tag:blogger.com,1999:blog-154150552024-03-13T23:02:40.030+08:00The Zebra-Factory Blog - Christopher Young & Elisa Markes-Youngzebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.comBlogger655125tag:blogger.com,1999:blog-15415055.post-29903352378017723262015-10-06T20:01:00.000+08:002015-10-06T20:02:25.942+08:00Not feeling talkative....I've just noticed that it's been a VERY long time since I last posted something to the blog. It's all just yelling into a void anyway so perhaps it's better to save my breath... maybe even make some work?!<br />
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There have been quite a few setbacks of late - rejected proposals, 'Dear John' letters, etc - so my enthusiasm is a bit thin for the presentation of 'stuff'... especially given the expenses of being independent artists. It's all still brewing, just not likely to be shown anywhere 'soon'.<br />
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Other than a few small group shows and a fundraiser, March 2016 will likely be the next outing.<br />
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Keep an eye on our Facebook page as I'm more likely to put stuff there: https://www.facebook.com/zebra-factorycom-125311714165969/timeline/zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com2tag:blogger.com,1999:blog-15415055.post-91241502710063885032014-12-28T11:32:00.001+08:002015-10-25T13:13:05.561+08:00Project UpdatesWe have quite a bit planned for 2015 so here a quick update:<br />
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<b>Elisa Markes-Young - The Original Place</b>: Elisa is preparing a high-end, hand-made book of 'The Original Place' for 'Between the Sheets'. This will be on from 7 March – 2 April 2015 at Gallery Central (Central Institute of Technology). More information here: <a href="http://www.galleryeast.com.au/general/books15D.html">http://www.galleryeast.com.au/general/books15D.html</a><br />
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Elisa is also preparing a new suite of work from 'The Original Place' for various upcoming shows as well as the exhibition at Heathcote Museum and Gallery (together with Chris) from <strike>2 October to 8 November 2015</strike> March to April 2016.</div>
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<b>Christopher Young - Six</b>: the 'domestic' aspects of this project will be expanded in order to complete a large monograph. This blurb-produced book will include work from 'drei', 'five' and 'six' and will be exhibited at PhotoBook Independent in Los Angeles from 1-3 May 2015. More information here: <a href="http://photoindependent.com/photobooks/">http://photoindependent.com/photobooks/</a></div>
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A very small number of these 'might' be available around the time of the exhibition of 'Quiet Moments' depending on financial constraints.</div>
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A new suite of work for 'Six' is also being prepared. This includes various new active spaces and will be shot over a long period of time. This is more likely to be a book rather than an exhibition.</div>
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<b>Christopher Young - Drei</b>: six images from this series will be shown as part of 'Quiet Moments' at Fremantle Art Centre. This will be on from 5 June - 26 July 2015. </div>
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<b>Christopher Young - Small Town</b>: a DCA grant for this project was unsuccessful so this has - again - severely hampered/delayed it's completion. That said, given the <i>Ignite</i> funding, there are only 10 or so images that are yet to be digitised; an essay to be written and editing to be done on the complete text. </div>
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Three routes are possible: the first is to use 'Blurb'. Unfortunately the US dollar is relatively strong so this makes each book prohibitively expensive and any profit margins miniscule. The second route is to locally produce a much shorter run to get the book to 'dummy' level and approach various publishers with it. This is unlikely to prove fruitful but as I've tried just about everything to get this up I don't see what harm it could do! A locally produced version would be expensive but would have a few hand-made gimmicks in it. The third route is to produce a run offshore (Singapore) as was the original idea. The cost/print quality ratio is better on a unit level but I would need to produce at least 250 copies. That makes it a fairly heavy exercise financially.</div>
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There are various other things planned but more later!</div>
zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-85298712742195093422014-11-08T12:56:00.000+08:002015-01-01T21:06:30.128+08:00Alexander Gardner vs Lewis Powell/Payne/Paine<br />
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More goodness from the Library of Congress. </div>
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Most
would be familiar with the first image made of Lewis Powell - then 21 - by
Alexander Gardner. This iconic work is cited by many theorists as being
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Both
Barthes and Sontag discuss the image at length. Lesser known are other images
made - also by Alexander - of Powell and other conspirators. </div>
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These images add an interesting twist and energy to the rather static, resigned-to-his-fate central image. The <span class="st">larrakin</span>-like profile shot is particularly interesting.</div>
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There are also a series of fashion-like images in front of a tent. Some of these were then cropped and made into folk postcards.</div>
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Finally, the hanging itself was also photographed, including the aftermath.</div>
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zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com1tag:blogger.com,1999:blog-15415055.post-4262348581195979442014-10-01T07:32:00.002+08:002014-10-10T12:21:34.823+08:00What the animals are up to...<br />
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<tr><td class="tr-caption" style="text-align: center;">The Original Place #25 (detail)</td></tr>
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<b>'The Original Place' (Elisa)</b><br />
Elisa will be artist-in-residence at the Central Institute of Technology from October 20 to December 6. She will be producing new works for <i>'The Original Place'</i>, engaging with students as well as exhibiting work from the series. The studio is at 149 Beaufort Street, Perth. Please check the website for days/times closer to the date as visitors are welcome.<br />
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Ten works from this series were previously exhibited at Sofitel Melbourne on Collins then later at Anita Traverso Gallery in Melbourne. It will be the first time most of the work has been seen in Perth.<br />
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Elisa is also a finalist in 2014's City of Joondalup Community Invitation Art Award and will be exhibiting three works from this series. This opens on October 19 and runs until October 31 at Lakeside Joondalup Shopping City, Joondalup.<br />
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<tr><td class="tr-caption" style="text-align: center;">drei #07/drei #92</td></tr>
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<b>'Drei' (Chris)</b><br />
Six works from this series will be shown as part of a group exhibition titled <i>'Quiet Moments'</i> at Fremantle Arts Centre from May 2015. The works were last seen as an almost full set at Breadbox Gallery in 2008. Two works that are to be shown weren't in the Breadbox show but rather only in the publication.<br />
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<tr><td class="tr-caption" style="text-align: center;">Seven #24</td></tr>
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<b>'Small Town' (Chris)</b><br />
In a rare bit of good news for this personally significant series, Artsource/BHP Billiton have agreed to contribute money to help the series move further along through their 'Ignite' programme. This will help a lot and get the work much closer to publication. Unsuccessful exhibition proposals were sent to Fremantle Arts Centre (2013), PICA and CCP (Melbourne). One last proposal has been submitted to Heathcote for late 2015.<br />
