Übungsplatz〔練習場〕

福居伸宏　Nobuhiro Fukui　https://fknb291.info/

NEW DIRECTIONS: CONTEMPORARY PHOTOGRAPHY TODAY - YouTube

A panel conversation chaired by David Bate, photographer, writer and course leader of the MA Photographic Studies at the University of Westminster, London UK.
Panellists include Martin Barnes, Senior Curator of Photography at the Victoria and Albert Museum and Lucy Soutter, photographer, critic and art historian.

Photography is increasingly a dominant creative medium today.
Panellists explore this, together with other emergent trends in contemporary photography, drawing on their experience in the fields of curating, producing, teaching and writing about photography.

This event took place the 9 September 2011 as part of the MA Photographic Studies 2011 Exhibition of the University of Westminster at Ambika P3 Gallery (7-12 September, 2011). The work in the exhibition was the starting
point for the discussion.
Please visit www.maps2011.co.uk to view the work discussed.

http://youtu.be/IPLoNPrpTGA


◎ MAPS 2011 University of Westminster
http://www.maps2011.co.uk/

Paul Graham photography - YouTube

Peter MacGill of Pace MacGill Gallery discusses the work of photographer Paul Graham.

http://youtu.be/s_EbR10DXeU


◇ Paul Graham on Vimeo

Paul Graham’s work belongs to the tradition of social documentary photography. He developed an innovate artistic work whose view is directed uncompromisingly at social reality. For whitetube.de he speaks about one single serie called PITTSBURGH which is exhibited in a big show of Grahams work:


The House of Photography, Hamburg, Germany
24 SEPTEMBER 2010 – 9 JANUARY 2011


watch more Videos on this website: whitetube.de
find whitetube on facebook.com/whitetube
subscribe to vimeo.com/channels/whitetube


For more information about Paul Graham visit:
paulgrahamarchive.com
pacemacgill.com

http://vimeo.com/15230515


◇ PAUL GRAHAM. EUROPE : AMERICA on Vimeo
http://vimeo.com/31014928


◇ Exposition Paul Graham: discussion entre Paul Graham et Thomas Weski on Vimeo
（Partie I）http://vimeo.com/49829889
（Partie II）http://vimeo.com/49829890


◇ Exposition Paul Graham - discussion entre Valérie Jouve et Quentin Bajac on Vimeo
（partie I）http://vimeo.com/51207555
（partie II）http://vimeo.com/51207556
（partie III）http://vimeo.com/51207557


>>>Paul Grahamn - A1: The Great North Road on Vimeo

http://vimeo.com/41306675


◇ ‘Great North Road Garage, Edinburgh, November 1981’ by Paul Graham - FT.com
http://www.ft.com/intl/cms/s/2/d3b31b9c-5a50-11e2-bc93-00144feab49a.html#axzz2gb7s0kbU


◇ Paul Graham’s ‘A1: The Great North Road’ and Memory Pairings - The Photobook Club
http://photobookclub.org/index.php/2012/05/15/paul-grahams-a1-the-great-north-road-and-memory-pairings/


◇ Paul Graham’s ‘A1: The Great North Road’, A Summary - The Photobook Club
http://photobookclub.org/index.php/2012/06/08/paul-grahams-a1-the-great-north-road-a-summary/

http://d.hatena.ne.jp/n-291/20131003#p8


◇ Paul Graham // Beyond Caring on Vimeo
http://vimeo.com/33737527


◇ Paul Graham // New Europe on Vimeo
http://vimeo.com/39575352


◇ Eurosceptic – Paul Graham’s ‘New Europe’ - Gerry Badger

Unpublished, 1994

http://www.gerrybadger.com/eurosceptic-paul-grahams-new-europe-2/


◇ Paul Graham: Smoke and mirrors | Art and design - The Guardian
http://www.theguardian.com/artanddesign/2011/apr/19/paul-graham


◇ Paul Graham - Empty Heaven on Vimeo
http://vimeo.com/37947736


◇ Paul Graham - A Shimmer of Possibility (Softcover edition) on Vimeo
http://vimeo.com/41071597


◇ Paul Graham - The Present on Vimeo
http://vimeo.com/42393930


◇ Paul Graham // The Present on Vimeo
http://vimeo.com/76421979


◇ Paul Graham: Photographs 1981-2006 - BBC News
http://www.bbc.co.uk/news/in-pictures-13133461


