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From its beginnings in experimentation by mid-19th century scientists and gentlemen of leisure, photography has been shaped by the desire to understand and explore the medium’s essential materials. Taking that spirit of invention and discovery as its point of departure, this exhibition features the work of seven artists—Matthew Brandt, Marco Breuer, John Chiara, Chris McCaw, Lisa Oppenheim, Alison Rossiter, and James Welling—who focus their investigations on the light sensitivity and chemical processing of photographic papers, challenging us to see the medium anew. The exhibition also includes an overview of experimental practices during the twentieth century, drawn from the Getty Museum’s collection. The works on view in Light, Paper, Process provide a glimpse into the continued interrogation and reinvention of the medium of photography by artists working today.
fotografie --- kunst --- eenentwintigste eeuw --- materialiteit --- fotografische procédés --- Rossiter Alison --- Breuer Marco --- Welling James --- Oppenheim Lisa --- McCaw Chris --- Chiara John --- Brandt Matthew --- 77.039 --- Exhibitions --- Photographie --- Photographie, technique --- Photographie d'art --- Photography --- Welling, James --- Breuer, Marco --- Oppenheim, Lisa --- Rossiter, Alison --- Brandt, Matthew --- Chiara, John --- McCaw, Chris --- United States --- artistieke fotografie --- United States of America
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Art --- installations [visual works] --- art [discipline] --- Minimal --- light art --- Light and Space --- Hein, Jeppe --- Welling, James --- Irwin, Robert --- Bove, Carol --- Braman, Sarah --- Bell, Larry --- Finch, Spencer --- Janssens, Ann Veronica --- Falls, Sam --- Eliasson, Olafur --- Dean, Tacita --- Barth, Uta
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Depuis les avant-gardes des années 1920 et 1930, les artistes questionnent le médium photographique lui-même pour tenter de comprendre sa qualité ou sa spécificité. «L'essence de l'esprit moderne, écrivait le critique américain Clement greenberg, se définit par l'utilisation de certaines méthodes propres à une discipline pour critiquer cette discipline elle-même, non dans un but subversif, mais afin de déterminer exactement son domaine de compétence». Les artistes du pop art, de l'art conceptuel et du postmodernisme ont poussé plus loin cette interrogation de la photographie sur elle-même. Il s'agissait moins de définir le domaine de compétence du médium afin de lui assurer une légitimité dans le concert des arts que de questionner l'idée que l'on s'en faisait désormais. Dans la période contemporaine, l'avènement des technologies numériques a suscité de nouvelles formes d'expérimentations destinées à tester et à mettre en évidence les fonctionnalités du nouvel outil.
Photography --- Photographie --- Philosophy --- Philosophie --- Photographes --- Musée national d'art moderne-Centre de création industrielle $c Paris --- fotografie --- twintigste eeuw --- eenentwintigste eeuw --- fotografietheorie --- fotografische techniek --- Beuys Joseph --- Brassaï --- Campeau Michel --- Citroen Paul --- Garnell Jean-Louis --- Gerz Jochen --- Gordon Douglas --- Hermanowicz Mariusz --- Hilliard John --- Karquel Gaston --- Kertész André --- Lerner Nathan --- Man Ray --- Morell Abelardo --- Morris Robert --- Mulas Ugo --- Oppenheim Denis --- Paolini Giulio --- Paradeis Florence --- Rautert Imm --- Robakowski Jozef --- Roche Denis --- Saudek Jan --- Tosani Patrick --- Wall Jeff --- Welling James --- 77.01 --- Exhibitions --- Musée national d'art moderne-Centre de création industrielle --- Analyse de l'art --- Pop art --- Postmodernisme --- Art conceptuel --- Art contemporain --- Avant-garde
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Das Museum im Kulturspeicher Würzburg, mit der Sammlung Peter C.Ruppert eines der Zentren für Konkrete Kunst in Deutschland, hat bereits 2005 den Begriff der 'Konkreten Fotografie' in den Blickpunkt der Forschung gerückt. Zehn Jahre später wagt die Ausstellung Licht- bild und Datenbild – Spuren Konkreter Fotografie ein Update und fragt anhand von Werken vor allem der letzten zehn Jahre erneut nach einer Definition Konkreter Fotografie vor dem Hintergrund des digitalen Wandels. Der Katalog zur Ausstellung zeigt mit einem Ausschnitt aus der Sammlung Peter C.Ruppert einige Klassiker der Konkreten Fotografie; von hier aus verfolgt er die Spuren einer ungegenständlichen, selbstreflexiven Fotografie in der heutigen Kunst. Dabei reagieren einige Fotokünstler auf die Digitalisierung ihres Mediums mit einer Rückwendung zum Apparat und zum Experiment mit Fotopapier und lichtempfindlichem Material, andere nutzen die neuen technischen Möglichkeiten für eine vollständig von der Außenwelt unabhängige Bilderzeugung mittels des Computers. Auf beiden Gebieten sind dem Experiment keine Grenzen gesetzt – die Lust an der Bilderzeugung ohne Abbild als ein Wesensmerkmal des 'Konkreten' bleibt