Photography as an object of investment

[Тютчев]

Сообщение от Chernomashentsev Vladimir

Well, why?
Trying to understand the art of the artist-painter, who we must learn his technique (in the sense of artistic technique). No wonder many critics whole chapters dedicate to stories about how your finger or a special paint drew particular artist. For example, I have been very useful knowledge that Turner is one of the first switched to white primer for his paintings, but in the end of life began to paint a watercolor on colored paper. All of this technology in the understanding of the painter.
So, trying to understand the works of photographer, you must first understand its equipment, goals, how he is positioning himself. In this sense, the list of photographic equipment for at least a little versed in the subject person has much to say. For example, I well understand the difference between KaterinoyMN and Bagirov. Understanding allows you to speak the same language.
In the end, I stopped to look at KaterinuMN as digital photography. I hope that we had understood each other.

Chernomashentsev Vladimir, in this topic we are trying to understand the complicated issues of photography. Collecting works of art in our country only grows. Accordingly, the information about it very much. And it is remarkable that the forum there are people who want to discuss this topic. Personally, I am interested primarily a matter of aesthetics of photography. And also, the technical issues to enable me to understand what opportunities are available from the artist to deal with those or other creative tasks. How these opportunities are the best demonstration of his talent, or, conversely, simulating the creative process. Accept the fact that to understand this is not necessary to thoroughly study the craft. At least in this topic. To do this, there are specialized forums, enough to give them the link.
In any case, before you go into the details of the subject, we must first understand the essence of the subject, to define and describe it. It is based cognitive process. From the general to specific. The subject in this case is photography as an art.
    I believe that in creating works of art the most important component of the creative process (what does the subject of a work of art) is certainly not a technique and technology, and the fact that almost defies comprehension. I mean what is called talent, a gift ... No this is not the art is in the understanding of which I speak. And, consequently, no large sums of those who pay for these works. Nobody would pay millions if the object does not possess unique characteristics. Canvas, paint, paper, graphite, chemicals and other by themselves are not unique, and, therefore, necessary to understand how such qualities become material after contact with the master. In this sense, the art of photography all the same way as in other forms of art.

[Тютчев]

Alexander Rodchenko "PHOTOGRAPHY - ART»

Alexander Rodchenko (1891-1956) - one of the greatest representatives of modern art of the last century, the founder of non-objective painting, chief engineer of constructivism, a pioneer of Soviet photography, even when life became her classic. One of the best Russian photographers experimenters mid 20 th century laid the foundation for many directions in photography. To date, Rodchenko - the most popular Russian photographer, claimed by the West, whose masterpieces are successfully exhibited and purchased by the world's biggest museums - MoMa (New York), Museum Ludwig (Cologne, Germany), Photomuseum Winterthur (Switzerland), Museum History of the City of Vienna (Austria), Russian Museum (Russia) and many others. Direction of photography created by A. Rodenko a gift from Russian photographs of many famous photographers of the 30's, such as: Reminiscences, Boris Ignatovich, Mark Alpert.

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Moscow House of Photography for 10 years has held annual exhibitions Rodchenko, bit by bit opening his archives, scanning negatives took 4 years. In 2004 the House of Photography presents Rodchenko Award for contribution to culture - in life he had not received any awards. The prize was handed over to the heirs of Rodchenko, amazing family, which operates as a research institute, and thanks to which we all now have an idea of Russian photography 20-40-ies. The heirs decided it will spend the prize on the release of a monograph on Rodchenko, the presentation of which will be held at the opening of the exhibition.

Russian avant-garde of the twentieth century - a unique phenomenon not only in Russian but also world culture. The dazzling creative energy, worked out by artists of this great era still nourishes contemporary artistic culture, and each of us in contact with the art-production era of Russian modernism. Alexander Rodchenko, of course, was one of the main generators of creative ideas and a common spiritual aura this time. Art, design, theater, cinema, printing, picture ... - all areas of artistic culture, which invaded the mighty talent of this very beautiful and very strong man, underwent a transformation to open up entirely new ways of development.