◇ Paul Graham: 'The photography I most respect pulls something out of the ether' | Art and design | The Observer - The Guardian
http://www.theguardian.com/artanddesign/2011/apr/11/paul-graham-interview-whitechapel-ohagan


◇ On the scene: Paul Graham's portfolio - in pictures | Art and design - theguardian.com
http://www.theguardian.com/artanddesign/gallery/2011/apr/11/paul-graham-photography


◇ Paul Graham, Whitechapel Gallery, London - FT.com
http://www.ft.com/intl/cms/s/2/1051b08c-74dd-11e0-a4b7-00144feabdc0.html


◇ Paul Graham: Photographs 1981-2006 - Whitechapel Gallery
http://www.whitechapelgallery.org/downloads/1.pdf
http://www.whitechapelgallery.org/downloads/GrahamEducationResource.pdf


◇ Paul Graham - Tate
http://www.tate.org.uk/art/artists/paul-graham-2337


>>>PAUL GRAHAM - ASX | AMERICAN SUBURB X | Photography & Culture

http://www.americansuburbx.com/channels/p/paul-graham


◎ Paul Graham Photography Archive
http://www.paulgrahamarchive.com/

http://d.hatena.ne.jp/n-291/20130921#p5


◇ Paul Graham - Pace Gallery
http://www.pacegallery.com/artists/157/paul-graham


◇ Paul Graham - Anthony Reynolds Gallery
http://www.anthonyreynolds.com/graham.php
http://www.pacegallery.com/


◇ Paul Graham - Crown Gallery
http://www.crowngallery.be/grahamnew.htm
http://www.crowngallery.be/


◇ Paul Graham - Exhibitions - American Night - Galerie Les Filles du Calvaire
http://www.fillesducalvaire.com/en/9/Paul-Graham/exhibitions/53/0


◇ Paul Graham - Exhibitions - A Shimmer of Possibility - Galerie Les Filles du Calvaire
http://www.fillesducalvaire.com/en/9/Paul-Graham/exhibitions/63/0


◇ Paul Graham - Pace/MacGill Gallery
http://www.pacemacgill.com/selected_works/artist_page.php?artist=Paul%20Graham


◇ Paul Graham - Galleria Marabini
http://www.galleriamarabini.it/Sito/Paul_Graham.html


◇ Paul Graham - La Fábrica Galería
http://www.lafabrica.com/es/galerias-artistas/24/paul_graham

Manuel Álvarez Bravo

http://www.manuelalvarezbravo.org/


◇ Interactives | Exhibitions | 1997 | Manuel Alvarez Bravo - MoMA.org
http://www.moma.org/interactives/exhibitions/1997/alvarezbravo/


◇ Manuel Alvarez Bravo - Getty Museum
http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1740


◇ Manuel Álvarez Bravo - Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Manuel_%C3%81lvarez_Bravo

Cruel + Tender - Tate

Cruel + Tender
The real in the twentieth century photograph
Tate Modern: Exhibition
5 June – 7 September 2003

‘Tender cruelty’ is how the writer Lincoln Kirstein described the work of American photographer Walker Evans in the 1930s. Evans’s images were spare and factual, but his interest in the subject matter was always evident. Evans, along with German photographer August Sander, provides the historical axes for this exhibition, which explores the realist tradition within twentieth-century photography. The photographers chosen are united by this sense of ‘tender cruelty’, an oscillation between engagement and estrangement in their work. The result is a type of photographic realism that avoids nostalgia, romanticism, or sentimentality in favour of clear-eyed observation.
Besides sharing a realist style, the photographers in Cruel and Tender take a similar approach to their subject matter, however diverse its nature. Rather than the dramatised scenarios of some types of photo-journalism, the tendency in Cruel and Tender is towards the quiet documentation of overlooked aspects of our world, whether architecture, objects, places or people. In the words of Philip-Lorca diCorcia, it is an ambition to record ‘that which was never really hidden, but rarely is noticed.’
Rather than being arranged chronologically, the exhibition begins and ends with living photographers, while encouraging interconnections between the historical and the contemporary. Works are grouped into sympathetic clusters, allowing comparisons and juxtapositions. Some of the themes linking these bodies of work are explored on this site, under artists.
Though photography has been included in a number of previous exhibitions at Tate, and regularly features in its Collections displays, this is the first major exhibition dedicated purely to the medium. As such, it signals Tate’s acknowledgement that photography is a key component of contemporary visual culture and now regularly features in the programme of the museum.
An exhibition by Tate Modern, London and Museum Ludwig, Koln, curated by Emma Dexter and Thomas Weski

http://www.tate.org.uk/whats-on/tate-modern/exhibition/cruel-tender


◇ Cruel and Tender teachers' pack - Tate
http://www.tate.org.uk/download/file/fid/6437


