Podcast appearances and mentions of Francesca Woodman

In this episode of Visual Intonation, we dive deep into the world of Joseph Douglas Elmhirst, a filmmaker whose works explore the intricate intersections of nature, faith, and identity. Joseph's latest film 'Burnt Milk', commissioned by the 2023 Venice Biennale, serves as a visual prayer to Jamaica, capturing the spirit of the Windrush generation and their profound influence on British society. Join us as we explore how Joseph's art transcends mere storytelling and transforms into a potent meditation on the power of ritual, diaspora, and the complicated ties between memory and identity.  Through his lens, Joseph captures the vivid contrast that defines Jamaican life—evoking the beauty and harshness of the island in equal measure. With influences from the likes of Pedro Costa and Francesca Woodman, Joseph's approach to filmmaking is as much about sound as it is about vision. He draws from his cultural roots, intertwining ancestral soundscapes, such as the sounds of tree frogs from rural Jamaica, to create a rhythm that underpins his work. We'll unpack how these sonic elements, alongside his striking visuals, build an atmosphere of timelessness, offering viewers an intimate connection to his Jamaican heritage.  Joseph's journey is personal, intertwined with the story of his family—most notably his sister, Ruby Elmhirst, whose creative influence helped bring his film to the world stage. 'Burnt Milk' is not just a film, but a tribute to their shared upbringing and their mother's debut novel of the same name. We delve into the themes of motherhood and cultural heritage explored in Joseph's work, especially through the lens of the matriarchal relationships in his film 'MADA'. This project takes us on a poignant exploration of love, protection, and identity, as seen through the lives of three generations of women in rural Jamaica.  Finally, we look ahead at Joseph's future projects, including his research into spiritual transference and the personal influences that continue to shape his craft. Drawing from his deep connection to both his Jamaican roots and the broader African diaspora, Joseph is poised to continue challenging and reshaping our understanding of ritual, memory, and the power of cinematic storytelling. Tune in for an insightful conversation with one of today's most captivating voices in contemporary film.  https://www.criterionchannel.com/videos/burnt-milk  https://www.instagram.com/josephdouglaselmhirst?igsh=MTJ3NXUwMTlqYXRmYw==  https://vimeo.com/user55926319 Support the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

Fotografka Francesca Woodman, umelkyňa, ktorá spoludefinovala fotografiu v 70. rokoch, teda v dobe, kedy len získavala náležitý status vo svete umenia. Inovátorka, ktorej tvorba sa uzavrela príliš skoro, mala iba 22 rokov. Woodman tak vytvorila svoje dielo, ktoré dnes patrí ku kľúčovým a otvorilo cestu fotografkám ako Nan Goldin a Cindy Sherman rovnako sa zaoberajúcim témou identity, v priebehu iba osemročnej tvorivej fázy. No aj napriek tomu môžeme sledovať kreatívny vývoj umelkyne, ktorá testovala možnosti fotografie a do centra svojich diel dala ženské telo, vlastné telo. Jej tvorba je intímna, Woodman vytvára imaginárnu, často surreálnu, realitu, no presne inscenovanú, performatívneho charakteru a s množstvom významových aj metaforických vrstiev. Mariana Jaremková si na rozhovor o Francesce Woodman pozvala rektorku VŠVU Bohunku Koklesovú.