Start the 1920's - "the era of the gap, using the term Viktor Shklovsky, one of the finest critics and theorists of the time, when - even for a short time, even if illusory - emerged resonance between the artistic and social experiment. It was at this time, in 1924, Alexander Rodchenko, already established and known artist, placed at the center of his aesthetic slogan "We are obliged to experiment", intrudes into the picture. The result of this invasion are not only created his masterpieces, which were included in the classical world and Russian photography, but also changing perceptions about the nature of photography and the role of the photographer. In the photograph entered project thinking. It is not only a reflection of reality, but also becomes a way of visual presentation of dynamic mental constructions.

Rodchenko was introduced into the picture the ideology of constructivism, has developed methodological tools for its implementation. Open them tricks rapidly replicable. They were used as his disciples and followers, as well as aesthetic and political opponents. However, the mere use of "method of Rodchenko," which included the discovery of a diagonal composition, perspectiveness imagery and other techniques that do not automatically guarantee the artistic scale photographs. The practice of Rodchenko and photographer finds herself involved not only and not on formal methods, for which he mercilessly criticized since the end of 1920, but on a deep inner romanticism inherent in his student days (enough to remember his wonderful letters stories that He wrote to Varvara Stepanova in the early years of their acquaintance). This is a romantic beginning, pledged in his childhood, spent behind the scenes of the theater, where he worked for his father, was transformed into a powerful utopian thinking Rodchenko, the Constructivists, who believed in the possibility of a positive transformation of the world and man. In 1920 Rodchenko in each new photographic series of new challenges and creates a manifesto on what should be a picture and life, transformed by constructivist art beginning. In the 1930's, particularly in the late 1930's, worn criticism and harassment, he tries to analyze the life and artistic practice, including his own, whose evolution was largely determined by prevailing later aesthetics of socialist realism. Incidentally, throughout the history of Russian photos of the first half of the twentieth century, Alexander Rodchenko - one who through his published articles and diary entries, leaving the unique evidence of artistic reflection of the photographer, thinker, exercising their creativity deliberately.

Tired of continuous revolutionary change, creates a new reality that is far from the ideals inspiring the early period of his work, February 12, 1943, he noted in his diary: "Art - a ministry to the people and the people are in all directions. And I want to lead the people to art, not art lead somewhere. Sooner or later, I was born? It is necessary to separate art from politics ... ".

Alexander Rodchenko, devoted friends and followers, has survived persecution and deprived of opportunities to work and earn a living, participate in exhibitions that are excluded from the Union of Artists, heavy aching in the last years, was lucky. He had a family: friend and collaborator Varvara Stepanova, Rodchenko's daughter Barbara and her husband Nikolai Lavrentiev, his grandson, Alexander Lavrentiev and his family - a small, but very close-knit clan, charged with creative energy. As for Alexander Rodchenko, art became important in their lives. And they devoted to this life safeguarding Alexander Rodchenko and the ministry of photography. Thanks to them again found the work of Rodchenko world and his country. If it were not for this family may not have appeared and the first photographic museum in Russia - Moscow House of Photography. The house Rodchenko Rodchenko and his family, we discovered and studied the history of Russian photography, which can not be imagined without Alexander Rodchenko.

Olga Sviblova, director of the museum "Moscow House of Photography»

Photography Alexander Rodchenko from the archive MoMa (New York, USA) (very good quality reproduction of photographs):

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Real Utopian

As Alexander Rodchenko glorified Russian fotoavangard the world
 
Today the name of Rodchenko, almost a synonym for Soviet photos 20-30-ies. His works are in major museums around the world. His archive is so great that scanning negatives, which conducted the Moscow House of Photography, took 4 years. Nov. 23 Alexander Mikhailovich would have turned 115 years old. And in December, will be a half-century, as it is no longer with us. These two dates in conjunction with the opening of the Manege his solo exhibition "Photography - Art, organized by the MDP, with the participation of GMII. Pushkin, Mayakovsky museum, galleries Alex Lachman. In those days came out of the monograph Rodchenko with the same title, prepared as part of the publishing program of Interros, together with the MDP and humanitarian projects Ivan Polyakov.