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Chris has also submitted a DCA grant application for 'Marketing and Distribution'. Results for this round come out in November. <br />
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Chris recently gave a talk about <i>'Small Town'</i> during one of Miik Green's studio nights and it was good to hear people's positive responses to the work.<br />
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<b>'Six' (Chris)</b><br />
Chris has started to produce new images for<i> 'Six' </i>looking at active institutional spaces. Ideas for this are still a bit raw and it is likely to be a long-term project given the logistics involved. He also recently documented many of the objects used in the installation at Subiaco Museum. These objects will form part of a book in early 2015.<br />
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<b>Publications</b><br />
To tie-in with the group exhibition at FAC, Chris is hoping to produce a larger book that includes all of the work from <i>'drei', 'five'</i> and <i>'six'</i>. This will also include the texts written over the years by various authors about these bodies of work.<br />
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Belinda von Mengersen recently wrote an article about Elisa's practice titled: <i>The strange quiet of things misplaced: Craft, material and memory in the work of Elisa Markes-Young</i>. This was published in craft + design enquiry Issue 6, ANU Press and can be read online at www.tinyurl.com/bvmemy<br />
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Various other books have been published through blurb with full previews available on their site: http://au.blurb.com/user/store/zebrafactory<br />
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<b>Other News</b><br />
In another attempt to fund <i>'Small Town'</i>, Chris will be showing new work in the <i>'Black Swan Prize for Heritage'</i>, Brookfield Tower, 125 St Georges Terrace, Perth.zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-70996488201150876762014-05-18T10:15:00.001+08:002015-01-01T21:16:19.440+08:00So selfish...As much as I'm not a fan of the 'real' world, I'm finding that I increasingly go through life in almost complete silence. Admittedly that which we miss is very thin and insubstantial, it is nonetheless a loss in human contact. Any noise is artificial - often horrendous music - or is on the peripheries. That is, other people's conversations, tantrums or laughter.<br />
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If I go to a supermarket, I will choose it on the basis of being able to self-serve. I can now pay at the pump of a service station, even self serve at the post office. When all this is added to the self serve playground of the internet, any remaining interactions are very minimal.<br />
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This isolation feeds other beasts. This lack of contact means social skills are compromised. We - as others - are very uncomfortable in groups, especially those where we are the 'foreign' and the din of the other is overwhelming.<br />
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I often wonder how long it will be before we overcompensate and seek human contact in odd or cringe-worthy ways. Will we start asking people to explain something or direct us, just to have a micro-conversation? If we know where the toothpaste is, will we still ask? Many conversations seem to be tied to consumption so it's increasingly likely that marketers will exploit this loneliness.<br />
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Will we over-share in other ways - like this post perhaps? - in order to get attention? zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-15571542282781109402014-05-11T18:21:00.001+08:002015-01-01T21:06:50.014+08:00Lewis Hine's Newspaper WorkI was showing someone Lewis Hine this morning and it prompted another dig. I tend to get lost in his work, especially reading the associated texts that he penned.<br />
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Here a small collection of just his 'Newspaper' work. <br />
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You can download large versions of over 5000 images and read their extended captions at the <a href="http://www.loc.gov/pictures/search/?q=lewis+hine&fa=displayed%3Aanywhere&sp=1" target="_blank">LOC</a>. It's an ideal time to revisit some of this work given newspaper closures and growing social inequality. All are PD, available at print resolution and could be easily curated into a fantastic exhibition.<br />
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<br />zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-81030439434755676162014-04-05T09:34:00.000+08:002015-01-01T21:15:43.089+08:00Criminal mastermindedness....<iframe allowfullscreen="" frameborder="0" height="281" src="//www.youtube.com/embed/S-qNULFvmI8" width="500"></iframe>
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I'm happy to announce that the <a href="http://zebra-factory.com/?page_id=59">work I exhibited in Fremantle Prison in 2012</a> was announced on Thursday night as a highly commended entry in the 2014 Western Australian State Heritage Awards (<i>Outstanding interpretation project that enhances a place</i>). <br />
<br />
The judges commented that it was a<i> 'sensitive and beautifully presented exhibition that sets the benchmark for permanent exhibitions that seek to offer a meaningful interpretation of heritage sites.'</i><br />
<br />
The other finalists and winners are on the <a href="http://awards.stateheritage.wa.gov.au/WAH2014/categorydetails.asp?id=5835" target="_blank">State Heritage Office website</a>.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-RULBuqVJHXc/Uxa4pPKgYQI/AAAAAAAABFo/4cVQNausMNs/s1600/_DSC7504.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-RULBuqVJHXc/Uxa4pPKgYQI/AAAAAAAABFo/4cVQNausMNs/s1600/_DSC7504.jpg" height="331" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Five - Fremantle Prison', Fremantle Prison, August 2012. Image: Christopher Young.</td></tr>
</tbody></table>
<br />zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-87919257416276475692014-03-26T21:24:00.001+08:002015-01-01T21:07:54.243+08:00Re-reading rants....<b><b>From September 15, 2002 - 'Present'</b></b><br />
<blockquote>
He who has the
knowledge can be a cog in the machine and can participate in the
fulfillment of the narrative. The machine defines and redefines our
existence, allocates virtual authority, ethical qualities and determines
what is beautiful.<br />
<br />
Those outside the machine have only the ability to believe.<br />
<br />
The
individual - providing he/she is qualified - can affect change from
within the machine but is limited by developments in language and
science.<br />
<br />
He/she can (re)define subjective points of view and
submit them to the machine for approval as tenets. These are considered
conditionally.</blockquote>
<b>From September 15, 2002 - 'Future'</b><br />
<blockquote>
He/she who is strong is he/she who can redefine him/herself and amputate the unnecessary.<br />
<br />
Language will fragment itself so extensively that we can only communicate through machines.<br />
<br />
That which defines our person is only limited by our commitment and our willingness to sacrifice our 'greeds'.<br />
<br />
There are only copies.</blockquote>
<b>From March 2010:</b><br />
<blockquote>
I have a constant itch in the back of my throat when it comes to the
subject of public art. It - as often the artworks themselves - is
extremely irritating yet at the same time I struggle to formulate
exactly what my 'problem' is with it. <br />
<br />
Too often these
artworks - in Perth at least - would seem merely large-scale
'architectural flourishes' designed to a brief than artworks. Shouldn't
these objects also somehow engage with their surrounds and context on
more than a superficial level? This is not to say that the quality of
the artists is 'not there' but rather that I sometimes feel that the
briefing process itself might be flawed.<br />
<br />
For those on the
'outside', the Western Australian Government allocates a portion of
capital project funding (that is, to projects over a certain value) to
'public art'. This scheme being imaginatively titled 'Percent for Art'.