◇ Cruel and Tender – Photography and the Real - e-flux

Museum Ludwig, Cologne Cruel and Tender – Photography and the Real December 6, 2003 – February 18, 2004 contact: Annegret Buchholtz, Press officer Bischofsgartenstrasse 1, 50667 Koln Telefon 0221 – 221 – 23491 Telefax 0221 – 221 – 24114 buchholtz@museum-ludwig.de http://www.museum-ludwig.de image: William Eggleston, Untitled (Boy in Red Cardigan), 1971, Dye-transfer print, 323 x 450 mm; Pinakothek der Moderne, Munich, Siemens artsprogram, Dauerleihgabe der Siemens Aktiengesellschaft; copyright 2003 The Eggleston Artistic Trust The exhibition takes an in-depth look at the type of photography which aims to present unvarnished reality. The works selected are characterized by their factual way of representing reality, with the artist keeping a seemingly low profile. A closer look, however, clearly reveals a subjective, individual approach and a keen interest in the objects depicted. The exhibition title “Cruel and Tender” highlights the paradox of detachment and commitment. It goes back to a statement by Lincoln Kirstein, an art and literature scholar, who characterized the works of the American photographer Walker Evans using the expression “tender cruelty”. The tension between objective description and subjective interest in the object becomes apparent in works which are completely different in character such as August Sander’s major portrait project “people in the 20th century” and Boris Michailov’s contemporary works depicting the predicament of the homeless and deprived in the former Soviet Union. This major exhibition will present works by more than twenty photographers whose photographs depict reality and who have been trend-setters in this field. The exhibition will present comprehensive groups of works by Robert Adams, Diane Arbus, Lewis Baltz, Bernd and Hilla Becher, Philip-Lorca diCorcia, Rineke Dijkstra, William Eggleston, Walker Evans, Robert Frank, Lee Friedlander, Paul Graham, Andreas Gursky, Boris Michailov, Nicholas Nixon, Martin Parr, Albert Renger-Patzsch, Thomas Ruff, August Sander, Michael Schmidt, Fazal Sheikh, Stephen Shore, Thomas Struth and Garry Winogrand. The photographer’s unemotional and cold, yet sympathetic view of the objects depicted, which is the central theme of this exhibition, pre-supposes a detailed and objective description. Thus, formalistic, surrealist and romantic photographic trends are excluded right from the outset. This kind of photography creates pictures about objects, not pictures with objects. “Cruel and Tender – Photography and the Real” is not arranged in a chronological order, but creates a dialogue of individual positions. This dialogue takes place at different places and times and will reveal differences and affinities in the realistic photography of the 20th century. The exhibition “Cruel and Tender – Photography and the Real” – is being created in a joint venture by the Museum Ludwig and the Tate Modern. It is being designed by Emma Dexter, senior curator at the Tate Modern and by Thomas Weski, senior curator at the Museum Ludwig. For the Tate Modern this first major exhibition of photography, which had nearly 100.000 visitors in London, signals a successful start in the dealing with photography. It will provide the Museum Ludwig, which has a comprehensive, but heterogeneous photographic collection, with the opportunity to review the role of photography in the context of a collection of 20th century and contemporary art. The exhibition reflects in the area of photography the structure of this collection with its focal point of an artistic dialog between Europe and the USA. The exhibition in the Museum Ludwig is supported by the German Savings Banks Association. A comprehensive exhibition catalogue will be published by Hatje Cantz with essays by David Campany, Emma Dexter, Susanne Lange and Thomas Weski, 210 illustrations, 287 pages.

http://www.e-flux.com/announcements/cruel-and-tender-photography-and-the-real/

Blind Spot: Collapsing Images - The New York Public Library

LIVE from the NYPL
Blind Spot is the international source book of photography-based fine art for artists, collectors, creative directors, designers, curators and art lovers. Blind Spot publishes new works by the world’s most renowned artists and discovers vital new work by up-and-coming artists. The collaboration of the editors and the ideas expressed by the individual artists make each issue of Blind Spot emerge as a single work of art. Fourteen years old, Blind Spot has gained an international reputation for being a visual magazine that does not talk about imagery―the content is imagery.


