Podcasts about arno rafael minkkinen

Malcolm Gladwell en su libro “Outliers” afirma que para ser realmente un experto en algo es necesario invertir 10,000 horas en su estudio o práctica. Pero el fotógrafo Arno Rafael Minkkinen, no está de acuerdo y propuso “La teoría de la estación de autobuses de Helsinki”, te contamos todo.Diego Martinez Soto escribió un ensayo titulado “Únete a la comunidad de los Dioses” y tenemos una entrevista con él.A nuestros suscriptores de Patreon, les tenemos la exquisita técnica creativa de “Reverse Brainstorming”.https://www.patreon.com/blackbotrocksLink al reto de Fer: https://nas.io/365-dias-siendo-creativos/challenges/potenciando-tu-creatividad --- Send in a voice message: https://podcasters.spotify.com/pod/show/creative-talks/message

Jeffery learns that Bill doesn't play games, enjoy Halloween, or watch comedy, so they spend some time unpacking all of that that. I guess they're not playing Jeffery's Dreamcast together. The Manet/Degas show at The Met is discussed and a bit of Camera Corner because Bill played with an M10 and the new Fugi GFX 100 II this week. Arno Rafael Minkkinen is our Photographer of the Week. Sega Dreamcast Manet/Degas at The Met Manet and the Birth of Impressionism on Amazon Fake or Fortune season 5 on YouTube Fuji GFX 100 II on DPReview.com PotW: Arno Rafael Minkkinen

Cuban-born photo-based artist, María Martínez-Cañas, first came to the US at the tender age of three months with her parents, and four years later, in 1964, they relocated to Puerto Rico. Maria recalls her earliest fascination for photography as an eight year old when she started working with a Polaroid Swinger camera that her parents gave her. Her mother also gave her an old Twin-Lens Rolleiflex that she brought out of Cuba, which Maria still has today. It wasn't long before she asked her parents for a darkroom in the house, and thus began her passion for the process of creating images and processing film. Maria has been called a precocious photographer with an insatiable appetite to explore the art of photography and it wasn't long before her talent became apparent when she had her first exhibition in 1977 at the age of seventeen. Between 1978 and 1982 she attended the Philadelphia College of Art, where she studied with the likes of Joan Redmond, Ron Walker, Eileen Berger, and Arno Rafael Minkkinen. In 1985, Maria received a Fulbright Hays Grant, which enabled her to travel to Spain to study and where she culled archival sources, such as historical maps and documents, which inspired her to create negatives based on Cuban maps. She returned to the United States in 1986 where she settled in Miami. Two important series from the 1990s—Totems and Quince Sellos Cubanos (Fifteen Cuban Stamps)—epitomize her interest in a photomontage aesthetic and use of imagery drawn from her Caribbean childhood. Maria is the recipient of numerous awards and grants, including a Pollock-Krasner Foundation Photography Fellowship (2016), a National Endowment for the Arts grant (1988) and a Civitella Ranieri Foundation fellowship (2014) in Umbertide, Italy. Her photographs are in many private and public collections, including the Los Angeles County Museum of Art; American Art Museum, Smithsonian Institution; the Philadelphia Museum of Art, Philadelphia; and the Museum of Modern Art and International Center of Photography in New York. She is currently working on a project that involves the work of early 20th century German photographer August Sander. When she is not in her studio, Maria enjoys deep sea diving for which she is a certified diver, and watching her favorite basketball team, the Miami Heat. She says: “I think that visually, when you look at a work of art, be it sculpture, be it painting, be it photograph, whatever it is, you as a person, you're bringing yourself, who you are, what we call the baggage, you bring your iconography, you bring your identity, you bring your experiences as a person … with your eyes you're looking at an art work but with your head and with your heart; two very different things, the brain and the heart, but when they are communicating with each other, it's a very interesting dialogue. You don't have to know about art, you just have to relate to it.”Maria's Favorite Female Artists:Eva HesseKiki SmithBarbara BlondeauBarbara CraneLouise BourgeoisDoris Salcedo GegoAmelia PelaézZilia SánchezJess T DuganMaria's Playlist:Si*SéFederico AubeleMazzy StarNatasha St-PierSilvio RodriguezColdplaySimply RedSarah McLachlanLisseEeGal CostaMaria BethaniaNorah JonesOmara PortuondoShawn ColvinFrancis Cabrel MandalayLuz CasalCesaria Evora BebeEdnita Nazariohttps://mariamartinez-canas.com/Instagram: @mphotogramHost: Chris Stafford@theaartpodcastEmail: hollowellstudios@gmail.comThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4769409/advertisement