Typically a small amount of money is then distributed via a tendering
process to selected artist teams who essentially 'pitch' for the big
gig. The winning team is then given a significantly larger amount of
money to produce the actual artworks themselves.<br />
<br />
In the initial
process the team selection is normally weighted on three criteria. These
being 'artistic merit', 'ability to complete the project' and 'previous
experience'. Considering the last criteria can make up 30-40% of the
total 'score', the process is skewed heavily to mid-/late-career artists
and/or 'wet' process artists (sculptors, metal smiths, etc).<br />
<br />
There
are also at least three parties involved in this process: a (mostly)
independent project manager, the client (typically a Government
department) and the artists. Into that mix can also come a committee
made up of 'stakeholders' and other production companies/service
providers depending on the skill set of the artists involved.<br />
<br />
In
the briefing process terms often abound akin to 'uplifting',
'optimistic', 'engaging', 'community' and a consultative phase is
sometimes included where stakeholders are engaged in the creative
process.
<br />
<br />
There is an inherent danger that an artwork is then
'designed' (the choice of words is very deliberate) to check all the
boxes and the result is homogenised and mediocre. If an artwork
seamlessly 'fits' and doesn't illicit any emotional response -
positively or negatively - is it a successful work or a failure?
<br />
<br />
There
is also the issue of process abuse. Clients could simply brief for
'artworks' that accomplish architectural goals (ie. signage, wayfinding,
etc) in order to kill two or more birds with one stone. Pre-determined
suppliers could ramp up pricing and artist teams could recycle work
without really addressing the new artworks true context.<br />
<br />
This is
not to say that I think all Perth-grounded public artwork is flawed.
There are obvious exceptions that are successful, those being the ones
that engage and enliven communities.<br />
<br />
The other extreme of this
process, and arguably more valid, would be an artist or artist team
simply presents in the tender process previously created work and, if
selected, is left to create work of a 'similar' style that fits various
schematic and safety parameters. In such a process, terms such as 'the
new work shall reflect the quality, scale and materials of supplied
sample work' are integrated to ensure that both the artist and client is
protected. If the new work is of a similar standard but the client is
displeased then the artist is not liable to produce another at no cost.
The inverse also being true.<br />
<br />
This is a 'commission' whereas the other is a 'design' job.<br />
<br />
Artists
are not the best designers and designers equally not the best artists
so perhaps public art projects are too often trying to squeeze the wrong
person into the wrong job. I have to wonder if both would be better
served if they all sat down and had a reality check on some projects.<br />
<br />
Artwork
- public or otherwise - should challenge you, stimulate your senses and
help you engage with your surrounds. Does it really need to be
smothered head-to-toe in sunscreen with bacteria 'wipes' immediately to
hand?
</blockquote>
zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-72629285536491107362014-03-13T17:37:00.000+08:002015-01-01T21:08:22.849+08:00Thoughts on funding…What would happen if State and Federal Governments reduce funding of the arts, including art's education, to a large extent? This scenario is increasingly likely with the current <i>regimes</i>.<br />
<br />
Such a loss of funding could potentially create bourgeois practitioners and consumers. By making it harder on both financial and logistical levels for people to study and practice, only the wealthy will be able to afford the 'luxury' of a formal art's education. The reduction in subsidies will also increase ticket prices, excluding many from attending events or gaining access to cultural institutions. <br />
<br />
On a positive note, an untrained generation of artists might develop, creating work potentially critical of any distortions in the industrial complex. This would essentially be a de-gentrification of the arts with the status quo being a likely target. It would drive innovation through a process of differentiation. While difficult, especially for artists outside the mainstream, it might prove more fruitful culturally. <br />
<br />
This could potentially lead to a further division of creative communities with 'high' and 'low' art being more clearly separated.<br />
<br />
On the opposite side of the coin, what would happen if State and Federal Governments dramatically increased funding to the arts, including something akin to a 'Arts for the Dole' scheme?<br />
<br />
Having greater access to events through more affordable tickets and the presentation of high quality exhibitions that might otherwise be financially problematic would increase levels of aesthetic and cultural literacy.<br />
<br />
Increased funding would allow artists to turn away from the distorting outcomes-based system, to experiment more, take greater risks and explore themes otherwise deemed too sensitive for funding bodies.<br />
<br />
This system is more open to exploitation so some form of peer-reviewed qualification system would need to be established. Such a system could be problematic in that having a qualification from an institution does not necessarily equate to someone being a practicing artist.<br />
<br />
Regional and otherwise challenged artists would also be unfairly disadvantaged by such systems.<br />
<br />
To qualify for the French 'artists unemployment insurance system', an artist or technician must work for 507 hours in 10.5 months to gain benefits for the down-time periods between projects. This popular but politically problematic system is financed by employers and workers' contributions.<br />
<br />
A time-based system is difficult in that how do independent artists quantify such things as non-paid studio time? Maintaining such things as log-books, already broadly accepted by the ATO as evidence of activity, might be a avenue.<br />
<br />
** Just an open thread for thoughts. **zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-68259141000104798112014-03-05T13:46:00.000+08:002014-03-05T13:47:48.787+08:00'Five - Fremantle Prison' announced as a finalist in the WA State Heritage Awards.<iframe allowfullscreen="" frameborder="0" height="281" src="//www.youtube.com/embed/S-qNULFvmI8" width="500"></iframe>
<br />
<h2>
Hardly a criminal mastermind...</h2>
There was large hill up behind where I spent my teenage years near a notoriously dangerous intersection. My parents ran a small motel there which sat next to a popular restrooms and petrol station. Bored one day my brother and I crossed one of the roads, climbed up behind a small row of trees and over a few fences to get about half way up the hill. <br />
<br />
We thought it a good idea to dislodge a large basketball-sized rock to see how far it would roll down the hill and, much to our excitement, it quickly gathered more and more speed. It smashed through one of the fences, jumped the next before crashing very noisily into the trees.<br />