Collapsing Images Forum
As a counter-point to the visual conversation provided by the magazine, the Collapsing Images Forum aims to give a voice to the issues surrounding photography, and discuss the role of photography in the media and popular culture. Collapsing Images presents three vital discussions led by leading photographers, filmmakers and critics.


Saturday, November 3, 2007
Part I: A Conversation between Jack Pierson & Jerry Schatzberg (2:00 pm)
Part II: Money, Money, Money, Money (4:30 pm)
Part III: Truth and Authenticity in Photography (7:30 pm)

http://www.nypl.org/live/multimedia/blind-spot


◇ Part III: Truth and Authenticity in Photography - The New York Public Library

Part III TRUTH AND AUTHENTICITY IN PHOTOGRAPHY


How does a photographer negotiate between "documenting" and "creating What is "truth" in photography Other issues to address are the commodification of biography and the viewer/consumer's visceral hunger for vicarious experience and search for authenticity via the artist.


Moderator: Elisabeth Sussman


Panelists: Mitch Epstein, Paul Graham, Katy Grannan, Danny Lyon, and Tod Papageorge

http://www.nypl.org/audiovideo/part-iii-truth-and-authenticity-photography


◇ Part II: Money, Money, Money, Money - The New York Public Library

Part II MONEY, MONEY, MONEY, MONEY


In an era when creativity and innovation have a price tag and the lines between art and commerce are increasingly blurred, how do artists negotiate this terrain Are commercial entities like Prada, Apple and Louis Vuitton modern-day Medicis or are these corporations and their consigliere simply bandits brokering on the fame of the artist Is art in the service of commerce or vice versa?


Moderator: Glenn O'Brien


Panelists: Vince Aletti, Philip Lorca diCorcia, Dennis Freedman, Doug Lloyd, Glen Luchford, Collier Schorr, Andy Spade

http://www.nypl.org/audiovideo/part-ii-money-money-money-money?nref=90291

Photographer Danny Lyon Reflects on an Iconic Career - YouTube

Photographer Danny Lyon's career reaches from the March on Washington to the Occupy movement and beyond. He captures enduring images, as photographer Vincent J. Musi says in his introduction, "with the eye of a documentarian and the soul of a radical." Lyon gave this talk at the 2014 National Geographic Photography Seminar in Washington, D.C.


Visit Danny Lyon's website:
http://bleakbeauty.com/home.html


Read his blog:
http://dektol.wordpress.com/


Explore a gallery of his photographs:
http://www.houkgallery.com/exhibitions/2014-01-09_danny-lyon/

http://youtu.be/AejmxMEW0Gk

2012 Lucie Awards Honoree, Tod Papageorge on Vimeo

http://vimeo.com/51535732


◇ Explore Modern Art | Multimedia | Video | "Too Much Is Enough": A Talk on Garry Winogrand - The San Francisco Museum of Modern Art (SFMOMA)

Tod Papageorge began to photograph in 1962, during his last semester as a student in literature at the University of New Hampshire. By 1966 he had moved to New York City and been accepted into a small circle of photographer/artists, including Garry Winogrand, who were engaged in transforming the then-dominant documentary "style" of journalistic photography into a vigorous, poetic form. Papageorge's work is the subject of several monographs, and a selection of his writings on photography, Core Curriculum ― which includes his seminal essay on Winogrand, "Public Relations: The Photographs of Garry Winogrand" ― was published in 2011. He has been the Walker Evans Professor of Photography at the Yale School of Art since 1979. This artist talk was filmed at SFMOMA on March 7, 2013.

http://www.sfmoma.org/explore/multimedia/videos/554

［参考］291 workshop「第８期」各回の参考メモ

写真 ワークショップ

▽第１回

【第８期・第１回の資料】
寺田真由美『明るい部屋の中で』｜奈良美智写真集『the good, the bad, the average…and unique』｜写真：川内倫子、文：中村航、是枝裕和、湯本香樹実、佐藤さとる、やまだないと、中村一義、島本理生、堀江敏幸、しりあがり寿『あの頃のこと　Every day as a child』｜荒木経惟『顔写』｜Roni Horn『You Are the Weather』｜Roni Horn『This is Me, This is You』｜Allan McCollum『36 Perpetual Photos 1982/89』｜『Light Years: Conceptual Art and the Photograph, 1964-1977』（Art Institute of Chicago）｜『フォト・ドキュメンタリー「NIPPON」2004-2006』（ガーディアン・ガーデン ）｜山崎博『Early Works 1969-1974』｜牧野智晃『TOKYO SOAP OPERA』