bestehen und äußert sich in aufregend vielschichtiger Weise. Künstler: Théodore Bally, Kilian Breier, Nina Brauhauser, Marco Breuer, Richard Caldicott, Michel Campeau, Pierre Cordier, Akos Czigány, Inge Dick, Christian Doeller, Philipp Dorl, Christiane Feser, Johannes Franzen, Adam Fuss, Hein Gravenhorst, Franco Grignani, Heinz Hajek-Halke, Raphael Hefti, Heinrich Heidersberger, Stefan Heyne, Karl Martin Holzhäuser, Horáková + Maurer, Roger Humbert, Gottfried Jäger, Peter Keetman, Anton Kehrer, Ola Kolehmainen, Pit Kroke, Jacinthe Lessard-L, René Mächler, Andreas Müller-Pohle, Jaromír Novotný, Jerzy Olek, Michael Reisch, Christiane Richter, Thomas Ruff, Jörg Sasse, Otto Steinert, Claus Stolz, Wolfgang Tillmans, James Welling, Luigi Veronesi ----------- The Museum im Kulturspeicher Würzburg is one of the foremost centres for concrete art in Germany due to its "Collection Peter C. Ruppert". Already in 2005, it has helped to shift academic attention to the term of "concrete photography". Ten years later, the exhibition "Light Image and Data Image - Traces of Concrete Photography" ventures to update the earlier findings, endeavouring once again to come up with a definition of concrete photography in the light of the digital revolution by displaying works mainly created within the last decade. Beginning with the "classics" of concrete photography of the Collection Peter C. Ruppert, the exhibition follows the "traces" of non-representational, self-referential photography in contemporary art. Some artists react to the digitalisation of their medium with a return to the "apparatus" and by experimenting with photosensitive materials. Others make use of the new technical possibilities by generating images within their computers, completely independent from the outside world. Both reactions present inifinite opportunities for experiments - the major feature of the "concrete", a passion to create images without representing objects, persists and is expressed in various many-faceted, exciting ways. The Museum im Kulturspeicher Würzburg with its Peter C. Ruppert Collection is one of the centers for Concrete Art in Germany. Back in 2005, the museum proposed the concept of "Concrete Photography" as a productive new field of research. Ten years later, the exhibition Lichtbild und Datenbild – Spuren Konkreter Fotografie ventures to update this investigation, inquiring primarily on the basis of works from the last ten years into how Concrete Photography can be redefined in our digital age. The exhibition catalog shows a few classics of Concrete Photography from the Ruppert Collection and then proceeds to track the traces of nonrepresentational, self-reflexive photography in contemporary art. Some photo artists are responding to the digitization of their medium with a return to the apparatus and to experimentation with photo paper and photosensitive material, while others make use of the new technical possibilities to generate images on the computer that are fully autonomous from the outside world. In both approaches, the experimentation seemingly knows no bounds. The relish in generating images that are more than an imitation of nature thus remains the essential characteristic of the "Concrete" attitude, expressed in myriad exciting ways. Artists: Théodore Bally, Kilian Breier, Nina Brauhauser, Marco Breuer, Richard Caldicott, Michel Campeau, Pierre Cordier, Akos Czigány, Inge Dick, Christian Doeller, Philipp Dorl, Christiane Feser, Johannes Franzen, Adam Fuss, Hein Gravenhorst, Franco Grignani, Heinz Hajek-Halke, Raphael Hefti, Heinrich Heidersberger, Stefan Heyne, Karl Martin Holzhäuser, Horáková + Maurer, Roger Humbert, Gottfried Jäger, Peter Keetman, Anton Kehrer, Ola Kolehmainen, Pit Kroke, Jacinthe Lessard-L, René Mächler, Andreas Müller-Pohle, Jaromír Novotný, Jerzy Olek, Michael Reisch, Christiane Richter, Thomas Ruff, Jörg Sasse, Otto Steinert, Claus Stolz, Wolfgang Tillmans, James Welling, Luigi Veronesi
fotografie --- kunst --- Concrete kunst --- abstractie --- abstracte fotografie --- twintigste eeuw --- eenentwintigste eeuw --- Bally Théodore --- Brauhauser Nina --- Breier Kilian --- Breuer Marco --- Caldicott Richard --- Campeau Michel --- Cordier Pierre --- Czigany Akos --- Dick Inge --- Doeller Christian --- Dorl Philipp --- Feser Christiane --- Franzen Johannes --- Fuss Adam --- Gravenhorst Hein --- Grignani Franco --- Hajek-Halke Heinz --- Hefti Raphael --- Heidersberger Heinrich --- Heyne Stefan --- Holzhäuser Karl Martin --- Horakova + Maurer --- Humbert Roger --- Jäger Gottfried --- Keetman Peter --- Kehrer Anton --- Kolehmainen Ola --- Kroke Pit --- Lessard-L Jacinthe --- Mächler René --- Müller-Pohle Andreas --- Novotny Jaromir --- Olek Jerzy --- Reisch Michael --- Richter Christiane --- Ruff Thomas --- Sasse Jörg --- Steinert Otto --- Stolz Claus --- Tillmans Wolfgang --- Veronesi Luigi --- Welling James --- 77.038/039 --- Exhibitions --- Photography --- artistieke fotografie --- Concrete art
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