<br />
After we came down, we heard from the horrified local petrol station owner that he, hearing the noise the rock made as it approached, had seen the rock fly out the other side of the trees, bounce once on the normally very busy road before resting in a paddock. It passed about 20 metres to the left of the petrol station.<br />
<br />
I guess my main point is that the difference between being 'inside' and 'outside' can be as simple as being lucky or unlucky on any given day. This is not to say that those in Prison are there by bad luck alone but rather that it can be a complex mixture of circumstances. Equally those on the 'outside' might live their privileged lives on the simple basis of being born in the right country to the right parents at the right time.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-RULBuqVJHXc/Uxa4pPKgYQI/AAAAAAAABFo/4cVQNausMNs/s1600/_DSC7504.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-RULBuqVJHXc/Uxa4pPKgYQI/AAAAAAAABFo/4cVQNausMNs/s1600/_DSC7504.jpg" height="331" width="500" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Five - Fremantle Prison', Fremantle Prison, August 2012. Image: Christopher Young.</td></tr>
</tbody></table>
<br />
I'm happy to announce that the <a href="http://zebra-factory.com/?page_id=59">work I exhibited in Fremantle Prison in 2012</a> was today announced as a finalist in the Western Australian State Heritage Awards (<i>Outstanding interpretation project that enhances a place</i>). <br />
<br />
Self-funded and on exhibition for six months, <i>Five - Fremantle Prison</i> looked at the traces of activity in this iconic location. Normal processes occurred with protagonists eating, sleeping, working and playing. As such, it could be seen as a highly concentrated microcosm of the outside world.<br />
<br />
The resulting photographic artworks, research, booklet and selection of objects illustrated the beauty that can be found in the everyday. It offered a new insight into the Prison’s more recent past, giving viewers an opportunity to explore some rarely seen sections of the Prison as well as look at others afresh.<br />
<br />
The finalists have been published to the <a href="http://awards.stateheritage.wa.gov.au/WAH2014/categorydetails.asp?id=5835" target="_blank">State Heritage Office website</a> and the winners are to be announced at His Majesty's Theatre in early April.<br />
<br />
A selection of work from the series is also currently on show at Sofitel Melbourne on Collins (25 Collins St, Melbourne) until April 13.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="281" src="//www.youtube.com/embed/i96Up55lQUU" width="500"></iframe>zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-54196021529811157102014-02-26T13:17:00.000+08:002015-01-01T21:08:46.185+08:00Ethical Art's FundingThe Transfield/BoS saga raises interesting talking points about broader art's funding issues. How far should artists extend such ideas when it comes to funding their work? If you disagree with a local, state or federal government's policies, do you 'refuse' their funding processes and subsequent branding of your projects? If a much hated Politician is to pose gappy toothed to 'cut the ribbon' on your project, do you make a point of refusing their hand?<br />
<br />
It's a difficult balancing act between professional ambition, any greater 'good' of the work and ethical problems that might come from funding.<br />
<br />
In an interview with <a href="http://utopianslumps.com/artist/nathan-gray/" target="_blank">Nathan Gray</a> on <a href="http://mpegmedia.abc.net.au/triplej/hack/daily/hack_tues_2014_2_25.mp3" target="_blank">Tuesday's Triple J's 'Hack' program</a> (mp3), the point was raised that making protest art within the context of the BoS - as supported by Transfield/BoS - might actually ultimately support the structure of the current funding by attracting audiences. ie. a boycott is far more likely to have an effect if audience numbers suffer for it.<br />
<br />
A good model for ethical art's funding might be that from <a href="http://www.australianethical.com.au/ethical-charter" target="_blank">Australian Ethical Investments</a> which is as follows. Point xi is particularly interesting when applied to the Federal Govt/OzCo:<br />
<br />
Australian Ethical shall avoid any investment which is considered to unnecessarily:<br />
i. pollute land, air or water<br />
ii. destroy or waste non-recurring resources<br />
iii. extract, create, produce, manufacture, or market materials, products, goods or services which have a harmful effect on humans, non-human animals or the environment<br />
iv. market, promote or advertise, products or services in a misleading or deceitful manner<br />
v. create markets by the promotion or advertising of unwanted products or services<br />
vi. acquire land or commodities primarily for the purpose of speculative gain<br />
vii. create, encourage or perpetuate militarism or engage in the manufacture of armaments<br />
viii. entice people into financial over-commitment<br />
ix. exploit people through the payment of low wages or the provision of poor working conditions<br />
x. discriminate by way of race, religion or sex in employment, marketing, or advertising practices<br />
xi. contribute to the inhibition of human rights generally<br />
<br />
They also posit a 'positive' side of the ledger:<br />
<br />
Australian Ethical shall seek out investments which provide for and support:<br />
a. the development of workers' participation in the ownership and control of their work organisations and places<br />
b. the production of high quality and properly presented products and services<br />
c. the development of locally based ventures<br />
d. the development of appropriate technological systems<br />
e. the amelioration of wasteful or polluting practices<br />
f. the development of sustainable land use and food production<br />
g. the preservation of endangered eco-systems<br />
h. activities which contribute to human happiness, dignity and education<br />
i. the dignity and well being of non-human animals<br />
j. the efficient use of human waste<br />
k. the alleviation of poverty in all its forms<br />
l. the development and preservation of appropriate human buildings and landscape<br />
<br />
Source: http://www.australianethical.com.au/ethical-charter<br />
<br />
Too often there is a 'beggars can't be choosers' mentality in art's funding with many looking over the heads of blood money to their own ambitions ... this is fundamentally flawed.<br />
<br />
Don't hesitate to be mad. Put your hand over your cup, celebrate your madness and yell at all who offend with gusto!zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-8222574638809165862014-01-12T17:26:00.000+08:002015-01-01T21:09:32.275+08:00Muriel Draper's Salon and playing doctor...."[Walker] Evans is a visual doctor, diagnostician rather than specialist. But he is also the family physician, quiet and dispassionate, before whom even very old or very sick people are no longer ashamed to reveal themselves." - Lincoln Kirstein, <a href="http://www.bookdepository.co.uk/book/9780870708350/?a_aid=artperth" target="_blank"><i>American Photographs</i></a>.<br />
<br />
