You can see some of the work here.
One of the most personal bodies of work I have ever come across has to be the projects of Matt Austin. An artist and teacher working out of Chicago. These are such touching images, in particular the Wake series and I would urge you to take a look. Together with the writing its just magical.
Its one thing producing work of this nature, but to publish it on line for all to see is quite something. To open yourself up like a book for the public takes balls, of that there is no doubt and especially when the work is so personal and honest..
Of course we all know that photography is a very personal thing, but that is not to say that a photograph has to be personal. My own work is very personal but maybe not so obvious to the onlooker. To be honest I often find myself not wanting to reveal a lot behind one of my pictures and often think why should I. Every gallery in the land would have you believe revealing the inner you is what everyone wants to see. But I usually disagree with this view on a personal level and believe that an image first and foremost should be pleasing to the eye and leave space for the viewer to make their own assumption.
I think there are two types of photography here. Photography that is revealing and photography that is pleasing. Of course you can have both too and I think its fair to say that Mr Austin has done just that. But I'm a pleaser, at least that's what I think.
I can only assume that everyone is out enjoying the weather because I couldn't find a thing...
C-prints fade into the light
An experimental process of the early 1990s is proving unstable
This unfaded Gursky of 1987 has been kept out of bright light
london. All colour photographs fade, but some are fading more quickly than others. At a recent seminar for new photography collectors at the Photographers’ Gallery in London, audience members were warned of the risks of purchasing c-prints dating from the early 1990s by artists such as Andreas Gursky because of the works’ inherent instability.
Michael Wilson, the co-producer of the James Bond films and a major collector of photography, told the audience that some c-prints from this period have faded so dramatically that they have been reprinted and replaced.
“C-prints are unstable, especially [those dating] from the early 1990s. I recommend anyone [interested in collecting these] go to the big auctions to see the photographs from the early 90s that are being sold for a million pounds: the cyan [blue] is gone or is going fast.”
Wilson said that photographers such as Gursky and other contemporaries of his “experimented with [processes] that were not established”. He also questioned whether a new print of a photograph could be as authentic as the original edition.
“How do you replace something that’s supposed to have a history? Does it help to have a [new] print? It’s not the same as the earlier one. These are problems that come with experiments,” he said.
A student of Bernd and Hilla Becher in Düsseldorf, Gursky, 55, is known for his large-scale, digitally manipulated colour works that include panoramas of stock exchanges, hotels, raves and shop displays. He achieved critical and commercial success in the mid 1990s. In 1999 the annual growth rate for a Gursky image topped 3,000%.
Ben Burdett, the director of the Atlas Gallery in London, says the market hype was part of the problem. “Photography requires a lot of connoisseurship and understanding of the medium. With all those dollars being spent on Gursky four or five years ago, some of that went out of the window. People were buying it because it was a Gursky and it was the thing to have. Gursky took on a cult status, like Hirst,” said Burdett.
The materials of c-print—or chromogenic—colour photography are complex organic compounds, which are unstable. Unlike the constituents of black and white photographs, the ingredients of c-prints continue to undergo chemical reactions rather than stabilise. Light, heat, and water in the atmosphere all accelerate the process.
Gursky was one of the first artists to make oversized c-prints. “If you were going to make big colour prints in the early 1990s, you had to do it chromogenically,” says Wilson. “Inkjet printing was just not good enough then.” Because c-prints on this scale are relatively recent it is only now that collectors and conservators are starting to understand fully the challenges of maintaining such works.
Another issue with Gursky’s work is that each image is face-mounted; a layer of Plexiglass is placed on top of the image and, in effect, the picture is fused to it. Conservators say they do not yet know if this process, which gives photographs a slick, wet look, accelerates degradation. Plexiglass is also sensitive and scratches easily. Because the image is fused to it, it cannot be replaced the way a layer of glass would be.
The Museum of Modern Art in New York has a large collection of Gursky c-print photographs, several of them dating from the early 1990s. In an emailed statement Jim Coddington, its chief conservator, said: “MoMA is conducting long-term experiments and studies to better understand the fading of these works and appropriate display conditions for improved longevity. We are also doing research on care of the plexi-face mount, to prevent scratches and other disfigurements that might also necessitate replacement of the work.”
Another major Gursky collector is Eli Broad in Los Angeles. Joanne Heyler, chief curator at the Broad Art Foundation, said: “We have not noted any fading problems with the Gurskys in [our] collection. I’ve certainly seen some c-prints by various artists at auction over the years that appear to have spent too much time in bright light, and look very faded, so buyers of these works have to be careful.”
