| Title | Diccionario de fotógrafos = A dictionary of photographers |
| Published | Madrid : La Fabrica, 2007 |
This is (unsurprisingly) a dictionary of photographers. The pictures below are not necessarily from this book, rather I used it as a starting point from which I researched the artists and their exhibition methods.
Dennis Adams
Airborne: I'm Sorry
2002
40.5 x 54in (102.9 x 137.2cm)
Lambda coupler print
"The Airborne (2002) series of photographs focuses on a dialogue between historical memory and the new ways of treating current affairs" (p.18)
The installation above is appropriately simple, no frames of boarders. The lighting design creates an interesting halo effect to the photographs which I'm not sure that I'm fond of.
Isidro Blasco
"...exploration of the confluences between sculpture, architecture, and photography." (p.62)
Blasco begins by taking quick snapshots of a space, and then reassembling the space in a Hockney-esc sculpture.
Marcelo Brodsky
Exhibition view, 2009, Cultural Center for Memroy Trelew
Brodsky series Buena Memoria uses photographs, videos and texts to track the lives of a group of class mates from Buenos Aires National School, in order to showcase to younger generations what it was like to grow up under a military dictatorship.
"The series Buena Memoria was shown on ninety occasions in twenty different countries between 1997 and 2005." (72)
Lynn Davis
2001 — Edwynn Houk Gallery, New York, “Ice”
Olafur Eliasson
Olafur Eliasson, The aerial river series, 2000; photograph; forty-two framed chromogenic prints, overall: 106 in. x 182 in. (269.2 cm x 462.3 cm); Collection SFMOMA, Gift of Helen and Charles Schwab; © Olafur Eliasson
Source: http://www.sfmoma.org/explore/collection/artwork/106151##ixzz1rmrxFdaW
San Francisco Museum of Modern Art
Source: http://www.sfmoma.org/explore/collection/artwork/106151##ixzz1rmrxFdaW
San Francisco Museum of Modern Art
Eliasson "constantly questions mankind's idea of nature, as well as scientific mechanisms used to record and observe it." (p.168)
"It is halfway between the Romantic idea of landscape, and actual experience of nature." p.168)
Luigi Ghirri
It's Beautiful Here Isn't It, at Aperture Gallery, New York
Illuminations Exhibition, Venice Biennale 2011
"the real voyage of discovery consists not in seeking new landscapes, but in having new eyes." Marcel Proust (quoted p.218)
Paul Graham at the Museum of Modern Art -- © Brian Rose
Installation view of A Shimmer of Possibility
Installation view of Paul Graham: The PresentThe Pace Gallery, 545 West 22nd Street. © Paul Graham, courtesy The Pace Gallery and Pace/MacGill Gallery, New York. Photo by Kerry Ryan McFate / Courtesy The Pace Gallery.
"The weight of the past is the common theme in most if his work, which highlights symbols and images which often go unnoticed." (p.254)
Autobiography (1980) consists of photographs of "every object in his home. The ensemble of over one thousand images fascinates the viewer due to its incessant rhythm and evocation of philosophical themes." (p.318)
Pedro Lopez Canas
Madoz "highlights those details hidden within the ordinary world that provide a clue to new worlds imagined by the artist as if he were a child." (p.328)
Simple display, large boarders and black frame, uniform print size with equal spacing.
Similar framing but variation in print size and layout.
Madoz's photographs are clever visual plays, which require a second look, this subject matter demands a mode of exhibition that becomes invisible on viewing.
Comenius Roethlisberger and Admir Jahic
The Star Wars Kid (2010)
Drawings of YouTube video "Star Wars Kid," exhibited here at the Invisible Heroes booth at SCOPE Art Fair Basel. From the series "Without You Baby There Ain't No Us".
March 25- April 8, 2009, Al Sabah Art and Design Collection at the Corniche 'the Youtube exhibition'
Installing
exhibition shot 2, parking garage, basel, switzerland
ARCO, galeria luis adelantado
These photographs are a progression of a series of portraits Roethlisberger took of well known celebrities, such as Sinead O'Connor and INXS. Here he mpoved away from photographing the people themselves, focusing instead on the walls of their houses, studios, etc. The places are locatable only by their captions.
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