I'm working my way very slowly through <a href="http://www.bookdepository.co.uk/book/9780465090785/?a_aid=artperth" target="_blank">Mellow's biography of Walker Evans</a> and enjoying it a lot. It adds more depth to <a href="http://www.bookdepository.co.uk/book/9780618056729/?a_aid=artperth" target="_blank">Rathbone's biography</a> which I've previously read. This morning Muriel Draper and her salon made an appearance.<br />
<br />
Good copies of the photos that Evan's made 'post party/salon' are difficult to collate but those who know <a href="http://zebra-factory.com/?page_id=57" target="_blank">my work </a>will still 'get' why they appeal. As do others he made at the <a href="http://thispublicaddress.com/tPA1/2002/06/walker-evans-pt-9.html" target="_blank">De Luze Cottage</a>.<br />
<br />
The variation on the skull image - with/without flash - is quite interesting. The slight positional changes highlight a bit how he works as well. It's a pity the order of exposure is not easy to ascertain. I'm not sure if the 'At Work' book might deal with this series. I will try to get a second hand copy at some stage as it's out of print from what I can tell.<br />
<br />
I typically resolve a scene very carefully and make a single exposure of that scene. It is very rare that I will make variations on the same subject matter.<br />
<br />
If I do double up then it is with bracketing or when I'm unsure of my focus. The latter is becoming more and more of a problem especially when I'm tired or it's hot.<br />
<br />
In one case I was so paranoid about <a href="http://zebra-factory.com/?avada_portfolio=six-220&portfolioID=537" target="_blank">an image</a> that I knew I wanted that during a reshoot I made 40 separate exposures including bracketing as well as variances in focus and depth of field. It was complicated even further in that it was on a wooden floor which 'seemed' to be moving a lot and I was talking to someone - the owner - at the time!<br />
<br />
Images from http://metmuseum.org<br />
<br />
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zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-32115074933253571432014-01-04T17:15:00.000+08:002014-01-04T18:17:19.681+08:00Ambitions for 20142014 will - for zebra-factory at least - be a much quieter and hopefully less bipolar year than the mildly insane 2013. That said, writing down what's coming up it does still sound a bit hectic!<br />
<br />
We plan to put out at least three books including the long-delayed New Zealand work, a book of the Polish work (shown at Kurb during FotoFreo 2012) as well as a much expanded edition of 'Six'. The latter will include more images made across the project including others outside the scope of the residency. If I find the energy I might also publish a final book of the 'Five' series. <br />
<br />
The hard cover version of Elisa's 'The Strange Quiet of Things Misplaced' has already been released (<a href="http://au.blurb.com/b/4838672-the-strange-quiet-of-things-misplaced">http://au.blurb.com/b/4838672-the-strange-quiet-of-things-misplaced</a>).<br />
<br />
All of these books will now be published through Blurb as we can't afford to finance entire print runs locally. Unfortunately this means that they will come at a premium but we do hope to put out both hard cover and soft cover versions to at least give people some options.<br />
<br />
The Sofitel exhibitions will run until early March (<a href="https://www.facebook.com/events/567977646605914/">https://www.facebook.com/events/567977646605914/</a> and <a href="https://www.facebook.com/events/670959532937582/">https://www.facebook.com/events/670959532937582/</a>) and a portion of the work will likely stay in Melbourne for another exhibition from May 2014.<br />
<br />
Elisa will be doing an artist residency with Central TAFE in the fourth quarter of 2014 and will also be showing a selection of works from 'The Original Place' as part of that.<br />
<br />
The Bankwest Award (<a href="https://www.bankwest.com.au/artprize">https://www.bankwest.com.au/artprize</a>) continues through to March and it's likely that 'Six' will be significantly extended at the Subiaco Museum (<a href="https://www.facebook.com/events/167618520088719/">https://www.facebook.com/events/167618520088719/</a>).<br />
<br />
There are a few other things on as well so keep an eye on our Facebook page for updates (<a href="https://www.facebook.com/pages/zebra-factorycom/125311714165969?ref=hl">https://www.facebook.com/pages/zebra-factorycom/125311714165969?ref=hl</a>)<br />
<br />
Artperth is still chugging along and I am considering producing a small, extremely lo-fi magazine at some stage. I do need to test the waters a bit to see how I will get on with content. Ideally we would like to publish text about the various exhibitions on at any given moment as well as feature one project. Everything would be black & white, saddle-stitched and probably printed at Officeworks!<br />
<br />
I have taken up a position on PCP's board (<a href="http://www.pcp.org.au/">http://www.pcp.org.au/</a>) and I hope to help them in whatever way I can to push this great organisation even further.<br />
<br />
Finally, this year I am personally determined to do some 'mucking about' with other media. There have already been a few mildly successful experiments over the last few weeks so you never know! I'm not dissatisfied with my light catchers, just looking for other ways to express myself…. I promise to spare you my poems though!<br />
<br />
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<tr><td class="tr-caption" style="text-align: center;">Elisa Markes-Young's 'The Strange Quiet of Things Misplaced'<br />
<a href="http://au.blurb.com/b/4838672-the-strange-quiet-of-things-misplaced">http://au.blurb.com/b/4838672-the-strange-quiet-of-things-misplaced</a></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Elisa Markes-Young's 'The Strange Quiet of Things Misplaced'<br />
<a href="http://au.blurb.com/b/4838672-the-strange-quiet-of-things-misplaced">http://au.blurb.com/b/4838672-the-strange-quiet-of-things-misplaced</a></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-EGH1KBSr2SY/UsfOwBTjOJI/AAAAAAAABBQ/o7edwSC5tRg/s1600/sofitel02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="141" src="http://1.bp.blogspot.com/-EGH1KBSr2SY/UsfOwBTjOJI/AAAAAAAABBQ/o7edwSC5tRg/s400/sofitel02.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Original Place @ Sofitel Melbourne on Collins</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-LI8PU7hyyF8/UsfO-eC20fI/AAAAAAAABBo/G6KS3QHrB3Y/s1600/sofitel04.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="141" src="http://1.bp.blogspot.com/-LI8PU7hyyF8/UsfO-eC20fI/AAAAAAAABBo/G6KS3QHrB3Y/s400/sofitel04.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Six @ Sofitel Melbourne on Collins</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-7uXDJOwgD3k/UsfPYEsUkKI/AAAAAAAABCI/1IwJgYoETZA/s1600/sofitel06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="173" src="http://2.bp.blogspot.com/-7uXDJOwgD3k/UsfPYEsUkKI/AAAAAAAABCI/1IwJgYoETZA/s400/sofitel06.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fremantle Prison @ Sofitel Melbourne on Collins</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-gf-djkSaDo4/UsfPHES8XiI/AAAAAAAABB4/JngQuby6b68/s1600/subiaco01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="160" src="http://3.bp.blogspot.com/-gf-djkSaDo4/UsfPHES8XiI/AAAAAAAABB4/JngQuby6b68/s400/subiaco01.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Front room @ Subiaco Museum</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Front room @ Subiaco Museum</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-YuFbsemSotM/UsfPWe-gdaI/AAAAAAAABCA/XDFd2Pldgos/s1600/subiaco06.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="282" src="http://4.bp.blogspot.com/-YuFbsemSotM/UsfPWe-gdaI/AAAAAAAABCA/XDFd2Pldgos/s400/subiaco06.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Display cabinet in Six @ Subiaco Museum.</td></tr>
