Monthly Archives: June 2010

Roseanne Lynch at the Wandesford Quay Gallery – Crawford College of Art & Design degree show

Untitled (cwd-22) (c) Roseanne Lynch

Last Friday many of us attended the opening of the inaugural exhibition of the new Wandesford Quay Gallery owned by the Crawford College of Art and Design, which most of you will know as the old Fenton Gallery. Of course it’s sad to see the Fenton go, especially when the arts scene in Cork seems to be suffering so badly these days, but great to know that the space has a new use. The first exhibition was of the work of 3 students who had just completed their MA in Fine Art by Research (Liz Cullinane, Mags Geaney & Roseanne Lynch).

The work of Roseanne Lynch is of particular interest to us as photographers. Roseanne is an artist working with photography. Her work investigates the medium of photography, the photograph as an object, our ways of looking at a photograph and the most basic building block of photography – light. As you enter the gallery you first encounter three very large abstract black & white photographs hanging opposite you. They are of light hitting various planes & have an architectural quality to them, one looks like a skylight, one could be an air duct, but they raise more questions than they answer and as they are all ‘Untitled’, it is possible we will never know for certain exactly what it is that we are looking at.

This uncertainty is a thread running through the exhibition. The next piece we come to is a video. We step into a darkened room to look at the screen, on which we see vertical blinds. At first there is no movement, we wonder if this is another photograph, we are a little confused…but then there is a slight ripple as a breeze flows through the blinds and we realise that there are lots of small movements if we watch closely. I think this is one of my favourite pieces in the exhibition. It is contemplative, it challenges you to rethink the way you look at art & the way you see the world. In her artist statement Roseanne mentions that she is interested in “the possibility of silence & internal conversation when you encounter artworks”. This video provokes both.

Finally you come to a series of smaller photographs printed on metal. Again you are challenged to interact with the art because as you move across the room the pieces change as the light reflects off them. They are photographs of light reflecting off a plane, printed on metal which reflects the light. They really challenge your idea of what a photograph is & how to look at it. Looking at Roseanne lynch’s work is not a passive experience, it is challenging but rewarding.

On a side note (as we are Cork Analogue Photographers) I think it is interesting to note that all the photographs were made on large format 4 x 5 inch negatives before being scanned to be printed.

I would highly recommend a visit to the exhibition before it closes on 1st July 2010, but allow yourself some time to really contemplate & interact with the work, because you will be drawn in. If you can’t make it to the exhibition & would like to see some of Roseanne’s work, she has an excellent website at roseannelynch.com. Although I would say this work has to be seen in person to be truly appreciated.

Further information:

Exhibition Brochure – MA in Fine Art by Research

Intoducing Magic to the Familiar – a review by Aidan Dunne of the Irish Times

www.roseannelynch.com

Over the next few months Roseanne’s work can be seen in the following exhibitions:

The Thing That Bruises You in The Back Loft of La Cathedral Studios, Off Thomas St., Dublin from  July 2nd-July 11th

Rua Red Summer Show 2011 at Rua Red, South Dublin Arts Centre, Tallaght from 19th July – 21st August

– Miriam

Addendum


In addition to Miriam’s review, I would like to add a congratulations to Roseanne on completing her MA, and thank her for her years of encouragement, enthusiasm and thoughtful criticism to us at Cork Analogue Photographers. Roseanne is the tutor at the night class in photography in the Crawford College of Art and Design which most of us attended for a year or more. We couldn’t have had a better teacher!


– Rory

Untitled (OF16) (c) Roseanne Lynch

Gallery view of some of Roseanne's work

Bruce Davidson interview in the New York Times

“East 100th Street.” New York City. 1966. (c) Bruce Davidson/Magnum Photos

I’ve heard it said that the greatest photography magazine is the New York Times. Living on this side of the pond it’s hard to get a physical copy of it, but they do have a good online blog. Today they have an interview with legendary Magnum photographer Bruce Davidson.

“… What happened is she ran off with an English professor. He was an older man. I was left with Cartier-Bresson, which was good enough. …” – Bruce Davidson

Read the interview and see some of his great photographs at the NY Times by clicking here.