Cuban-born photo-based artist, María Martínez-Cañas, first came to the US at the tender age of three months with her parents, and four years later, in 1964, they relocated to Puerto Rico. Maria recalls her earliest fascination for photography as an eight year old when she started working with a Polaroid Swinger camera that her parents gave her. Her mother also gave her an old Twin-Lens Rolleiflex that she brought out of Cuba, which Maria still has today. It wasn't long before she asked her parents for a darkroom in the house, and thus began her passion for the process of creating images and processing film. Maria has been called a precocious photographer with an insatiable appetite to explore the art of photography and it wasn't long before her talent became apparent when she had her first exhibition in 1977 at the age of seventeen. Between 1978 and 1982 she attended the Philadelphia College of Art, where she studied with the likes of Joan Redmond, Ron Walker, Eileen Berger, and Arno Rafael Minkkinen. In 1985, Maria received a Fulbright Hays Grant, which enabled her to travel to Spain to study and where she culled archival sources, such as historical maps and documents, which inspired her to create negatives based on Cuban maps. She returned to the United States in 1986 where she settled in Miami. Two important series from the 1990s—Totems and Quince Sellos Cubanos (Fifteen Cuban Stamps)—epitomize her interest in a photomontage aesthetic and use of imagery drawn from her Caribbean childhood. Maria is the recipient of numerous awards and grants, including a Pollock-Krasner Foundation Photography Fellowship (2016), a National Endowment for the Arts grant (1988) and a Civitella Ranieri Foundation fellowship (2014) in Umbertide, Italy. Her photographs are in many private and public collections, including the Los Angeles County Museum of Art; American Art Museum, Smithsonian Institution; the Philadelphia Museum of Art, Philadelphia; and the Museum of Modern Art and International Center of Photography in New York. She is currently working on a project that involves the work of early 20th century German photographer August Sander. When she is not in her studio, Maria enjoys deep sea diving for which she is a certified diver, and watching her favorite basketball team, the Miami Heat. She says: “I think that visually, when you look at a work of art, be it sculpture, be it painting, be it photograph, whatever it is, you as a person, you're bringing yourself, who you are, what we call the baggage, you bring your iconography, you bring your identity, you bring your experiences as a person … with your eyes you're looking at an art work but with your head and with your heart; two very different things, the brain and the heart, but when they are communicating with each other, it's a very interesting dialogue. You don't have to know about art, you just have to relate to it.” Maria's Favorite Female Artists: Eva HesseKiki Smith Barbara Blondeau Barbara Crane Louise Bourgeois Doris Salcedo GegoAmelia Pelaéz Zilia Sánchez Jess T Dugan Maria's Playlist: Si*SéFederico AubeleMazzy StarNatasha St-PierSilvio RodriguezColdplaySimply RedSarah McLachlanLisseEeGal CostaMaria BethaniaNorah JonesOmara PortuondoShawn ColvinFrancis Cabrel MandalayLuz CasalCesaria Evora BebeEdnita Nazario https://mariamartinez-canas.com/ Instagram: @mphotogram Host: Chris StaffordProduced by Hollowell Studios@theaartpodcastEmail: hollowellstudios@gmail.com