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<br />zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-10072413312429752392013-11-29T09:01:00.001+08:002015-01-01T21:17:14.712+08:00Da Vinci's Wit and WisdomI recently purchased Da Vinci's notebooks as well as Taschen's 'complete works'. The scale of the man is extraordinary! Just some snippets:<br />
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<blockquote class="webkit-indent-blockquote" style="border: none; margin: 0 0 0 40px; padding: 0px;">
<div>
"Some there are who are nothing else than a passage for food and augmenters of excrement and fillers of privies, because through them no other things in the world, nor any good effects are produced, since nothing but full privies results from them."</div>
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<br /></div>
<div>
"It is as great an error to speak well of a worthless man as to speak ill of a good man."</div>
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<div>
"… It is thus with the hypocrite, whose face is bathed with tears over every slight thing, showing himself thus to have the heart of a tiger; he rejoices in his heart over another's misfortunes with a face bedewed with tears."</div>
<div>
<br /></div>
<div>
"The bee may be likened to deceit, for it has honey in its mouth and poison behind."</div>
</blockquote>
<div>
<br /></div>
<div>
<a href="http://www.bookdepository.co.uk/book/9781579129460/?a_aid=artperth">http://www.bookdepository.co.uk/book/9781579129460/?a_aid=artperth</a></div>
zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-41556546316494052442013-11-17T08:57:00.001+08:002015-01-01T21:13:02.045+08:00Other people's words..."To this snapshot style, Mr. Eggleston has added some effects borrowed
from recent developments in of all things–photo-realistic painting–a
case, if not of the blind leading the blind, at least the banal leading
the banal." - Kramer writing about William Eggleston.<br />
<br />
“[Basquiat’s] contribution to art is so miniscule as to be nil” and that
the only reason for the painter’s success was that “liberals need to
make a gesture." - Kramer writing about Basquait.<br />
<br />
"He was essentially a talentless hustler, street-smart but otherwise
invincibly ignorant, who used his youth, his looks, his skin colour and
his abundant sex appeal to win an overnight fame that proved to be his
undoing ... Basquiat never showed the slightest evidence of being the kind of
serious talent he was touted to be by the sponsors who stood to profit
from his success." - Kramer writing about Basquait.<br />
<br />
"I was just tired of seeing white walls with white people with white wine." - Diego Cortez.<br />
<br />
"Whatever art is, it is no
longer something primarily to be looked at. Stared at, perhaps, but not
primarily looked at. What, in view of this, is a post-historical museum to do, or
to be? ... The artist, the gallery, the practices of art history, and the discipline of
philosophical aesthetics must all, in one or another way, give way and
become different, and perhaps vastly different, from what they have so far
been." - Arthur C Danto (1997) passed away on October 25. zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-55397932202481816312013-07-28T16:50:00.001+08:002015-01-01T21:14:58.074+08:00Significance....I have had the luxury - in the true sense of the word - of just 'knuckling down' and making for the last 8 months. I didn't have to stress about bills or other demands.... I simply got to make stuff ... and a lot of it.<br />
<br />
At the same time, I wanted to acknowledge that freedom by working hard to make something 'special'... whatever that means. This especially as it's improbable that I will get another such opportunity for a while.<br />
<br />
It has afforded opportunities. However, some of these are oddly uncomfortable. I am now struggling with the thought that I have to make something somehow 'significant' for an upcoming group exhibition. <br />
<br />
The problem with this is that a (not particularly urgent) deadline looms and a series of shoots are now loaded with a tension that has been absent for a long time. <br />
<br />
The resultant image also has to function on a scale - a per-requisite of the show - that is disquieting. <br />
<br />
But ... the greatest stress comes from not wanting to disappoint those who afforded the opportunity.<br />
<br />
I will try to just work the same but I find I'm looking differently around the frame, working even slower and being much more selective... perhaps the happy accident and any other spontaneous-ness will be lost?zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-74041923966005805752013-07-11T09:13:00.000+08:002015-01-01T21:11:12.990+08:00"Why don't you stop wasting people's time and go out and become a dishwasher or something?"*Pablo Picasso, modern artist, painter, sculptor, co-founder of Cubism, co-inventor of collage. At the age of 16, he attended the Royal Academy of San Fernando (Spain's foremost art school), but he disliked the formal instruction and soon quit attending classes altogether.<br />
<br />
Patti Smith, poet, visual artist, songwriter. Dropped out of teacher's college to start life as an artist in New York City.<br />
<br />
Many successful filmmakers either did not attend or dropped out of college and/or film school. These include James Cameron, Steven Spielberg, Quentin Tarantino, Robert Rodriguez, Paul Thomas Anderson, David Fincher, Stanley Kubrick, John Huston, Woody Allen, Steven Soderbergh, Dario Argento, and Orson Welles.<br />
<br />
Thomas Edison‘s teachers said he was “too stupid to learn anything.” He was fired from his first two jobs for being “non-productive.” As an inventor, Edison made 1,000 unsuccessful attempts at inventing the light bulb. When a reporter asked, “How did it feel to fail 1,000 times?” Edison replied, "I didn’t fail 1,000 times. The light bulb was an invention with 1,000 steps."<br />
<br />
Walt Disney was fired by a newspaper editor because “he lacked imagination and had no good ideas.” He went bankrupt several times before he built Disneyland. In fact, the proposed park was rejected by the city of Anaheim on the grounds that it would only attract riffraff.<br />
<br />
In his first screen test, the testing director of MGM noted that Fred Astaire, 'Can't act. Can't sing. Slightly bald. Can dance a little.' David O. Selznick, who signed Astaire to RKO and commissioned the test, stated in a memo, 'I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test.'<br />
<br />
Dr. Seuss' first book was rejected by 27 different publishers.