Gursky’s art dealer Monika Sprüth of Sprüth Magers said in an email: “A c-print stays in perfect condition if it is handled properly and if the conservation instructions are followed. In this regard I would like to refer to the forthcoming group show at K21 in Düsseldorf ‘Auswertung der Flugdaten’ [11 September to 30 January 2011].” As the concept of the exhibition is to show only vintage prints, Gursky reviewed all the works from this time in his possession for a final selection. “All works are in excellent condition and can be displayed,” said Sprüth.
Gursky started to work exclusively with the Diasec technique in the middle of the 1990s. Diasec is a special process to create a durable bond between a c-print and acrylic glass to provide protection against UV light, atmospheric conditions and chemical impurities in the air. “A Diasec sealed and handled properly guarantees an even longer duration because of the high protection standards. Nevertheless, manufacturing errors may occur, as with many other techniques. In this case, after excluding the possibility of the owner having disregarded the conservation instructions—often works are asked to be replaced after a long period of solar irradiation for example—works are reproduced by the artist,” said Sprüth.
I have a few big problems with this and basically think there is a bit of scare scaremongering going on. Let me explain.
Now I am no expert, well actually I am, I have run my own lab way back then and basically had to ensure the best stability not just for my work, but also for others. I only sell C Type prints, and as long as the process is available I will continue to do so. The problem with the Gursky print fading was nothing to do with the longevity of the print and its process. C Types have been around for some time, since the 50's, and although these may have lost there punch, they have certainly not faded like a two year old ink jet.. Basically it was a chemical reaction with the bonding agent (in other words clue) which stuck the image to the Plexiglass (Perspex). This was found to 'eat away' at the prints emulsion after reacting with certain chemicals in the air. Admittedly it was probably a bit silly gluing a million dollar print to a bit of plastic. But as is common with new processes, it probably looked the business. Its no different to Damien Hurst and his rotting shark. That was more expensive, but at least the guy who bought it got a book deal out of it..
Gursky's dealer is totally right. If you look after a C Type print, it will last a lifetime. Just don't stick it onto some clear plastic. And of course as with any print old or new, keep it out of direct sunlight, like a dog or a new born baby...
Thats my take anyway..
The first is the fact that they have used a Richard Misrach image (I believe its Pyramid Lake) as the screen saver, and to advertise the product. Fancy that, an image shot on 10/8" neg, digitized and used on a digital product (I have seen a 30/40" print of this and its really no comparison). Bit stupid really, but not as daft as i Dubai by old Joey Sternfeld and all shot on the i phone. I have an i phone just like everyone else and the only thing its good for is photographing nothing, but I have mentioned this before on the mode that was B, that was B Mode, so will stop there...
What is it with all these Great American photographers trying to keep up with the youth of today. You've had your fun, you produced fabulous work. Now enjoy your riches and C Type prints. Don't be the granddad trying to do push ups...
Its like that middle aged twit with the mullet and silver suit that thinks he can break dance or is it called something else these days. Just don't do it..
The other thing about this i pad is its just far too big for my pocket..
I was delighted when they chose this image as it was to be the first big print that I ever sold in a gallery. Up to that point it was all 10/8's and the odd 12/16". The print was made to 30/40" and mounted on Aluminium. I was delighted when it sold even before the show officially opened (no such luck these days), and even more so when I sold another on the opening night. Not bad for a clapped out old Mini off a the Kingsland Road.
I bought a mountain bike with the money, then fell off and broke my collar bone and my helmet. Those were the days...
As my main tripod is the largest of the Gitzo range and will take a 10/8" camera, or a small elephant, I thought I would check out the smaller models. I have had mine for well over ten years and think its great...... I picked up a small Gitzo (french for do you have an overdraft), it felt good, nice and light, good quality and just the right size. Then I asked the price, and then I laughed out loud at the six hundred squidoos they wanted for a couple of pencil sized poles and a bit of rubber.. Apparently the price hike is all to do with Manfrotto buying the company a few years ago and now the tripods are made using Kryptonite and gold and assembled in a volcano by sexy Brazillian virgins.
And so to cut a long boring story short, I paid ten times less for a tripod of the same size but made of aluminium and weighing half a kilo more.
Who spends six hundred pounds on an Action Man sized tripod.? The same person who spends 10k on a camera thinking it will make them take better pictures.
Watch this space for fussy photographs..