Even someone who knows nothing about Rodchenko, obliged him with his eyes on the world. Famous sharp angles of his photographs were carrying the energy of a new vision. And as he once remarked, "every new seeing the birth to the revolution." We all enjoy the fruits of the revolution "of seeing", which made the artist along with his colleagues on "LEF" and later of "October". This revolution began not in the 20's, but much earlier. Then, when in 1916, Rodchenko was involved in the Futurist exhibition titled "Shop": "At this time I went in the winter and summer, autumn tattered coat and cap. He lived in a room behind the stove in the kitchen, partitioned off with plywood. I'm hungry. But I despised bourgeoisie. despised her favorite art: the Union of Russian artists, aesthetes arts world. I have been close to the same unsecured Malevich, Tatlin and other artists. (...) We are not accountants and clerks of the bourgeoisie. We were the inventors and altered the world in own way. We do not chewed nature as cows chewing on their canvases. We created a new concept. We - not izobrazhateli and innovators. "

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This was written in 1936, when behind him were already hounding in the press. Then his photos of the young trumpeter who has been removed from the lower angle, wrote: "Is it in this rough beast site of muscle and finesse, persons can be found alive, joyful, open face of the younger generation of Communists?" Critics saw red. And Rodchenko was expelled his colleagues and students from the group of "October". Then there were pictures on the construction of the White Sea-Baltic Canal. "I have taken the White Sea-Baltic Canal is the name of Stalin in 2000 the number of images handled almost all the Soviet press," - he said once. But his speech at the debate in 1936, entitled "Restructuring of the artist" he is forced to complete the promise "to create things, in which photographic language would serve as a fully socialist realism." Promises promises, but he did not surrender. He is said to boxers, know how to punch.

In fact, Rodchenko was one of the last of the Mohicans Russian avant-garde. He survived his friend Mayakovsky. And he made his posthumous image at home. He managed to finish the thing for which was raised when a revolt of poets, "Gorlanov, the ringleaders." He managed to bring the opening of the vanguard in the thick of life.

His works appear in the mainstream art searches Constructivists. He draws the Soviet pavilion for the exhibition in 1925 in Paris. Invent costumes, scenery and even a folding furniture and transforming equipment for productions of "The Bedbug" and "Inga". He works as an artist on the films "Moscow in October," "Journalist," "Doll with millions," "Albidum. He makes a montage for Mayakovsky's poem "about it." He works as a book designer and booster. The famous advertising "Nowhere except in Mosselprom" framed Rodchenko. He teaches at the Higher Artistic-Technical Institute (VHUTEIN). But gradually, his main love and passion is photography.

Sometimes it seems that she saved him. Leader and father of all nations interested in the arts more important - literature and film. A photograph no one took seriously. Rodchenko reluctantly writes: "The photo is so technically simple and fast, so necessary as applied to science, life and technology, but still, as such, is very close and accessible, not considered worthy of the prophet." He became its prophet. Prophet of art, and art that did not.

He, who first took the camera for artistic experimentation, refers to photos. Himself running, massive genre, which is considered to be in pictures something inferior. " It was necessary to have a remarkable keenness, artistic flair, the higher the sample democracy to guess: "But it is applied and inferior because of competition, magazines and newspapers, by virtue of living and need work, when you need to withdraw at any cost, whatever the lighting and point of view, and has done a revolution in photography. " A recognized artist and designer, he consciously becomes laborer visual revolution. Removes plants, work the ambulance, the newspaper, remote lespromhoz ...

Rodchenko was fond of the shooting very much. His wife, Varvara Stepanova told me that at the market Rodchenko made a photo of her and her daughter ... not recognizing them. As far as he was desperate man can be judged according to the memoirs reporter Shimansky. He witnessed the shooting competition at the racetrack: "Rodchenko took his" Horse Racing "in that perspective. He lay down on the edge of the racing track, and there was shooting. And those who were nearby, said that the horse should never attack a man. It does not rely .

However, often work photojournalist was far from pathos. Significantly letter which he wrote in August 1930, the wife of film expedition: "Dear Barbara! Started quite difficult. Of all the equipment works properly, a" watering. "(...)" Today, a tour of rosin-turpentine plant. ... The plant works round the clock and whistles, like a steamer on the Volga River, surrounded by a pine tree. They say the forest is to the north, home to wolves and bears. outputs we have. The peasant zaarendovana old horse Manka. loaded cart equipment, SLR cameras, and other junk, and we took turns sit down, too. Others march on foot. In addition to running our two dogs, each day different, but they run to the end and return back with us. During the shooting, got in the way all the time fit into the picture. I shoot a lot and sad about you.