Somaya Critchlow talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Critchlow, born in London in 1993, makes paintings and drawings of Black women, often nude, that are rooted in the present and yet draw on a wealth of imagery from the recent and distant past. The women are fictional but can be informed by anything from self-portraits and other life studies to images from pop culture and depictions of women in the history of art. They engage frankly with what it means to represent the female body and with power relations: between the artist and her subject, between the subject and the viewer, and ultimately between Critchlow and us. Depending on your perspective, her art offers different degrees of delight and discomfort. But her balance of fine drawing, a time-honoured approach to paint and colour, and arresting imagery means that her work is endlessly intriguing. She discusses the breakthrough moment where she realised that she was her own first model, being “comfortable with feeling uncomfortable”, the influence on her of Angela Carter's response to the Marquis de Sade, her engagement with a wealth of visual artists, from Käthe Kollwitz to Francesca Woodman, Leonor Fini, Titian and Francesco de Goya, the power of David Lynch's films and the consistent importance to her of Japanese manga. She gives insight into her life in the studio and responds to our usual questions, including the ultimate: what is art for?Somaya Critchlow: The Chamber, Dulwich Picture Gallery, London, until 20 July. Group shows: A Room Hung with Thoughts British Painting Now, Green Family Art Foundation, Dallas, US, until 11 May; Woman in a Rowboat, Olivia Foundation, Mexico City, until 28 September.This podcast is sponsored by Bloomberg Connects, the arts and culture app. The free app offers access to a vast range of international cultural organisations through a single download, with new guides being added regularly. They include the Dulwich Picture Gallery, where Somaya Critchlow is showing her work between February and July of 2025. If you download Bloomberg Connects you'll find that the guide to the gallery has a section on the exhibition, with pictures of Somaya's work in situ in the historic gallery spaces. There is also extensive content on the gallery's other exhibition, Tirzah Garwood: Beyond Ravilious, the first major exhibition of the British artist. You can explore the works while listening to the actor Tamsin Greig reading excerpts from Garwood's autobiography. Elsewhere, the guide features an animated film telling the story of the gallery and a guided tour of the many masterpieces in its collection. Hosted on Acast. See acast.com/privacy for more information.

Giuliano Sergio"Blow-up. Piero Manzoni e l'esplosione dei nuovi media"Electa Editorewww.electa.itIl saggio di Giuliano Sergio analizza la visionaria coerenza con cui Piero Manzoni, fra i più celebri artisti del Novecento, intuì il ruolo fondamentale che negli anni Cinquanta assumevano i mass-media nella definizione dei linguaggi artistici e della figura dell'artista. Alla fine degli anni Cinquanta l'icona romantica dell'artista-genio, rappresentata da Jackson Pollock, si impone tramite il racconto fotografico e cinematografico dei suoi gesti, suggerendo un modello di fusione fra arte e vita che diviene una vera e propria lettura critica dell'opera.Dal rifiuto dell'action painting, dei “gesti inutili” di Pollock e dei suoi seguaci, nasce la complessa immagine di Manzoni, costruita in maniera diametralmente opposta. Il suo “gesto” si concretizza nell'0sservare con laica ironia il dispiegarsi dell'opera: lo svolgersi della linea, lo gonfiarsi del corpo d'aria, l'estendersi della superficie achrome. Le azioni che Manzoni interpreta per i cinegiornali – Lunghe Linee, Corpi d'aria, Sculture viventi, Uova scultura – sono filmate come scene di cabaret; l'artista ricorre alla fotografia pubblicitaria per promuovere la sua merda d'artista; costruisce reportage paradossali dove firma modelle nude e contrassegna uova sode con la propria impronta. Sono immagini