<br />
<br />
Harland David Sanders: Perhaps better known as Colonel Sanders of Kentucky Fried Chicken fame, Sanders had a hard time selling his chicken at first. In fact, his famous secret chicken recipe was rejected 1,009 times before a restaurant accepted it.<br />
<br />
Back in 1954, Elvis Presley was still a nobody, and Jimmy Denny, manager of the Grand Ole Opry, fired Elvis Presley after just one performance telling him, "You ain't goin' nowhere, son. You ought to go back to drivin' a truck."
<br />
<br />
<i>* After his first audition, Sidney Poitier was told by the casting director, “Why don’t you stop wasting people’s time and go out and become a dishwasher or something?” It was at that moment, recalls Poitier, that he decided to devote his life to acting.</i>zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com1tag:blogger.com,1999:blog-15415055.post-5577783924459529442013-04-27T15:30:00.000+08:002013-04-27T15:30:30.376+08:00Sticks, stones, etc, etc.A few thoughts of late. <br />
<br />
If 'Established' is greater than 'Mid-Career' which is turn is greater than 'Emerging' how then do we reconcile the following?<br />
1. An emerging artist whose 'chute' has failing to open?;<br />
2. An emerging artist with a broken wing?;<br />
3. A relapsed emerger?;<br />
4. A serial emerger?; and<br />
4. A mid-career artist who drastically changes their practice? ie. a significant medium/motif change?zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com2tag:blogger.com,1999:blog-15415055.post-84486240076837358852013-04-24T13:10:00.002+08:002013-04-27T15:21:19.448+08:00Edmonds Cookery (from ca. 1975)An icon of food (for better or for worse) in New Zealand. Click to enlarge.<br />
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<br />zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-35715396386473579792013-03-24T18:02:00.000+08:002013-04-27T15:25:32.319+08:00Melbourne 1956 BookWe recently went to an antique fair and I stumbled across a commemorative book for the 1956 Olympics. Got it for $10 as I really like the crudely coloured and mis-registered photos and especially the cover.<br />
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<br />zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com1tag:blogger.com,1999:blog-15415055.post-4036545864748474472013-03-21T22:48:00.001+08:002013-05-31T09:17:08.438+08:00Picturing New York - Notable AbsencesI have been talking to a few people about what's 'missing' from PNY. In particular, the lack of blood and guts. Obviously MoMA doesn't have 'everything' in their collection but the following are just a few notable New York images that aren't included. There is also lots of work from Nan Goldin, Robert Mapplethorpe and many others that also isn't there.<br />
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Still enjoy the show, just find it could have been so much better.<br />
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I have since noticed that many I have chosen are covert photos. The Strand, Evans and diCorcia were all made without the subject being aware of the camera.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-wZSWlWLyLls/UUsbHNMaGzI/AAAAAAAAAso/D6jbFjnByJA/s1600/11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="297" src="http://2.bp.blogspot.com/-wZSWlWLyLls/UUsbHNMaGzI/AAAAAAAAAso/D6jbFjnByJA/s400/11.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Walker Evans</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-br5pKrHr2Xg/UUsbO05oCPI/AAAAAAAAAtI/pH-mtaADK78/s1600/walker-evans-subway-4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="331" src="http://3.bp.blogspot.com/-br5pKrHr2Xg/UUsbO05oCPI/AAAAAAAAAtI/pH-mtaADK78/s400/walker-evans-subway-4.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Walker Evans</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-wyjVuPIJp1U/UUsbIiAytHI/AAAAAAAAAsw/Enu5dmKDXdk/s1600/3-Weegee2-1024x796.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="310" src="http://1.bp.blogspot.com/-wyjVuPIJp1U/UUsbIiAytHI/AAAAAAAAAsw/Enu5dmKDXdk/s400/3-Weegee2-1024x796.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Weegee</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-HUgj_eiR0fI/UUsbI0jaKWI/AAAAAAAAAs0/pd95TkY4j7Q/s1600/03640v.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://4.bp.blogspot.com/-HUgj_eiR0fI/UUsbI0jaKWI/AAAAAAAAAs0/pd95TkY4j7Q/s400/03640v.jpg" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lewis Hine</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-J1A1RpNlaec/UUsbKHXp4wI/AAAAAAAAAtA/dfiLgNSFtbw/s1600/levitt_6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="267" src="http://2.bp.blogspot.com/-J1A1RpNlaec/UUsbKHXp4wI/AAAAAAAAAtA/dfiLgNSFtbw/s400/levitt_6.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Helen Levitt</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-MMEG2EhioWg/UUsbPOCjAII/AAAAAAAAAtM/rO_YPl6PxWo/s1600/pld_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" src="http://2.bp.blogspot.com/-MMEG2EhioWg/UUsbPOCjAII/AAAAAAAAAtM/rO_YPl6PxWo/s400/pld_2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Philip-Lorca diCorcia</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-qecWRF4SLr8/UUsbP5I8xTI/AAAAAAAAAtY/-hedGLlcMKQ/s1600/paul-strand-blind-1916.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-qecWRF4SLr8/UUsbP5I8xTI/AAAAAAAAAtY/-hedGLlcMKQ/s400/paul-strand-blind-1916.jpg" width="298" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paul Strand</td></tr>
</tbody></table>
<br />zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-45748914447327909842013-02-16T09:28:00.000+08:002013-04-27T15:23:28.425+08:00And now for …. any entomologists?We've discovered a few of these in our garden and this one was sick and easy to collect. This is about 4cm long whereas we have previously seen bigger ones around 6cm.<br />
<div>
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<div>
They resemble a Sandgroper but have very odd arms/claws.</div>
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<div>
Any ideas?</div>