As Karamzin opened ancient history, so Rodchenko opened spectators present. "Appreciate all the present and contemporary" - appealed to him. He himself was not enough that contained in perfect order their own negatives, prints, paper. It actually saves the photo archive Sovkino, which was flooded in the basement. Rodchenko bought it for 6 rubles and drag home wet, dirty pictures.

However, in the present Rodchenko most interested in the signs of the future. He believed that man can create a perfect rational world. Moreover, he managed to become an artist, an impressive and relevance in the twenty-first century. The exhibition at the Manege and published for the anniversary of the monograph is not simply show the breadth of interests Rodchenko. They actually open it as a multimedia artist. Rodchenko used for the experiment does not separate vygorazhivaniya delyanochki photos. In contrast, functionality and availability had to make it a universal language, which is useful for the book and in film, and advertising. His work is always part of the series, or, in the present - of the project. On the other hand, photography, graphics, movies in these projects for the artist became equally important media. Therefore, the fashionable word "multimedia" as applied to Rodchenko does not seem to stretch. Rather, a statement of his incredible intuition.

Even someone who knows a lot about Rodchenko, the exhibition and the book would meet a stranger by the artist. For example, when he saw his picture productions of the Bolshoi Theatre in 1937. They could be the envy pictorialists. Or - a series of "Circus", which was preparing for the June issue of 1941 magazine USSR in Construction. " The image of a stern constructionist, who coined: "Consciousness, Experience, purpose, structures, vehicles, and mathematics - these brothers of Contemporary Art" - bad fit in with the image of a man, drawing a self portrait with ... clown makeup on his face. By the way, remembers her daughter Varvara Rodchenko, the father loved to amuse the guests tricks. Among popular was this: the landlord put on his bald head plate - and a plate as if glued. Rodchenko was pacing the room with her head to the delight of youngsters. On the other hand, serious uncle, who may lie in the eyes of the public under the feet of a pioneer for the desired angle shot, should have, probably, and the courage of a clown.

The main focus, however, that the opening of Rodchenko, we still have. To a little closer to understanding this great figure of Russian twentieth century, it is worth remembering that among the most important events of life in the brilliant essay "The Black and White," he called childish impression of the speech ventriloquist in the theater, the shock of the planetarium, which is "made to look more and look fantastic reality, or real fantasy ", and a meeting with a photograph. In all three things he was able to find a miracle.

Love the functionality was similar to the Americans with their cult selfmademan. Incidentally, he believed that "a man who had organized their lives, work and himself, is a modern artist." But the rationalist able to maintain for a lifetime romantic dreams of youth: "I prefer to see ordinary things extraordinarily. This is an idea, I realized." And imagine, kept his word.

Joan Vassiliev

Photography Alexander Rodchenko:

[Евгений]

Сообщение от Tjutchev

The subject in this case is photography as an art.

Thank you to all forum participants for insightful information on photography as art, waiting for your new kommentariev.Tema certainly useful on the forum and probably the only Russian-speaking inete particularly interesting to understand the process of pricing in the collection photos ..

[Slays]

Hi all I'm new to this place, but I'm a photographer (a hobby), and this issue is now very interesting to me.
I read a very interesting and well written comments on the photos, as meaning comments about Equipements. Let me tell you my opinion, please
I think the photographer first state of the soul as an artist is all about emotions and how you see the world around you as you brake through the prism of your own (brain), because everyone in the world have their own identity your own style of doing business, regardless they. There is no definition as "the same picture.
Photoshop, this is just a tool, like the painter's brush, use it to give the proposal to show emotion photos that the photographer wants.
Let me give you some examples of my photos:

Fig. 5.1

Portraits in my room. "

Fig. 6.7

Angel Gruevs "Flowers. (I was given this title)

Fig. 8.10

Lady in the water.

Thank you for your attention, I'll be glad my comment photos.

Have a nice night

Angel

[NATA NOVA]

[Евгений]

[Евгений]

MCI (formerly the Moscow House of Photography) 11 October - 28 November

In the Moscow House of Photography, which is Ostozhenka street, and who are now referred to as "Multemidiynym arts complex, has finally ended a five-year restoration. The first draft of the updated building - is the story of the French branch of the international movement Fluxus (an art collective emerged in 1960, which is in every way to undermine the tradition of modern art and even tried to abolish the very notion).