I've been meditating on the two principles of uprightness and endurance and how they go hand in hand . . . one without the other and the ship is sunk.  It seemed fitting to pull a segment out (my favorite segment . . . okay favorite episode) out from the archives due to be laid out with the flu.  I've gone back to listen to this show, for my own encouragement, multiple times. I hope you find it as encouraging as I do.Arno Rafael Minkkinen, Ira Glass, and Lucas Skrobot shares their different view points on the Tortoise and the Hare.We hear an excerpt from Minkkinen, the famous photographer, share about a bus stop in Helsinki and how it relates to our work and our art.Ira Glass "stops by" to share about what is required of us to "close the gap" between our taste and our ability.And I share the REAL reason the tortoise beats the hare... and it isn't the reason you think.Here are some link from the show...Arno Rafael Minkkinen: and his speech --> https://petapixel.com/2013/03/13/the-helsinki-bus-station-theory-finding-your-own-vision-in-photography/Ira Glass on Story telling:  https://www.youtube.com/watch?v=X2wLP0izeJE&list=PLE108783228F1E008&index=3      https://www.youtube.com/watch?v=sp_8pwkg_R8&list=PLE108783228F1E008&index=4 warphotography   VALUE FOR VALUE- If you get value out of this show— support the show in the value that you've received.You can do that by visiting the website and giving Fiat currency thereORYou can stream bitcoin by listening Podcasting 2.0 Certified apps: Podfriend - Breez - Sphinx – PodstationTo find one visit http://newpodcastapps.com and find a player with the “VALUE” tag. I personally listen on Breez.If you want to get MORE value out of the show, talk about it with a colleague or co worker, or friend. You will begin to build (hopefully) stronger relationship and culture through texting this to a friend and then talking about the concepts discussed here. Remember, as leaders our first job is to define reality and define culture and that is done brick by brick.Until next time… uncover your purpose, discern the Truth, and own the future.To take more steps to live a focus life to achieve your dreams and fulfill your destiny–get my book Anchored the Discipline to Stop Drifting.  https://amzn.to/2Vwb22nThank you for listening, and as always you can find me at:WhatsApp: +1-202-922-0220http://www.LucasSkrobot.comTiktok: https://www.tiktok.com/@lucasskrobotLinkedIn: https://www.linkedin.com/in/lucasskrobotInstagram: https://www.instagram.com/lucasskrobot★ Support this podcast ★

when to quit? when to keep going? what about choosing a life path? this is a concept based on a commencement speech given by Arno Rafael Minkkinen to a group of photography students of the new england school of photography. here's a link to an article by james clear detailing the speech & providing even more thoughts about it: https://jamesclear.com/stay-on-the-bus what are your thoughts? xx, better

Arno Rafael Minkkinen, Kettelhole Bog Fosters Pond, 1995 Minkkinen explore depuis plus de quarante ans le rapport de son corps nu à la nature sauvage, dans une gestuelle presque primitive, confrontée aux éléments. Il teste les limites de l’endurance du corps dans des mises en scène inconfortables ou périlleuses pour lui, et souvent déstabilisantes pour l’observateur, mais jamais dépourvues de malice. Il a choisi de travailler sans assistant, sans manipulation d’aucune sorte, avec pour seule aide un retardateur ou un déclencheur souple, convaincu que l’image qu’il a en tête, mais qu’il ne contrôle jamais dans le viseur, peut advenir et constituer le “miracle” qui motive son inlassable exploration. Cette image a été prise derrière sa maison où des petits étangs très anciens continuent d’engloutir les arbres environnants. La chambre photographique est chargée d’un film polaroid, et l’artiste a neuf secondes après avoir déclenché l’obturateur pour prendre position. “Nous pensons que nous dominons la nature, mais la vérité est que la nature nous survivra si nous n'apprenons pas à adapter notre comportement face aux besoins de la nature, pas aux nôtre “ dit-il. 
Pascal Hoël Arno Rafael MINKKINEN Est né à Helsinki en Finlande en 1945. Il vit à Andover aux États-Unis. Une œuvre, une minute Tous les quinze jours découvrez une pépite de la collection de la MEP.

In episode 79 UNP founder and curator Grant Scott is in his shed considering the audience for photo books, paying for work to appear in a magazine and the teaching of digital visual literacy. Plus this week photographic critic, historian, educator, curator and writer A.D.Coleman takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' You can also access and subscribe to these podcasts at SoundCloud https://soundcloud.com/unofphoto on iTunes https://itunes.apple.com/gb/podcast/a-photographic-life/id1380344701 on Player FM https://player.fm/series/a-photographic-life and Podbean www.podbean.com/podcast-detail/i6uqx-6d9ad/A-Photographic-Life-Podcast A. D. Coleman (Allan Douglass) was born in Brooklyn, New York in 1943. During the McCarthy era (1951-3) his family moved to France, and then briefly to England, before returning to the U.S. Aside from that interruption he was raised in Manhattan, where he went to school in Greenwich Village, and Hunter College. He received a B.A. in English Literature from Hunter in 1964 and started writing in 1967 taking up the position as the first photo critic for The New York Times, authoring 120 articles during his tenure. He has contributed to the Village Voice, New York Observer and numerous magazines, artist monographs and other publications worldwide, published eight books and more than 2000 essays on photography and related subjects. Coleman has lectured and taught internationally and his work has been translated into 21 languages and published in 31 countries. He received the first fellowship awarded to a photography critic by the National Endowment for the Arts in 1976, was a Guest Scholar at the J. Paul Getty Museum, Los Angeles in 1993. Coleman has served as Publisher and Executive Director of The Nearby Café, a multi-subject electronic magazine where his blog on photography, Photocritic International, appears. He also founded and directs Photography Criticism CyberArchive (photocriticism.com), the most extensive online database ever created of writing about photography by authors past and present, and he co-directs The New Eyes Project (www.k12photoed.org), an online resource for everyone teaching photography to young people. In 2010 he received the J Dudley Johnston Award for “lifetime achievement in writing about photography,” from the Royal Photographic Society, UK. In 2014 he received the Insight Award from the Society for Photographic Education and in 2015 he received the Society of Professional Journalists Sigma Delta Chi (SDX) Award for Research About Journalism, as well as The Photo Review Award for Outstanding Contributions to Photography. Coleman's first major curatorial effort, Saga: the Journey of Arno Rafael Minkkinen, made its debut in both book and exhibition form in September 2005 and now tours internationally. A second museum-scale curatorial project, China: Insights, premiered in 2008 and continues to tour the U.S. Since 2005, exhibitions that Coleman has curated have opened at museums and galleries in Canada, China, Finland, Italy, Rumania, Slovakia, and the U.S. His book Critical Focus received the International Center of Photography's Infinity Award for Writing on Photography in 1995. He still writes and talks on photography internationally and lives in New York. www.nearbycafe.com/artandphoto/photocritic Image of A.D.Coleman by Bill Jay Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. © Grant Scott 2019

