Lund, October 12, 2016 Click on images for info, links or prices
Content
• Welcome to shoot – a gateway to the art world • New editions, including Mark Rothko • Art Evening in Lund: the “photolution” • Collages from Iran • Instagram – let’s follow each other! • Abstract photography video • Venice: Can it still be saved?
Welcome to shoot # 56 – A gateway
The photo above is a digital gift – a moment of joy or reflection – to you from Oberg PhotoGraphics.
A special welcome to many new subscribers and social media and other friends – here is the precedingshoot.
shoot aims to stimulate art curiosity and share positive stuff. It’s a gateway to the online “flip” GlobalArt Magazine, the blog I write as an art recommender, not art critic.
shoot wings into your mailbox now and then. Sometimes I also shoot just a single image your way – exclusively for shoot recipients.
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New editions including one of Mark Rothko
Oberg PhotoGraphics’ homepage has changed to become more easy to navigate. Several new works uploaded, see Recent Editions. I’m proud of them all.
The main exhibit at the time was “Performing For The Camera”; curator Simon Baker talks here about it (it ended in June). It’s about how we all act – more than ever today – in front of a camera, act differently from how we would otherwise have because there is a camera.
The exhibition is very well curated, the display logic and pedagogical – covering documenting events, performances staged to be photographed, photos of actions and creative work, self-performance and selfies à la Cindy Sherman, public relations, self-portraits and performing real life – as did Amalia Ulman on Instagram.
It raises the question – why do we begin to act when a camera is around? How has the camera been serving throughout modern times as a tool to document or create art works, performances in particular.
There is an excellent review in The Guardian by a critic, Adrian Searle, who is actually participating in one of the exhibited works in which he is watching a female artist undress.
Apart from insights into the history of art – through e.g. Yves Klein, Beuys, Keith Haring – and their relations to photography, this excellent exhibition kind-of tells you what lead us up to today’s fascination with the mobile, lightweight cameras: If it is there – and it always is today with almost everyone – let’s use it for something, be it documentary, selfies, experimenting and showing others not only what we do but also who we are.
The idea and quality of sharing hasn’t changed. The quantity in which we do indeed has.
Since you were not allowed to take photos – what a pity!! – here are lots of images from Google. I still wonder why the (paying) visitor cannot take pictures when every work is already on the Internet?
Finally, about this exhibition. It wasn’t the first time I encountered the black-and-white photographic works by Francesca Woodman – as remarkable as enigmatic self-portraits, staged but nothing of the snapshot selfie-type of today.
But it was the first time I found out that she did only a few hundred photos and then committed suicide in 1981 at the age of only 22. Continue reading Tate Modern in May 2016
84 photography galleries from predominantly the Western or trans-Atlantic world exhibiting in the beautiful old rooms of Somerset House at The Strand in London – that is Photo London!
One may say that what Art Basel is to other art, Photo London has the potential to become to photography in all its shapes, categories, styles, techniques, expressions, media and historic periods.
It has come to life thanks to its two directors and art connoisseurs, Iranian-born Fariba Farshad and Michael Benson about whom you may read here.
And like Art Basel it is, with few exceptions, basically for the moneyed elite – and not too much experimentation. It costs even to just walk around and enjoy, an adult one-day tickets is £ 25.
However, the enthusiast or the person who has traveled a bit to get there – like I have from Sweden – will find it worth it. You’ll need two full days to give it a thorough review if you haven’t kind of seen it all before.
2016 was Photo London’s second year and my first time there. This article will focus on what I was most enthusiastic about at Somerset House. I always write about the things I like, thus conveying positive energy. I know how much it means to myself when someone expresses appreciation – and there is enough of negative critical-only, Besserwisser type of discussions in today’s world.
I don’t pretend to be a competent art photo critic, but see myself rather more as a recommender. Thus, I don’t do long more or less analytical text but let the images speak with a little intro and links where you can explore more – as if you had been there yourself.
That why it’s called social media – sharing and caring – and promoting achievement and success in all directions.
I’ve also made a 44-photos report at my Instagram account #obergphotographics and on #photolondonfair – and for your browser here.
In May 2016, London was turned into what was probably the world centre of photography.
Taking time to process it all – and I take hundreds of photos a day – I’ll write about these as soon as I can get around to it.
Martin Parr’sinstallation at the terrace facing river Thames was fun, a flashback to the good old days with photos inside an unusual “frame”. I’m not sure I was touched by it, but it inspired me to put it in yet another flashy frame.
A digression on the images in these notes:
I always process and/or crop, frame and otherwise change my photos before uploading to social media and this blog. One, it is fun with all the tools available. Two, you make it more personal. Three, I dislike the fast shoot-and-upload laziness with sharing of raw images that could have brought the viewer a little joy had they been cared for. Four, it’s good training and – fifth: Every image worth publishing is worth publishing well!
Mark Rothko at Tate Modern © Jan Oberg 2016
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