▽第２回

【第８期・第２回の資料】
『The gallery of World Photography / New Directions 世界写真全集 第12集 ニューウェイブ』（集英社）｜鈴木心『写真』｜河合竜也『blue garden』｜大森克己・百々新・元田敬三・長島有里枝・有元伸也・大橋仁・野村恵子『RUSH』（リトルモア）｜William Eggleston's Guide』（MoMA）｜川内倫子『うたたね』｜『Annette Kelm』（Walther König）｜Jörg Sasse『Vierzig Fotografien, 1984-1991』｜安村崇『日常らしさ』｜Wolfgang Tillmans『Neue Welt』｜Sigmar Polke『Photographische Arbeiten aus der Sammlung Garnatz』（Schirmer/Mosel）｜Sigmar Polke『Photoworks : When Pictures Vanish』｜『はるかな空の下で　日本の現代写真』（東京都写真美術館）｜東松照明『I am a king』


▽第３回

【第８期・第３回の資料】
田代一倫『はまゆりの頃に　三陸、福島 2011〜2013年』｜Wolfgang Tillmans『Neue Welt』｜John Szarkowski『The Photographer's Eye』（MoMA）｜John Szarkowski『Mirrors and Windows: American Photography since 1960』（MoMA）｜Martin Parr『The Last Resort』｜飯田勇『虚飾の街　銀座1983-2002』｜十文字美信『感性のバケモノになりたい』｜Nobuyoshi Araki『The Banquet』｜『William Eggleston's Guide』（MoMA）｜『Roni Horn』（Phaidon）


▽第４回

【第８期・第４回の資料】
Paul Strand『Sixty Years of Photographs (Aperture Monograph)』｜Stebbins & Keyes『Charles Sheeler: The Photographs』（Museum of Fine Arts, Boston）｜『Remembrance 3.11』（ニコンサロン選考委員会）｜須田一政『わが東京100 ニコンサロンブックス5』｜Michael Schmidt『Ein-Heit』｜中平卓馬『原点復帰−横浜』（横浜美術館）｜Jörg Sasse『Vierzig Fotografien, 1984-1991』｜Gabriel Orozco『Photographs』｜Martin Parr『Autoportrait』｜Martin Parr『The Last Resort』｜小山泰介『entropix』｜うつゆみこ『はこぶねのそと』｜Nobuyoshi Araki『The Banquet』｜『荒木経惟写真全集〈16〉エロトス』

【第８期・第４回の参考＋補足】
https://www.facebook.com/291ws/posts/463378297123567

【資料：1970年代の中平卓馬さん】
https://www.facebook.com/291ws/posts/463964053731658

【資料：Merry Alpern メリー・アルパーン】
https://www.facebook.com/291ws/posts/580174975405715


▽第５回

【第８期・第５回の資料】
清水穣『ゲルハルト・リヒター　オイル・オン・フォト、一つの基本モデル』｜Nobuyoshi Araki『The Banquet』｜『荒木経惟写真全集〈16〉エロトス』｜大橋仁『目のまえのつづき』｜川内倫子『Cui Cui』｜荒木経惟＋森まゆみ『人町』｜『荒木経惟写真全集〈9〉私日記・世紀末』｜『荒木経惟写真全集〈4〉ニューヨーク』｜鈴木清『デュラスの領土　DURASIA』｜佐藤時啓『光―呼吸　PHOTO-RESPIRATION』｜『現代写真の動向 1995 another reality』（川崎市市民ミュージアム）｜『現代写真の動向 2001 outer⇔inter』（川崎市市民ミュージアム）｜Joel Sternfeld『Stranger Passing』｜田附勝『東北』｜『Distanz und Nähe: Fotografische Arbeiten von Bernd und Hilla Becher, Andreas Gursky, Candida Höfer, Axel Hütte, Simone Nieweg, Thomas Ruff, Jörg Sasse, Thomas Struth, Petra Wunderlich』（Institut für Auslandsbeziehungen）｜『シンディ・シャーマン写真集』（PARCO出版）｜『CINDY SHERMAN』（シンディ・シャーマン展図録　朝日新聞社）｜『Sophie Calle: Did You See Me?』｜『パリ・ニューヨーク・東京　つくば写真美術館'85』｜『Lee Friedlander『Like A One-Eyed Cat』ほか