I sailed through Jose Guerrero's website impressed with the array of imagery on show. I went through it again, and then once more. As often happens in these cases I started to question a lot of the images. There was something a little odd I couldn't put my finger on. It wasn't the flat washed out look, something I don't normally go for but it works here, nor was it the obvious (to me it is) digital feel, as again I think it works here. Basically its the angles the images are taken from. The more I look the odder they become. The depth of field also plays a big part here and I am guessing the aperture is tiny due to the bright light. This is what happens when you hand hold, in bright light using a zoom lens and a digital camera. I could be wrong but probably not.
Just an observation and not really a critique, but its these things that separate different photographers and something only experience can tell..
Now, I have always been intrigued by haunted old buildings, be it Hotels, Theme Parks, some old house, an empty shopping centre, Grannies cellar, Hospitals, and in particular Asylums. As I have mentioned on here before I generally have no fears of entering anywhere so long as I am armed with a camera and may be a boot knife, or a pair of Nun Chucks. The possibilities of a good shot tend to erase any fears or self doubt (dangerous yes, bad, not really..)
But after seeing Christopher Payne's astonishing Asylum I shall probably never try and photograph an institutionalised building ever again. Why, because I can't imagine I would pull of a series as good as this.
Ok, some of the images may be a little too clean for the likes of I. But I love them and regardless and after a little research know this has been a vast undertaking for the photographer and certainly a case where there's lots of work before hand in terms of research. Something which the viewer is rarely aware of and takes for granted..
Be sure to look at North Brother Island too..
Time for a bit of Amazon book buying I think..
I have always had the utmost respect for George Georiou and his work. His Faultlines project is remarkable and I dont know why, it just is. This has to be one of the most consistent projects I have seen for sometime..
I am always humbled by work of this calibre, especially when you can feel a real sense of 'getting in there..'
I Thought I should mention someone else on here before this bloggle turns into some kind of auto biography or something.
I am often amused by certain place names and have even found myself going somewhere just to say I have been. For instance, I just had to go to Paddy's Hole the other day when I was in Redcar. But if that was the premise of my post I would have to mention the Busty Baps roach coach I passed en route which almost made me choke on my dried cherries. But thats not the reason I went to Redcar in Sunderland. As part of my project I was interested in this particular part of the coast as I was aware of a couple of WWII bunkers on the shore line (turns out the tide was too far out and they just looked like big bricks, naff !). I was also intrigued to see the steel works there, in particular the blast furnaces which were Ridley Scots influence for the opening scene from Blade Runner. A strange place for sure, with pictures to follow at a later date.
Cant wait to go to Twatt.. (In Scotland)
On my way back from my Northern adventures I made a detour for The Bradford Museum of Photography and Media. I had never been to Bradford, let alone the Museum I had heard so much about.
As I had an appointment there I was given the VIP tour which really was quite brilliant and I felt like the portly child that had been given all the sweeties. There were cameras of all shapes and sizes as you can imagine, and an archive of the most wonderful photographs from Le Grey to modern day masters (if there is such a thing).
Being somewhat interested in photography and its history I asked if they had 'the worlds first negative, and if so could I see it.' To which the reply was;
"But Marcus, no one here has seen that image. Its in a box and were not allowed to open it. In fact there's a running joke that the box is empty.."
I found this rather amusing and reassured my guide that the box probably was empty and asked if I could may be touch the box, or perhaps smell it a little. But that was like asking to go back in time to the day it was made and getting in the picture. I never asked again, but couldn't help thinking; 'What if you opened the box and there was an i Phone in there or something...'
It was a fascinating Jim'ill Fix It type day and I encourage anyone with a vague interest in photography to pop along.
It had been 12 or so years since I last frequented Blackpool, gateway to the Irish Sea and home to General Brody of the once Horse Shoe Bar (may be its still there who knows). This hole of a place was the only establishment where you could drink cheap ale and challenge the big fat wrestler in the ring where a dance floor once stood. Stay in the ring with him for more than a minute and you cold win £200 pounds, a mouthful of sick and a black eye. I had managed 45 seconds, but my plan of running from the giant failed miserably as I tripped on my turn-ups and was tossed from the ring like a Wellington boot.
The memories of shirts and cheap booze came flooding back as I strolled the Miracle Mile and then up onto North Pier. With the wind on my smooth bonce and sun in my eyes, it felt good to be alive and well standing where I once threw up multi coloured chunks after too many fruity cocktails.. And then it came, not the sick mind you, but the security telling me I couldn't take pictures because the pier was private. I tell you this, I laughed in his face, this time refusing to give in to such lunacy, I mean a public pier and you can take photographs!. Those days of avoiding confrontation are over. I took the little swine to task and he took a huff and left.