This speech was given by Arno Rafael Minkkinen as the 2004 Commencement Address at the New England School of Photography. The address full title is: The Helsinki Bus Station Theory: Finding Your Own Vision in Photography. Sponsors: Capterra: Online reviews help us make decisions daily – and they can also help you find the right software for your business! Visit Capterra.com/fire to find the tools to make an informed software decision for your business today! HIMS: Your one-stop shop to help prevent hair loss for men! Get a trial month of Hims for just $5 while supplies last. See website for full details and safety information. Visit ForHims.com/eofire.

This episode might be my favorite yet.  We hear an excerpt from Minkkinen, the famous photographer, share about a bus stop in Helsinki and how it relates to our work and our art. Ira Glass "stops by" to share about what is required of us to "close the gap" between our taste and our ability. And I share the REAL reason the tortoise beats the hare... and it isn't the reason you think. Here are some link from the show... Arno Rafael Minkkinen: and his speech --> https://petapixel.com/2013/03/13/the-helsinki-bus-station-theory-finding-your-own-vision-in-photography/ Ira Glass on Story telling:  https://www.youtube.com/watch?v=X2wLP0izeJE&list=PLE108783228F1E008&index=3     https://www.youtube.com/watch?v=sp_8pwkg_R8&list=PLE108783228F1E008&index=4 warphotography   Thank you for listening and as always . . . If you own your story you will own the future.   You can find Lucas at Lucasskrobot.com      

In the past, through articles and emails and speeches, most notably in the recent talk I gave at the Out Of Chicago Photography Conference, whose recording you can find here, I mentioned the Helsinki Bus Station Theory, first introduced by Finnish photographer Arno Rafael Minkkinen.The theory is a metaphor of the life of an artist and of a photographer in particular. The moral of the story is that, if you find something that inspires you and if you want to pursue a specific genre of photography, you should stick to it. You should not jump off the bus, metaphorically speaking, and pursue different avenues just because people tell you that what you've been doing has already been done by others.To quote Minkkinen:"Stay on the bus. Stay on the f**king bus. Because if you do, in time, you will begin to see a difference.[..] Suddenly your work starts to get noticed. Now you are working more on your own, making more of the difference between your work and what influenced it. Your vision takes off."I use this quote in the emails I send to my subscribers (click here if you want to get them too) and a few days ago I received a reply from one of my readers, Bob, who wrote:"I loved the "Helsinki" article. Is it possible to ride on more than one bus at a time, or more accurately, one big bus and a few minivans? In the 70's, the Sierra Club published reduced format paperback versions of their magnificent color monographs. I was of course overwhelmed by the Ansel Adams photos, but was moved and inspired by the work of Elliot Porter. While I love travel and travel photography, my greatest love and greatest frustration is photographing the "intimate landscape" in the footsteps of Porter. I recently found his two large-format books at a used book store and instinctively bought them. My big bus is "intimate landscapes", and my minivans are travel and street photography."So here's my reply to Bob.Yes, you can ride more than one bus at a time. It is OK to pursue different interests and practice different genres at the same time. Artists are supposed to be curious, multifarious and omnivorous.Look at Picasso. He went through several phases or periods in his artistic development. First he had a “blue period”, then a “rose period”, followed by an “African” period, then he invented cubism, rediscovered classicism, and dabbled with surrealism.The question you have to ask yourself is not whether it is OK to pursue multiple genres at a time. The question is: What do I want to be known for?You can certainly do intimate landscapes, travel, and street photography all at the same time, but what image of yourself do you want to project to the outside world? Is it that of the intimate landscape photographer or that of the street and travel photographer?Another thing to keep in mind is that people are going to put you in a box, whether you like it or not. You can, however, control what box they will put you in.When Picasso started doing cubism, he consciously chose to do cubist paintings and put himself into that box, for a few years. Nobody could have put him inside the impressionist box. He also did classical paintings at the same time, but cubism was what he was known for and what made Picasso the greatest artist of the 20th century.If somebody, like Picasso, is known for multiple things, it’s because they focused on one of those things at a time, and on other things at different times in their lives.If you want to become known in multiple fields or genres, focus on one for a number of years. Stay on that bus. Become known for that one thing and get a following in that field before you try to become known for something else.I would very much like to know your opinion about this, my dear reader. It’s OK if you disagree, and I will appreciate any kind of feedback you can give via the comments section here. See acast.com/privacy for privacy and opt-out information.