【第８期・第５回のプラスα】オープン・エンドな作品？それは本当か？関連
https://www.facebook.com/291ws/posts/468362406625156


▽第６回

【第８期・第６回の資料】
ロザリンド・クラウス『オリジナリティと反復』｜松井みどり『アート：“芸術”が終わった後の“アート”』｜『写真空間３ 特集 レクチャー写真論！』｜亀井祐子、ヨーグ・オバーグフェル、セバスチャン・シュトゥンフ『ON CONCRETE』（TWS）｜長野陽一『シマノホホエミ』（情報センター出版局）｜飯沢耕太郎編『シャッター＆ラヴ（STUDIO VOICE BOOKS）』（インファス）｜『déjà-vu　No.7「沈黙の風景」』｜Peter Fraser『Material』｜うつゆみこ『はこぶねのそと』｜Nobuyoshi Araki『The Banquet』｜『荒木経惟写真全集〈16〉エロトス』｜Martin Parr『Autoportrait』｜『SCIENCE サイエンス・フォト 世界写真全集 新装版(6)』｜Joel Sternfeld『American Prospects』｜『Sophie Calle: Did You See Me?』（Prestel Pub, 2004）｜エルヴェ・ギベール『写真書物』ほか

【第８期・第６回のプラスα】日々の営み“食事”を撮る写真
https://www.facebook.com/291ws/posts/594974240592455


▽第７回

【第８期・第７回の資料】
『写真展―NEW YORK・ニューヨーク』（東京都庭園美術館）｜森山大道『VISIONS of JAPAN MORIYAMA Daido』｜『荒木経惟写真全集〈4〉ニューヨーク』｜石川直樹『Mt.Fuji』｜『From Here to There: Alec Soth's America』（Walker Art Center/Hatje Cantz, 2010）｜鈴木理策『Piles of Time』｜John Gossage『There and Gone』｜永禮賢『birds of silence』｜Joachim Schmid『Photoworks 1982-2007』｜Maurizio Cattelan and Pierpaolo Ferrari『TOILETPAPER』｜『Paul Graham』（Phaidon）｜『Stan Douglas』（Phaidon）｜『Doug Aitken』（Phaidon）ほか

【第８期・第７回のプラスα】
https://www.facebook.com/291ws/posts/478151285646268


▽第８回

【第８期・第８回の資料】
『現代写真の母型１　柴田敏雄』『現代写真の母型２　安田千絵』『現代写真の母型３　小林のりお・伊奈英次・畠山直哉』『現代写真の母型４　白岡順』（いずれも川崎市市民ミュージアム　冊子）｜齋木克裕『FOR THE SAKE OF FUTURE DAYS』｜高橋ジュンコ『LOST WORLD』｜『Mole Unit No.1 桑原敏郎』（文：金子隆一・秋田昌美）｜吉村朗『SPIN : Mole Unit No.9』｜『Sophie Calle: Did You See Me?』（Prestel Pub, 2004）｜Yuki Kimura『Picture of a man』｜八田政玄『遠い声 遠い部屋』（写真集＋CD-ROM）｜Allan McCollum『36 Perpetual Photos - 1982/89』｜『DAIWA PRESS VIEWING ROOM vol.09 木村友紀』｜小畑雄嗣『二月 Wintertale』｜Peter Fischli & David Weiss『Visible World』｜田代一倫『はまゆりの頃に』｜廣瀬智央『ヴィアッジョ 空をめぐる旅』｜PUNCTUM TIMES No.18：廣瀬智央『Metamorphosis』｜Satoshi Hirose『One Night Journey』（冊子）