I wont go into my next confrontation with the coppers twenty minutes later while standing on a wall making an image of a half derelict house (it was a derelict house not a flaming military base).
Neither will I bore all three of you with such sorry tales, but safe to say, the public fear what they do not understand.....
ATT: Marcus Doyle
We have viewed your work and would like to offer you an opportunity for an exhibition of your work in Montreal, for the year 2010/2011. Please find below the “Terms and conditions”.
You will receive a confirmation, an exhibition date and other related information (by fax or e-mail) within a week of the gallery’s receipt of the “application form” (see page 3)
Visit the gallery website for additional information: www.gallerygora.com
Gallery Gora is in the heart of downtown Montreal. The gallery is adjacent to the “Musée d’Art Contemporain” and other major museums. Gallery Gora has existed since 1994 and represents a number of Canadian and international contemporary artists.
As an expanding cultural center in North America, Montreal is increasingly attracting ‘cultural tourism’. It has two official languages (French and English) as well as many other tongues spoken by its multi-cultural population. This provides the basis of a lively cultural scene that organizes a great array of cultural events, such as the Montreal Jazz Festival, the Just for Laughs Festival, and the International Film Festival.
TERMS AND CONDITIONS
1. Eligibility and Application Procedure
Gallery Gora invites you to exhibit in a solo or in a group exhibition. Selections are made solely on the basis of artists’ portfolios. Please send to the gallery:
- Completed and signed application (see page 4)
- International bank/postal money order or bank transfer (see “deposit” paragraph 3)
You will then receive a confirmation, an exhibition date and other related information.
2. Duration of Exhibition
The exhibition runs for a minimum of 3 weeks (at least 19 opening days, not including setup and take down time).
3. Exhibition Fee
A - Solo Exhibition
- Each artist can have up to 20 pieces of work depending on size
- The fee for a solo exhibition is $2,500.00 to cover gallery expenses.
- The first $2,500.00 of sale are commission free.
- The gallery takes a 20% commission during the 3 week exhibition
- A deposit of $700.00 is paid together with the application. It is payable by International Money Order (see application form page 4)
- The balance of the fee is payable 5 weeks prior to the exhibition date. All money is refundable in full if Gallery Gora cancels the exhibition.
B - Group exhibition
- The fee to take part in a group exhibition is $250.00 for first work and $150.00 for each additional work.
- The number of artists in a group show depends on the total number of works. The width of each work should not exceed 3ft or it will be counted as two works. The mode of payment is similar to the solo exhibition, deposit is 20% of total fee.
Exhibition fees cover furthermore:
Advertising and public relations
- Mention of the show in all weekly newspaper arts calendars in Montreal (when possible)
- A press release including an invitation to the exhibition e-mailed to a list of contacts (over 60,000) 1 week prior to the opening. Our contacts include the press, curators, critics, dealers, consultants and corporations, as well as a larger body of public members and buyers. If artists supply the gallery with additional e-mail lists, we will forward the invitation to these addresses as well.
- Full colour invitation cards. If we are provided with a postal mailing list of addresses within Canada, these cards will be sent out free of charge.
- Other advertising options are available at extra cost (see application form)
- On the evening of the exhibition’s opening, the gallery will welcome guests with wine and other beverages.
- Gallery staff will be at hand to receive visitors throughout the exhibition and to organize corporate/cultural events and receptions whenever possible, whether the artists choose or not to be present at the show.
- The Gallery takes a 20% commission on sales during the 3 week exhibition. The first $2,500.00 of sale are commission free. All money due will be sent to you within 10 days of the sale.
Artists are responsible for all shipping fees and procedures to and from the gallery door.
If you need help or an estimate from our shipper please send an e-mail to the gallery with the following information : Number of boxes, size and weight of each box, your full address.
Arrival: Shipped works must arrive in a strong protective and reusable package. All shipments must be delivered to the gallery door.
Pick-up: If the work is not retained for representation, it must be picked up from the gallery within 10 working days following the end of the exhibition. The gallery will assist you with shipping if needed.
6. Installation of Works
- All work must be ready to hang or show. The gallery provides pedestals for sculptures. Installations should come with clear instructions.
-Gallery staff will do the hanging and packing/unpacking of the work.
7. Canvas stretching
If works on canvas arrive at the gallery in a roll (to save on shipping costs), gallery staff will stretch (and un-stretch) the paintings for US $10 per painting. Cost of stretchers is extra ($1.50/linear foot).
All photography and work on paper must be professionally framed. If required Gallery Gora makes archival contemporary wooden frames at very reasonable cost. Please send dimensions of work for a quotation.
