Andrew Garn for his assistance with this exhibition.
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Exhibition: Andrew Garn: Magnitogorsk
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| | Jan 25, 2009 | Graphoscopes | | | |
As the photograph of the day is a graphoscope I thought that I would share a few other examples with you. Graphoscopes are magnifying viewers used largely in the 19th century. They consist of two parts - an easel to hold the image be it a photograph, engraving, object or piece of text and one large magnifying lens or two smaller ones. Charles John Rowsell of Stockwell Villas, South Lambeth Road, Surrey in England patented the first stereographoscope on February 1, 1864 in England for "Improvements in apparatus for viewing photographic and other pictures, coins, and medals, which is also applicable in the production of drawings and paintings." and versions of this magnifying viewer were made by notable optical instrument makers including Negretti and Zambra.
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Exhibition: Stereo images: Storage and display
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| | Jan 25, 2009 | Giacomo Brunelli: Animals | | | |
Some time ago we put up an exhibition of the work of Giacomo Brunelli and I'm pleased to see that Dewi Lewis has published a book on his work. The Animals with a foreword by Alison Nordström of George Eastman House. (Hardback, clothbound 72 pages, 33 tritone photographs, 300mm x 247mm, ISBN: 978-1-904587-71-2). These photographs show a darker side of the ordinary - moments in the lifes of animals caught in their own fables. Giacomo has a website at http://www.giacomobrunelli.com/ for those that wish to explore.
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Exhibition: Giacomo Brunelli: Creatures
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| | Jan 21, 2009 | Change of address for Luminous-Lint | | | | Please note that Luminous-Lint has moved from the USA to Canada and I can be contacted at:
Alan Griffiths
Luminous-Lint
Box 33055
Quinpool RPO
Halifax NS
B3L 4T6
Canada
Email: alan@luminous-lint.com
As always I look forward to hearing from you as Luminous-Lint starts to return to activity. Best, Alan
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| | Jan 19, 2009 | Upcoming Stereographica auction | | | |
There is an upcoming online auction (www.stereographica.com) that closes on Saturday, January 31, 2009. As always with the Stereographica auctions there are intriguing finds for the collector of early photography. The four examples I'm showing here include a CDV used as the first card in a photo album to encourage viewers to contribute their own image, a lithograph showing a photographer in a perilous position, a Graphoscope by Gustav Schneck, and a Daguerreotype showing twelve ladies with alarmingly similar hairstyles.
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