prodotte per essere pubblicate nelle riviste illustrate o da proiettare durante gli intervalli al cinema: Manzoni si rivolge al grande pubblico per seminare il dubbio sul ruolo dell'artista e sulla funzione dell'arte. Agli albori del consumismo la genialità manzoniana sposta l'attenzione dal “prodotto” all'autore, dando un'indicazione precisa all'avanguardia italiana e avviando un'importante lezione rispetto al concetto di comportamento e l'identità che diventeranno uno dei nodi dell'arte povera e processuale.Giuliano Sergio, nato a Venezia nel 1974 insegna storia dell'arte, è critico e curatore. Tra le pubblicazioni: Ugo Mulas. Vitalità del negativo (Milano 2010); Information document œuvre (Parigi 2015); Atlante degli archivi fotografici e audiovisivi italiani digitalizzati (Venezia, 2015). Tra le mostre: Luigi Ghirri. Pensare per immagini (MAXXI, Roma 2013; IMS, San Paolo e Rio de Janeiro 2013-14); Paolo Gioli. Abuses (Villa Pignatelli, Napoli 2014); La montagne de Venise di Yona Friedman con Jean-Baptiste Decavèle (Venezia 2016); Julia Margaret Cameron, Florence Henri, Francesca Woodman. L'arte del femminile (Villa Pignatelli, Napoli 2017); Le Pietre del Cielo. Luigi Ghirri e Paolo Icaro (Fondazione Querini Stampalia, Venezia 2017-18); Renverser ses yeux. Autour de l'arte povera 1960-1975 : photographie, film, vidéo (Jeu de Paume e Le Bal, Parigi 2022-23). Con l'Archivio Ugo Mulas ha curato mostre presso Villa Pignatelli (2010), Triennale di Milano (2012), Fondation Henri Cartier Bresson (Parigi, 2016).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Isabella Pedicini"Maledette Feste"Fazi Editorewww.fazieditore.itAgata ha quarant'anni e vive a Napoli da quando, diciottenne, ha lasciato il suo paesino dell'Irpinia per frequentare l'università. Lavora in un museo di arte contemporanea,  ha un marito e due figli piccoli. Ogni mattina, per accompagnare i bambini a scuola, passa davanti alla cartoleria di zona, una stanza delle meraviglie piena di palloncini colorati, unicorni e indispensabili oggetti inutili che, nello spazio delle due vetrine su strada, scandisce il passare del tempo e l'avvicendarsi delle stagioni, dal periodo della cancelleria per l'inizio della scuola al momento dei gonfiabili per le vacanze al mare. Quando la vetrina di Halloween cede il passo alle prime decorazioni natalizie, Agata programma di raggiungere la sua famiglia nel borgo natio.A casa dei genitori, fervono i preparativi per una cena della Vigilia in grande stile per la quale è stato convocato l'intero parentado. Avviene però un imprevisto e toccherà ad Agata, che detesta le feste comandate quanto cucinare, occuparsi di tutto a un passo dal ricevimento, orchestrando pietanze, parenti e stoviglie e provando, tra una ricetta preparata a regola d'arte e le bizze di un anziano zio di quarto grado, a gestire inconvenienti e commensali prima che la cartoleria della sua città smonti la vetrina natalizia per passare alle ghirlande della prossima ricorrenza da celebrare.Con uno stile arguto e brillante, Isabella Pedicini affronta un grande tabù cercando di recuperare il significato originario del Natale, e delle feste tutte, attraverso una commedia irriverente e scanzonata sui riti e le tappe obbligate che si ripetono sempre uguali ogni anno mettendo sotto assedio ogni famiglia.Un libro per le Feste e contro le Feste per uscire indenni dal vortice natalizio e da un momento che a volte saremmo tentati di dimenticare.Isabella PediciniNata a Benevento, è saggista e scrittrice. Docente di Storia dell'arte presso il Liceo classico Umberto I di Napoli, è autrice di saggi sulla fotografia, cataloghi e testi di varia. Collabora con «Artribune» e «Arte». Tra le sue pubblicazioni: Francesca Woodman. Gli anni romani tra pelle e pellicola (Contrasto, 2012); La camera incantata (Contrasto, 2013); Vita ardimentosa di una prof (Editori Laterza, 2018); Saldamente sulle nuvole (Contrasto, 2023). Con Fazi Editore ha pubblicato Ricette umorali (2012) e Ricette umorali. Il Bis (2015).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