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<a href="http://3.bp.blogspot.com/-ntII0jijs14/UR7kavuIwYI/AAAAAAAAAr4/PU4UkrfUNfw/s1600/_DSC8133-750133.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5845360514511192450" src="http://3.bp.blogspot.com/-ntII0jijs14/UR7kavuIwYI/AAAAAAAAAr4/PU4UkrfUNfw/s320/_DSC8133-750133.jpg" /></a><a href="http://3.bp.blogspot.com/-_np-cmHY61Q/UR7kbJbe6oI/AAAAAAAAAsE/Eodv3ycbmEI/s1600/_DSC8135-752579.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5845360521412274818" src="http://3.bp.blogspot.com/-_np-cmHY61Q/UR7kbJbe6oI/AAAAAAAAAsE/Eodv3ycbmEI/s320/_DSC8135-752579.jpg" /></a><a href="http://2.bp.blogspot.com/-i8u7geJ_f_4/UR7kb1OeO7I/AAAAAAAAAsQ/YtLgZxbqKmI/s1600/_DSC8139-755310.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5845360533168864178" src="http://2.bp.blogspot.com/-i8u7geJ_f_4/UR7kb1OeO7I/AAAAAAAAAsQ/YtLgZxbqKmI/s320/_DSC8139-755310.jpg" /></a></div>
zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com2tag:blogger.com,1999:blog-15415055.post-31791522369149725632013-01-30T17:30:00.000+08:002013-04-27T15:22:41.866+08:00Some highlights from 'Picturing New York' at AGWAI went to the opening last week and I was saying to someone that the show is missing some blood and guts (Weegee's crime scene work, Hine's '<a href="http://www.lewishinephotographs.com/content/minnie-paster-10-years-old-tending-stand-bowery-bond-location-new-york-new-york-state" target="_blank">Minnie</a>', Strand's 'Blind', etc).<br />
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In hindsight these images might not be in the collection (25,000+ photographs) but it did nonetheless feel a bit sanitised. <br />
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Big fan of the Levitts that are included, not so much of the images chosen from Evan's Subway series though. Helen Levitt was occasionally with Evans as he shot that work - and was photographed by him as a 'passenger' - so when you hold those up to Philip-Lorca diCorcia's colour image (with fish in a bag) it makes for interesting 'reading'. <br />
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The Riis is especially interesting considering the people imaged would have had to remain very still for the image.... almost contradicts the energy in the image.<br />
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Will definitely revisit the show a few times and am thinking about taking a 'touring' party if they want to tag along, hear me gush, etc.<br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-BYBXlJ6D1IY/UQjlQeEjVTI/AAAAAAAAAqs/nmFZACSqfHA/s1600/1341441831.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-BYBXlJ6D1IY/UQjlQeEjVTI/AAAAAAAAAqs/nmFZACSqfHA/s400/1341441831.jpg" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Henri Cartier-Bresson (especially as you can see the retouching on the print!)</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-mTV386z_6u0/UQjlQpvErvI/AAAAAAAAAq0/7pqQkUPK0I0/s1600/artwork_images_911_551953_dorothea-lange.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://4.bp.blogspot.com/-mTV386z_6u0/UQjlQpvErvI/AAAAAAAAAq0/7pqQkUPK0I0/s400/artwork_images_911_551953_dorothea-lange.jpg" width="331" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dorothea Lange</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-sgIqMD_AXX0/UQjlSXiGJFI/AAAAAAAAAq8/QFRNiVLbACA/s1600/42893.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-sgIqMD_AXX0/UQjlSXiGJFI/AAAAAAAAAq8/QFRNiVLbACA/s400/42893.jpg" width="321" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jacob Riis</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/--AoFswUPFDk/UQjlSaKixCI/AAAAAAAAArA/NsRKw2UaOGw/s1600/diane_arbus_young_brooklyn_family.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://3.bp.blogspot.com/--AoFswUPFDk/UQjlSaKixCI/AAAAAAAAArA/NsRKw2UaOGw/s400/diane_arbus_young_brooklyn_family.jpg" width="385" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Diane Arbus</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-uYXifMtjZ7M/UQjlU_r4pqI/AAAAAAAAArM/BH04N8CUj54/s1600/walker-evans-brooklyn-bridge-new-york.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://3.bp.blogspot.com/-uYXifMtjZ7M/UQjlU_r4pqI/AAAAAAAAArM/BH04N8CUj54/s640/walker-evans-brooklyn-bridge-new-york.jpg" width="392" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Walker Evans</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Y57YBrJruY8/UQjnsLUqbSI/AAAAAAAAArg/ouZrIeQEJ3E/s1600/882.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="275" src="http://4.bp.blogspot.com/-Y57YBrJruY8/UQjnsLUqbSI/AAAAAAAAArg/ouZrIeQEJ3E/s400/882.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Helen Levitt</td></tr>
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<br />zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-11959575571041419642012-12-23T12:33:00.001+08:002013-04-27T15:23:58.899+08:00Library of Congress - Roger HigginsI was looking for something else and stumbled across the work of photojournalist <span class="st"></span> <a href="http://www.loc.gov/pictures/search/?q=roger%20higgins" target="_blank">Roger Higgins</a> (<span class="st">New York World-Telegram and the Sun). </span>Some images have some very nice moments to them.<br />
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<br />zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0tag:blogger.com,1999:blog-15415055.post-13328274408760375852012-11-30T20:49:00.001+08:002013-04-27T15:37:14.678+08:00ABC Perth at it again ...<div class="separator" style="clear: both; text-align: center;">
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<br />
Stateline (7.30 WA) occasionally uses artworks as backgrounds for interviews, even when the interview context has nothing to do with the article itself. <br />
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It's understandable when an interview is done in an office and that which is in the background is unavoidable but often an obvious special effort has been made to get a talking head in front of something colourful.<br />
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A royalty would be due should they run a background musical track yet the visual artists are surely not compensated.zebra factoryhttp://www.blogger.com/profile/15302027485746516064noreply@blogger.com0