These days I often catch myself reflecting on ways that we can get better at our work–be it photography or any other creative endeavor–that go beyond the simple advice you can find in online forums and YouTube videos.Consequently, I am more receptive than ever to learning about the meaning of art, psychology, self-improvement, the life, the universe, and everything! It is with this disposition that I collect what little nuggets of wisdom I can find online. Occasionally I find some that are so good that I can't help but sharing them, in the hope that they will inspire and help my readers as much as they did to me.Ira Glass, the host and producer of the radio show This American Life, once said something that touched me deeply. I am reminded of it every time I feel like I'm struggling to get where I want to be.I hope his words will give you a hint of what you need to do, if you want to grow as an artist.Nobody tells people who are beginners — and I really wish somebody had told this to me — is that all of us who do creative work … we get into it because we have good taste. But it’s like there’s a gap, that for the first couple years that you’re making stuff, what you’re making isn’t so good, OK? It’s not that great. It’s really not that great. It’s trying to be good, it has ambition to be good, but it’s not quite that good. But your taste — the thing that got you into the game — your taste is still killer, and your taste is good enough that you can tell that what you’re making is kind of a disappointment to you, you know what I mean?A lot of people never get past that phase. A lot of people at that point, they quit. And the thing I would just like say to you with all my heart is that most everybody I know who does interesting creative work, they went through a phase of years where they had really good taste and they could tell what they were making wasn’t as good as they wanted it to be — they knew it fell short, it didn’t have the special thing that we wanted it to have.And the thing I would say to you is everybody goes through that. And for you to go through it, if you’re going through it right now, if you’re just getting out of that phase — you gotta know it’s totally normal.And the most important possible thing you can do is do a lot of work — do a huge volume of work. Put yourself on a deadline so that every week, or every month, you know you’re going to finish one story. Because it’s only by actually going through a volume of work that you are actually going to catch up and close that gap. And the work you’re making will be as good as your ambitions. It takes a while, it’s gonna take you a while — it’s normal to take a while. And you just have to fight your way through that, okay?There is something else that I want to mention here. While you are doing the huge amount of work that Ira Glass is suggesting, it's inevitable that your work will be compared to that of others. Then you start feeling like you can't find your own vision, your won style.What then? How do you find your true and unique vision in photography? Well, I don't want to give you a direct answer to this question. Instead, I am going to point you to an article by Finnish photographer Arno Rafael Minkkinen. A few years ago he wrote about the Helsinki Bus Station theory. You might ask what have buses got to do with art, vision, and photography. You will have to listen to the audio or read it all here.As always, I appreciate your comments and, if you liked this episode, please leave me a review on iTunes. Thank you very much.If you want to receive new episodes of the podcast directly on your device, subscribe on iTunes here.The post The Gap appeared first on Ugo Cei Photography. See acast.com/privacy for privacy and opt-out information.

Arno Rafael Minkkinen answers the age old question, 'how'd you do that?' and discusses specific details of one image, Oulujärvi Afternoon, Paltaniemi, Finland, 2009 with Catherine Edelman.