On Being an Angel" showcasing Francesca Woodman's photography: Francesca Woodman was an American photographer known for her black and white images featuring herself or female models, often nude and blurred. Here are key details about her life: Born in 1958 in Denver, Colorado to artist parents George and Betty Woodman. Began taking photographs at age 13 and continued until her death. Attended Rhode Island School of Design from 1975-1978, including a year studying in Rome. Moved to New York City in 1979 to pursue a career in photography. Created over 800 photographs during her short career, exploring themes of the body, identity, and self-representation. Her work was influenced by Surrealism and often featured herself partially hidden or blurred in empty interiors. Struggled to gain recognition for her work and suffered from depression. Tragically died by suicide in 1981 at the age of 22. Though largely unknown during her lifetime, Woodman's work has gained significant critical acclaim and influence since her death. Her photographs are noted for their intimate, mysterious quality and innovative approach to self-portraiture and the female form. LIKE SUB COMMENT SHARE Join us at : https://bit.ly/SyDCafe Research Sources on YT. --- Send in a voice message: https://podcasters.spotify.com/pod/show/socialyetdistanced/message Support this podcast: https://podcasters.spotify.com/pod/show/socialyetdistanced/support

Heute nehmen wir Euch mit ins Museum! Genauer: in die Albertina in Wien, denn dort gibt es aktuell die Jubiläumsausstellung der SAMMLUNG VERBUND zu sehen. Vor genau 20 Jahren wurde sie von Gründungsdirektorin Gabriele Schor ins Leben gerufen. Mittlerweile umfasst die Sammlung des österreichischen Energieunternehmens rund 1.000 Werke von 200 Künstlerinnen und Künstlern. Viele der Arbeiten beschäftigen sich mit der sogenannten „Feministischen Avantgarde“, darunter Positionen von Vally Export, Birgit Jürgenssen, Cindy Sherman, Francesca Woodman, Renate Bertlmann und Louise Lawler. Mit 15 Publikationen hat Gabriele Schor zudem maßgeblich die Karriere einiger dieser Künstlerinnen gefördert. "Tiefe statt Breite" – das ist das Motto der SAMMLUNG VERBUND. Was das genau bedeutet, wie es zur Sammlung kam und wie sich diese im Laufe der Zeit verändert hat, das hat uns Gabriele Schor bei einem Rundgang durch die Ausstellung erzählt. Viel Vergnügen.

This week, Kathryn Hughes introduces her new book on the cat craze that swept Edwardian England; and she also tells us about an exhibition of the work of Julia Margaret Cameron and Francesca Woodman. Plus a review of Sunjeev Sahota's The Spoiled Heart.'Catland: Feline Enchantment and the Making of the Modern World', by Kathryn Hughes'Portraits to Dream In', at the National Portrait Gallery, London, until 16 June, 2024'The Spoiled Heart', by Sunjeev SahotaProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Il Tamburino di oggi è condotto da Mariasole Garacci, che ci parla della festa di Sveja il 19 aprile al Bar Coppi e della resistenza del Quadraro al nazifascismo. Ma anche di Francesca Woodman oltre il mito, raccontata da Veronica Vituzzi, e di una mostra sul perturbante freudiano alla Casa di Goethe.Sveja è un progetto di comunicazione indipendente reso possibile del sostegno di Periferiacapitale, il programma per Roma della fondazione Charlemagne.Donate su sveja.it

A conversation with Lissa McClure, Executive Director of the Woodman Family Foundation about the life and work of Francesca Woodman and her organization's new partnership with Gagosian Gallery to represent Woodman's work beginning with an exhibition at Gagosian's 555 West 24th Street location in New York which opens March 13. In the conversation, Lissa discusses Woodman's prodigious work, her fondness for allegory, her fascination with surrealism, and the legacy that the organization is focused on preserving and growing.https://woodmanfoundation.org/https://gagosian.com/exhibitions/2024/francesca-woodman/

Actress, Screenwriter, and now Director, Brit Marling, speaks candidly with W Magazine's Editor-at-Large, Lynn Hirschberg, about a peculiar acting coach in Los Angeles, working on set, the radically feminine works of photographer Francesca Woodman, the cancellation of her first show, The OA, and a powerful lightning storm that left Marling feeling inspired. --- Send in a voice message: https://podcasters.spotify.com/pod/show/wmagazine/message

How can a physical space impact an artist's work? Danielle travels to Charleston, that famous home in the rolling Sussex hills of South East England, which was home to the Bloomsbury Set during the First and Second World Wars  and which still attracts fans of the works of Virginia Woolf, her sister Vanessa Bell their friends who stayed there, and which continues to be held up as a beacon of artistic and sexual freedom. This summer, the  space plays host  to an exhibition of the artists George and Betty Woodman, a husband and wife team of artists, who, although not contemporaneous with the Bloomsbury Group (Betty lived from 1930 - 2018 and George from  1932 - 2017) nonetheless share in the ideal of embracing  a life filled with creativity in a home away from the hustle and bustle of the city - in George and Betty's case, leaving New York for their farmhouse in Antella, just outside of Florence in Italy.  To discuss Betty and George, and the impact of their surroundings in which they worked, as well as their daughter, the late photographer Francesca Woodman, Danielle speaks to Lissa McClure, Executive Director of the Woodman Family Foundation, and Emily Hill, Acting Head of Exhibitions at Charleston. Further reading:Charleston for more about Virginia Woolf, Vanessa Bell and the wider Bloomsbury Group.  The Woodman Family Foundation for more information about Betty Woodman, George Woodman and their daughter, the photographer Francesca Woodman. To contact In Talks With host Danielle Radojcin with comments and suggestions, please head to https://www.instagram.com/danielleradojcin/https://www.linkedin.com/in/danielleradojcin/

Entrevistamos a la fotógrafa Gloria Oyarzabal, autora de "Woman Go No 'Gree", elegido mejor fotolibro en Paris Photo 2020, y de otros trabajos que cuestionan el modelo estereotipado y colonialista con el que habitualmente miramos al continente africano en general y a la mujer africana en particular. Con Oyarzabal repasamos también otros proyectos menos conocidos de su trayectoria como fotógrafa y hablamos de la situación de las mujeres en la fotografía. Tras la entrevista, cerramos el episodio hablando de la curiosa historia de la fotografía "An american girl in Italy", una controvertida imagen de la fotógrafa norteamericana Ruth Orkin. Presentado por Inma Barrio y Leire Etxazarra.

