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Feb 1, 2012 The Afghan Box Camera Project 2012 
 
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Curated by
The Afghan Box Camera Project
Afghan Box Camera Project
Lukas Birk & Sean Foley

 
Editorial note
 
Firstly a disclaimer - I do not know and have not met the people who run this project.
 
Secondly - I haven't used Luminous-Lint to back projects financially because I feel it is not appropriate but here I'm making an exception.
 
The Afghan Box Camera Project is timely and significant as it is documenting a way of taking photographs that is vanishing around the world and deserves to be recorded. The Afghan Box Camera Project has clearly demonstrated that they are serious, have thought it through, and have done an excellent job and will continue to do so - it deserves our support.
 
Help out if you can - thanks, Alan Griffiths
 

 

KickStarter - Afghan Box Camera Project 2012
 
  
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Exhibition: Afghan Box Camera Project 
  
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Jan 31, 2012 26.5 million is not a small number... 
 
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My memory can be terrible and I forget bits of software I've written. Yesterday I found a bit I wrote in late 2007 that has been logging page views on www.luminous-lint.com since then. I just checked and there have been 26.5 million page views since January 2008. Currently it is running at well over 500,000 a month so I think some of you may be interested in photography.
 
[Posted to Facebook: 31 January 2012] 
  
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Jan 22, 2012 
  
** Ongoing ** 
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Paintings and prints based on photographs or vice versa 
 
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It can be difficult to locate examples of paintings that have provably been based on photographs, or vice versa, and so this exhibition brings together some notable examples and it will be improved over time. If you have examples let us all know. 
  
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Exhibition: Paintings and prints based on photographs or vice versa 
  
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Jan 22, 2012 
  
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Photographs that are stylistically similar to paintings 
 
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At certain times people have sought to raise the "artistic" value of photography by showing how similar it was, or is, to painting. Within pictorialism "hand-worked" prints were the natural way to go with this and although it was a dead end as it denied what made photography unique it was a significant period in widening the acceptance of photography as an art form. This exhibition brings together a series of photographs that demonstrate how photographers have been influenced stylistically by painting and printmaking. 
  
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Exhibition: Photographs that are stylistically similar to paintings 
  
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Jan 22, 2012 Art and Photography 
 
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This online exhibition is an overview for educational use of issues surrounding art and photography. 
  
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Exhibition: Art and Photography 
  
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Jan 22, 2012 
  
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Photographic reproductions of works on paper and canvas 
 
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One of the earliest applications of photography was the reproduction of artworks and Joseph Nicéphore Niépce did this in the 1820s with his work on the portrait of Cardinal d'Amboise. Henry Fox Talbot in The Pencil of Nature , published in 1844, included a "Fac-simile of an Old Printed Page" (Part 2, pl.9), a " Copy of a Lithographic Print" (Part 2, pl.11) and "Hagar in the Desert" (Part 6, pl.23) to stress the importance that photography would have in historical and art research. As photography developed some photographers and companies specialized in selling copies of masterpieces of art history and this exhibition includes texts on these and the associated legal issues over copyright protection of photographs. 
  
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Exhibition: Photographic reproductions of works on paper and canvas 
  
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Jan 22, 2012 Photographic reproductions of sculpture 
 
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This online exhibitions shows how sculptures were photographed in the 19th century. 
  
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Exhibition: Photographic reproductions of sculpture 
  
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Jan 20, 2012 Snapshot: Painters and Photography, Bonnard to Vuillard 
 February 4–May 6, 2012
Phillips Collection
 

 
George Hendrik Breitner
"Girl in a kimono (Geesje Kwak) in Breitner’s studio on Lauriersgracht, Amsterdam"
n.d., Gelatin silver print, 12 1/4 x 15 1/4 ins (framed)
Collection RKD (Netherlands Institute for Art History)
 

 
George Hendrik Breitner
Girl in Red Kimono, Geesje Kwak
1893-1895, Oil on canvas, 24 x 19 1/2 ins
Noortman Master Paintings
On behalf of private collection, Netherlands.

The invention of the Kodak handheld camera in 1888 gave post-impressionist artists a new source of inspiration. Investigating the techniques and compositional strategies made possible by the new apparatus, artists captured their private lives, as well as their public domains, in surprising ways. The exhibition debuts many previously unpublished photographs taken by seven European artists, renowned for their paintings and prints. Approximately 200 photographs and 80 paintings and works on paper by artists including Pierre Bonnard, Félix Vallotton, and Edouard Vuillard explore the dynamic relationships among the various media.
 
The exhibition was co-organized by The Phillips Collection, the Van Gogh Museum, Amsterdam, and the Indianapolis Museum of Art. 
  
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Jan 15, 2012 Newsletter 6.01 - Jan 15, 2012 has been emailed 
 The Luminous-Lint Newsletter 6.01 - Jan 15, 2012 has been emailed to all those on our mailing list and you can subscribe to these free newsletters if you haven't already done so.
 
Past issues of the newsletter are in the library on the Luminous-Lint website. Best, Alan 
  
  
  
Jan 15, 2012 Icons of the South - Portraits of Ouleds-Nails (Algeria 1860-1910) 
 
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“Exposed to the curious eyes of foreigners in all the showcases of the photographers, is a portrait of a woman of the south in a bizarre costume, with the impressive face of an idol from the old Orient […], the face of a bird of prey with eyes full of mystery …” So begins Le Portrait de l’Ouled Nail, written by Isabelle Eberhardt at the very beginning of the twentieth century. Classic iconographs of the Algerian south, the Ouled Nail never ceased to fascinate travellers and artists, from Fromentin to Gide and Robert Hitchens, who popularised the legend of these Bedouin women leaving the desert for Biskra and Bou Saada, well before the arrival of the first Europeans, to become dancers and prostitutes for long enough to build up a satisfactory dowry and return to marry a man of their own tribe.
 
From the introduction by Michel Mégnin.
Thanks to Gilles Dupont, great grandson of Auguste Maure; and to Bruno Tartarin, the Photo-Verdeau gallery, Paris. Special thanks to Angela Martin for an attentive and sensitive translation from the original French. 
  
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Exhibition: Icons of the South - Portraits of Ouleds-Nails (Algeria 1860-1910) 
  
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