Gallery Gora will take every possible care for the safety of all work; however, Gallery Gora or its staff is not responsible for any loss or damage of any work, during shipping, storage, on exhibit, at art fairs or at associate galleries.
10. Beyond the exhibition
- If at the end of the exhibition the work produces significant interest , the artist would be asked to be represented by the gallery in Montreal and on the gallery web site .
- A 50% commission rate applies to any work sold following the 3 week exhibition period.
Further general information:
Use the most economical shipping procedure
- We suggest the following shipping companies: UPS, PUROLATOR or DHL (FEDEX ground, not recommended)
- Sometimes sending two or three boxes is cheaper then one big crate. You might want to consider bringing the work with you and visiting Montreal (a wonderful city) at the same time.
- Another way to reduce shipping costs is to take canvases off the stretchers and ship them to the gallery in a roll, where we can have them re-stretched (see paragraph 7).
-Framing your work in Montréal could save you the cost of shipping the work framed. Please ask for a quotation to frame your work at the gallery.
- You could also produce the work in Montreal in a bright working Studio (US$2000.00/month or US$600.00 per week for a minimum of 2 weeks )
- Canadian customs may charge a 5% tax on the declared value of your work. This tax will be refunded to you (on non sold work) when the work returns to you.
If you have any further questions about shipping, feel free to contact Lyne at the gallery.
Gallery Gora also offers:
- Custom framing
- Publication of artist catalogs and posters.
Please see application form on the next page
This is the third time I have been approached in this manner by a so called gallery basically trying to bribe photographers and artists with shows and usually I let it lie. But not tonight!
Lets do the maths here pretending that I was gullible enough to do something like this.
All prices are approximate.
$2,500.00 for bugger all
$20,000.00 for 20 50/40" frames (yes, that's how much they cost)
$4,000.00 for 40/50" prints. (I know)
$2,000.00 for dry mounting. (absolute rip off)
$ 3,000.00for crated shipping of framed prints to Canada not including tax's and insurance.
So this gives the grand total of $31,500.00.
Oh, and you best add a lawyer fee onto that as well as its going to get nasty...
If you have the money to do such things, you don't need a gallery because you don't need to sell prints.
(c) Doyle 2010.
I have always found public places void of people a somewhat haunting experience and none more so than the above images taken very early in the am and a bit like a seen from The Omen.
But which is worse;
An often very public place with no people, like a park or a cinema.
A place where you would expect to see no one, and then someone appears, like a desert, or one of my book signings....
Mull that one over if you dare..
I knew instantly that Stephen Tamiesie was young, full of energy and a big fan of Richard Misrach. Perhaps I seen him as a younger version of myself, or myself ten years ago.
The first thing I noticed was The Salton Sea, which has to be the most photographed place in California, this was a dead give away as the things I photographed some time ago are either not there or decayed even further. The second was the cleaness of the images, and the third, the overall style and heavy influence of those that have gone before. Nothing wrong with any of this, but the images tend to be on the cusp of being too clean and loosing a lot of there character. I have a real personal issue with the 'over cleansing' of decaying subject matter, and often think 'Why on earth photograph it if your going to photo shop it into something else' . These images are far from original, but then again who is these days. Having said that they are certainly beautiful. But I've seen it all time and time again.
I always give this kind of work a bit of a hard time probably because its where the kind of work I produce is heading. This clean, perfect images of places that look like cesspit's in the flesh are what people expect these days, but its a contradiction to the likes of me.
Re-photographed. Re-worked. Re-Done.
I was tempted to put something in a little less obvious and without people, like empty church seats or a cinema. But I like this shot and it makes me laugh as I never told them to do anything, not even the dog!
So last night it was IronMan 2 which without spoiling it for you all, its a bit naff, with an over complicated plot and way too much going on. Tony Stark, the main character, is ever so rich and of course a bit of a rogue and a playboy. Not a boring old fart which would be more realistic, but its all about escapism isn't it.. So there in his cliff top house in Malibu over the fire place was a lovely big a photograph from Richard Misrach's Gold Gate series (amazing what you can achieve from your own back yard). I spotted it straight away as I often do although I am always disappointed when its not a Doyle hanging there. Old Missy has had a fair few of these cameos over the years and although I don't remember the names of the films, I remember the pictures.
Its always the same though, an outrageously big house designed by the worlds finest architect with lots of wood and glass and fine imagery on the walls. Its not often you see good landscapes in a semi detached house full of clutter with limited wall space on or off the big screen, which is probably why you haven't seen mine yet.