【第８期・第８回のプラスα】
https://www.facebook.com/291ws/posts/591806674242545


▽第９回

【#291WS 第８期・第９回の資料】
Walter Niedermayr『Civil Operations』｜『青木淳 JUN AOKI COMPLETE WORKS 2』（写真：鈴木理策）｜John Gossage『There and Gone』｜Jochen Lempert『Recent Field Work』｜MOTOKO『Day light』｜Gueorgui Pinkhassov『Sightwalk』｜ノルベルト・ヴォルフ『カスパー・ダーヴィト・フリードリヒ　FRIEDRICH』（TASCHEN）｜畠山直哉『気仙川』｜清水穣『ゲルハルト・リヒター　オイル・オン・フォト、一つの基本モデル』｜田代一倫『はまゆりの頃に　三陸、福島 2011〜2013年』｜Diane Arbus『An Aperture Monograph』｜Maurizio Cattelan and Pierpaolo Ferrari『TOILETPAPER』｜清野賀子『The Sign of Life』｜永禮賢『birds of silence』｜Stephane Couturier『Photographies』｜Philip-Lorca Dicorcia『Streetwork』｜『マイク アンド ダグ スターン MIKE AND DOUG STARN』｜戸田ツトム『庭園都市』

【第８期・第９回のプラスα】注意深く見ること
https://www.facebook.com/291ws/posts/594957637260782


▽最終回

【第８期・最終回の資料】
永禮賢『birds of silence』｜『New Topographics』（Steidl, 2010）｜Stéphane Couturier『Photographies』｜James Hoff, Maurizio Cattelan, Pierpaolo Ferrari『TOILETPAPER』｜佐内正史『生きている』｜『Gillian Wearing (Contemporary Artists)』（Phaidon Press）｜Bernard Voïta『White Garden』（Lars Müller / 1999）｜『Diane Arbus: An Aperture Monograph』｜Edgar Martins『Topologies』*ほか

【第８期・最終回のプラスα】コツについて
最終回では風景写真において、“わかっている人”はどこを見ているのか、どういったフレームや距離の操作をしているのか、いったい何によって画面を作っているのか、といったことを少し細かく解説しました。そしてそのためのトレーニング法についても話しました。


291 workshopのグループページ（非公開）の方にも、かつて一度書き込んだように思いますが、こちらにも貼っておきます。膨大なコツの集積で成り立っているのはどの世界も同じです。その意味で、つぎのような記事を読むことも役に立つかと思います。参考にどうぞ。http://j.mp/I08Qc7　http://j.mp/IgVfwJ　http://j.mp/19IbGZC　http://j.mp/19IbNV3

【第８期・最終回のプラスα】フレームの効果と伝達内容
サングラスの男の表情から読みとるもの（読みとってしまうもの）の差異。そして、能面について。
http://j.mp/JQMp9e → http://j.mp/JQMv0z


『Seismopolite - issue #3』http://j.mp/JQNYUC の表紙より。


▽補講

【第８期・補講の資料】
清野賀子『THE SIGN OF LIFE』｜田代一倫『はまゆりの頃に　三陸、福島 2011〜2013年』｜Taryn Simon『Contraband』*｜Philip-Lorca Dicorcia『Streetwork』｜Stéphane Couturier『Photographies』｜Philip-Lorca Dicorcia『Streetwork』｜『Gillian Wearing (Contemporary Artists)』（Phaidon Press）ほか

【第８期・補講のプラスα】
作家の言葉〜タリン・サイモンの場合


◇ Taryn Simon: Photographs of secret sites タリン・サイモン 隠された側面を撮る | Talk Video | TED
http://j.mp/1dGPRm6


◇ Taryn Simon: The stories behind the bloodlines タリン・サイモン 「血脈の裏にある物語」 | Talk Video | TED
http://j.mp/1dGPGqV


※いずれも「Subtitles」をクリックして「Japanese」を選んでください。日本語字幕が表示されます。

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>>>［参考］291 workshop「０期」各回の参考メモ＆参加者の感想コメント
http://d.hatena.ne.jp/n-291/20120112#p2


>>>［参考］291 workshop「第１期」各回の参考メモ＆参加者の感想コメント
http://d.hatena.ne.jp/n-291/20120405#p2


>>>［参考］291 workshop「第２期」各回の参考メモ＆参加者の感想コメント
http://d.hatena.ne.jp/n-291/20120712#p2


>>>［参考］291 workshop「第３期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20130117#p3


>>>［参考］291 workshop「第４期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20130117#p4


>>>［参考］291 workshop「第５期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20131005#p3


>>>［参考］291 workshop「第６期*」各回の参考メモ
http://d.hatena.ne.jp/n-291/20140316#p2


>>>［参考］291 workshop「第７期」各回の参考メモ
http://d.hatena.ne.jp/n-291/20140317#p3