Hi all!I got accepted onto the ILIKENETWORKING Mentoring Group SchemeCheck out ILIKENETWORKING'S IG hereMy second group show in Chicago is at Woman Made Gallery; there website is hereMy dissertation title: (5000 words) - currently this is a working title - but it is basically around the idea that female artist's pain has been turned into a fetish that people are morbidly interested in. Their death has overshadowed their life.Worth more when dead? The fetisisation of female artist's painSpecifically looking at artists such as Ana Mendieta, Francesca Woodman and Amrita Sher - GilThanks for listening!Socials:Instagram - @scarlettart18Website - scarlettford.co.uk - YOU CAN LISTEN TO THE POD FROM MY WEBSITE!!Mailing List - https://www.scarlettford.co.uk/contact-9Linkedin - https://uk.linkedin.com/in/scarlett-ford-485795208Email - scarlettart18@gmail.comEdited on LumafusionMusic from Epidemic SoundsMic: Samson Q2UThanks so much for listening!Scarlett

In today's episode, our host Roland-Philippe Kretzschmar is joined by Marina Schiptjenko, art gallery legend, pop star and actor. Marina Schiptjenko was born in 1965 in Malmö, Sweden. In 1986 she moved to Stockholm to study comparative literature and theatre at Stockholm University. Parallel to her studies she worked for Swedish Radio, hosting her own program series on electronic music and related topics.In 1988 she started working as a director at a gallery focusing on constructivist art. After completing her studies, she was recruited by Ciléne Andréhn to Arton A, a contemporary art gallery in Stockholm. After a brief period of working together, they decided to open their own gallery; Andréhn-Schiptjenko Gallery was founded in 1991. Since its inception, Andréhn-Schiptjenko has consistently been committed to working in an international arena and to the long-term representation of emerging and established contemporary artists from all over the world working with painting, sculpture, photography, film and digital media as well as installation-based and site-specific work. The gallery is located in Stockholm and Paris.With a profound interest in the exhibition as form, the gallery has presented shows that have become seminal, successfully launching the careers of Scandinavian artists such as Cajsa von Zeipel, Gunnel Wåhlstrand, Annika von Hausswolff and Matts Leiderstam, and giving artists such as Uta Barth, Cecilia Bengolea, José León Cerrillo, Martín Soto Climent, Ridley Howard, Tony Matelli, and Xavier Veilhan their first European or Scandinavian one-person exhibition. In recent years the gallery has also exhibited work by deceased artists such as Francesca Woodman and Siri Derkert, successfully renewing critical and public interest in their work.Over the years, Marina Schiptjenko has lectured on contemporary art and music in the digital age, invited by a slew of Swedish companies and universities. For six years, she was chairperson for the Swedish Gallery Association and has been on the board of the Friends of the Moderna Museet in Stockholm. She has been a lecturer at the Umeå Academy of Fine Arts and served as an examiner at the School of Photography at Gothenburg University and the University College of Arts, Crafts and Design in Stockholm. She has often served as a jury member in contexts such as music, literature, design and art. She also worked as a master of ceremonies at several award ceremonies in the field of music, architecture and design.Fun facts:Marina has played the keyboard in different pop groups since 1980, the most famous one was Bodies Without Organs with Alexander Bard.She acted in the Palm d'Or winner The Square alongside Claes Bang in 2017. They have continued the collaboration and are now making music together Hosted on Acast. See acast.com/privacy for more information.