Seidl have released a new 3-box retrospective of Davidson’s work from 1954 to 2009. Details here

– Rory

Stephen Shore

Stephen Shore,West Third Street, Parkersburg, West Virginia, May 16, 1974

The things you miss, when you are not In with the Art Scene (darling).  The Douglas Hyde Gallery have been showing Stephen Shore since May 28th. the exhibition will finish on July 3rd, so move fast if you would like to see it.  Shore, along with the likes of Eggleston, brought colour photography into the art world back in the 70’s, and he has influenced a generation of colour photographers.

– Rory

Irving Penn – Small Trades by Miriam King

"Seamstress Fitter," London, 1950 (c) Irving Penn

"Milkman," New York, 1951 (c) Irving Penn

August Sander’s objective style of photography was undoubtedly an influence on many future generations of photographers, including Irving Penn’s Small Trades project. Working in Paris, London and New York in the 1950s Penn photographed trades people wearing their work clothes and carrying the tools of their trade. He photographed them in the studios he used for his fashion photography, so that a neutral backdrop and natural light are the setting in which the trades-people pose with a sense of pride. Where as Sanders photographed his photographed his subjects in their environment, Penn photographs them in isolation, taking away all the distractions & focusing our attention on the person and their attire. These photos really seem to reveal something about the individual themselves, not just their job.

Coal Man London 1950 (c) Irving Penn

Commis-Larue Paris 1950 (c) Irving Penn

Penn shot these photos on a medium format camera using Tri-X film. He came back to this project repeatedly over several decades making both silver gelatin prints as well as platinum/palladium prints, which have a greater tonal range.

If you would like to know more about Irving Penn & his Small Trades project, here are some links:

Irving Penn Small Trades at the Getty Center

A Review of the Exhibition at PhotoInduced.com

New York Times – “Getty Museum Acquires Penn Photographs”

Irving Penn on Wikipedia

Irving Penn on Masters of Photography

– Miriam

The Faces Project

I dropped a couple of hints in earlier posts, but our latest escapade, code named “The Faces Project”, is currently ongoing. We were at Megadeath last week, and at Kenny Rogers last night, stopping fans for a quick portrait on their way in. Watch out for us at some more gigs (the friendly man from Aitken promotions will be delighted to see us again, no doubt) and around town during the Midsummer festival.

With The Faces Project we want to capture the spirit of Cork during the summer festival season by photographing the people we meet on the street. In this time where digital cameras are everywhere & people are used to being photographed constantly, film photography demands a different response from both the subject and photographer. It has a slower, more purposeful pace and requires people to take a few minutes out of their day to pause for the camera and interact with the photographer. We hope you enjoy the experience.

Projects like The Faces Project have been undertaken in other cities throughout the world: London, Barcelona, Edinburgh and New York.  Now it’s Cork’s turn!

August Sander, The Father of Street Photography

Painter (Anton Raderscheidt), 1926 (c) August Sander

Young Farmers on Sunday, 1926 (c) August Sander

In many ways August Sander is the father of street photography as we know it today. His great project Man of the Twentieth Century aimed to document the people and typologies of the area, near Cologne, where he lived. Sander declared “I am not concerned with providing commonplace photographs like those made in the finer large-scale studios of the city, but simple, natural portraits that show the subjects in an environment corresponding to their own individuality”.

Bricklayer (c) August Sander

He went out in to the streets and countryside on his bicycle, photographing the people he met.  He is best known for his full length portraits which not only describe the social role that people wanted to portray to the camera but also hint at the personality of the individual. He said “[w]e know that people are formed by the light and air, by their inherited traits, and their actions. We can tell from appearance the work someone does or does not do; we can read in his face whether he is happy or troubled”. His book Face of Our Time was published in 1929 but unfortunately when the Nazis came to power in the 1930s they banned his book and work, probably because his photographs showed a varied population which did not adhere to their Aryan ideals.

Circus Workers (c) August Sander

Country Girls (c) August Sander

For more on August Sander visit some of the following links:

August Sander on Photography-Now.net

August Sander at the Andrew Smith Gallery

August Sander at the Getty Center

Pastry Cook 1928 (c) August Sander

– Miriam

7ft high and 3ft wide, on the street

Coming soon to Cork streets

Another hint! It’s long! It’s wide! It’s on the street or near a concert venue! Look out for us in Cork …

– Rory