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Press Release reports that Fluxus movement encourages dilettantism and experiment, and being open to all trends, the work of Fluxus - not so much finished work as the process of playing and theory at the same time. All this means is that Fluxus - an eclectic movement, chaotic and experimental, based on performances and events (though not only them), and - as consequence - a movement that is difficult to imagine at the exhibition. More interesting to see how well it's still there. Posters, collages, photos, performances and a variety of objects brought to Moscow director of the Department of Cultural Development Centre Pompidou Bernard Blistenom - he's the curator of the exhibition.
http://www.forbes.ru/node/58109

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 The new complex with a total area of 9,000 square meters will house fotohranilischa, restoration workshops, public library on photography, teaching studio for children.

Вложение 998691
 Its first visitors after more than five years of reconstruction The Moscow House of Photography will have on October 11. Its opening is rescheduled repeatedly - first it was scheduled for July 14, then spoke about the Day of the city, and only now has been announced the final date. After construction of the building exhibition space has increased from 600 to 2,5 thousand square meters. The new premises accommodated photo lab, a studio for children School Rodchenko, restoration workshops, halls for film screenings and musical performances, creative workshops. In the near future - a shop with books on photography and art, designer shops, a library, tea and coffee shop.
Museum and Exhibition Complex Moscow House of Photography was founded in 1996 - is the first museum in Russia with a photographic specialty. Among the projects IRF - International Biennale in Moscow, Festivals: Fashion and Style in Photography ", as well as hundreds of exhibitions, organized in their own showrooms, and in major museums and exhibition halls of the capital.

[Евгений]

October 28, 2010 In the U.S., opened the first in more than 30 years, a major exhibition of Henri Cartier-Bresson. Modern Art Museum of San Francisco opens a retrospective exhibition of the famous French photographer on Saturday, October 30.
   The exhibition presents about 300 images, covering almost the entire period of creativity of Cartier-Bresson - from 1929 to 1989, with an emphasis on the period of 1932-1973 years. Exhibition gives new insight into the art of the master - one fifth of the photographs have never before been exhibited.
  The works are divided into 12 thematic sections. Several sections are devoted to the early stages of the creativity of Cartier-Bresson (1930), three sections marked by geography - is a photographer's work in the East (India and Indonesia), in the West and in France, several sections devoted to the Soviet Union.
  The exhibition was organized by chief curator of photography at the Museum of Modern Art in New York Peter Galassi. The exhibition is open until January 30, 2011. After this exhibition moves to the Art Museum of Atlanta (High Museum of Art in Atlanta), which will be open from February 16 to May 15.
  Henri Cartier-Bresson - one of the most prominent photographers of the XX century. He is considered the father of reportage photography, his photographs repeatedly during the life exhibited in many museums and galleries around the world. In particular, the first photographic exhibition in the history of the Louvre in 1954, were presented just pictures of Cartier-Bresson.
  Ability and methods of work by Henri Cartier-Bresson became legends in the world of photography: for example, he became famous for his ability to remain "invisible" to people who were shot. Glossy metallic parts of his camera, he taped black electrical tape so they are not bright. He always made a complete snapshot in time of shooting: he had never cheated, do not crop a photo.
  He also is known for having tried to shoot any scene at the time of achieving the highest emotional tension, which he called the "decisive moment", a widely known expression in the photographic world.
  He photographed both the common people and the important people and significant events of the XX century. Here are some famous people, whom he shot: Irene and Frederic Joliot-Curie, Henri Matisse, Albert Camus, Jean Renoir, Marilyn Monroe, Roland Barthes, Coco Chanel, Jean-Paul Sartre, Louis Aragon.
   Quote of the Cartier-Bresson: "Fotogafiya by itself does not interest me. I just want to grab a slice of reality. I do not want anything to prove, nothing to stress. Things and people speak for themselves. I do not do" kitchen ". Job in the laboratory or in the studio with me is disgusting. I hate to manipulate - or during shooting or after, in a dark room. good eye always notice such manipulation ... The only time work - it is one hundred and twenty fifth of a second when the shutter clicks, the camera flashes light and movement stops ".