In today's episode, our host Roland-Philippe Kretzschmar is joined by Marina Schiptjenko, art gallery legend, pop star and actor. Marina Schiptjenko was born in 1965 in Malmö, Sweden. In 1986 she moved to Stockholm to study comparative literature and theatre at Stockholm University. Parallel to her studies she worked for Swedish Radio, hosting her own program series on electronic music and related topics.In 1988 she started working as a director at a gallery focusing on constructivist art. After completing her studies, she was recruited by Ciléne Andréhn to Arton A, a contemporary art gallery in Stockholm. After a brief period of working together, they decided to open their own gallery; Andréhn-Schiptjenko Gallery was founded in 1991. Since its inception, Andréhn-Schiptjenko has consistently been committed to working in an international arena and to the long-term representation of emerging and established contemporary artists from all over the world working with painting, sculpture, photography, film and digital media as well as installation-based and site-specific work. The gallery is located in Stockholm and Paris.With a profound interest in the exhibition as form, the gallery has presented shows that have become seminal, successfully launching the careers of Scandinavian artists such as Cajsa von Zeipel, Gunnel Wåhlstrand, Annika von Hausswolff and Matts Leiderstam, and giving artists such as Uta Barth, Cecilia Bengolea, José León Cerrillo, Martín Soto Climent, Ridley Howard, Tony Matelli, and Xavier Veilhan their first European or Scandinavian one-person exhibition. In recent years the gallery has also exhibited work by deceased artists such as Francesca Woodman and Siri Derkert, successfully renewing critical and public interest in their work.Over the years, Marina Schiptjenko has lectured on contemporary art and music in the digital age, invited by a slew of Swedish companies and universities. For six years, she was chairperson for the Swedish Gallery Association and has been on the board of the Friends of the Moderna Museet in Stockholm. She has been a lecturer at the Umeå Academy of Fine Arts and served as an examiner at the School of Photography at Gothenburg University and the University College of Arts, Crafts and Design in Stockholm. She has often served as a jury member in contexts such as music, literature, design and art. She also worked as a master of ceremonies at several award ceremonies in the field of music, architecture and design.Fun facts:Marina has played the keyboard in different pop groups since 1980, the most famous one was Bodies Without Organs with Alexander Bard.She acted in the Palm d'Or winner The Square alongside Claes Bang in 2017. They have continued the collaboration and are now making music together Hosted on Acast. See acast.com/privacy for more information.

Connaissez-vous le nom de Lee Miller, Gerda Taro, Francesca Woodman, Virginia de Castiglione et Bérénice Abbott ? Et leurs histoires ? Ce sont cinq femmes dont les vies dépassent la fiction. Elles sont photographes, et surtout des pionnières dans leurs domaines. Elles ont repoussé les limites de la photographie, et immortalisé l'histoire. Alors pourquoi ont-elles elles-même été effacées de notre mémoire collective ? Un Autre Regard est la nouvelle saison du podcast Une Autre Histoire, le podcast d'histoire qui redonne aux femmes la place qu'on leur a ôtée, dans la voix de Julie Gayet.Un Autre Regard est une série réalisée grâce au soutien du programme Women In Motion de Kering. Depuis 2015, Women in motion a pour mission de mettre en lumière les femmes dans les arts et la culture, pour faire évoluer les mentalités et lutter contre les inégalités femmes-hommes.À découvrir sur toutes les plateformes de podcast. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Connaissez-vous le nom de Lee Miller, Gerda Taro, Francesca Woodman, Virginia de Castiglione et Bérénice Abbott ? Et leurs histoires ? Ce sont cinq femmes dont les vies dépassent la fiction. Elles sont photographes, et surtout des pionnières dans leurs domaines. Elles ont repoussé les limites de la photographie, et immortalisé l'histoire. Alors pourquoi ont-elles elles-même été effacées de notre mémoire collective ? Un Autre Regard est la nouvelle saison du podcast Une Autre Histoire, le podcast d'histoire qui redonne aux femmes la place qu'on leur a ôtée, dans la voix de Julie Gayet.Un Autre Regard est une série réalisée grâce au soutien du programme Women In Motion de Kering. Depuis 2015, Women in motion a pour mission de mettre en lumière les femmes dans les arts et la culture, pour faire évoluer les mentalités et lutter contre les inégalités femmes-hommes.À découvrir sur toutes les plateformes de podcast. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Si nous avons voulu dédier une saison du podcast Une Autre Histoire à cinq femmes photographes (Lee Miller, Gerda Taro, Francesca Woodman, Virginia de Castiglione et Berenice Abbott), c'est pour mettre en lumière le parcours de photographes influentes, qui ont parfois été oubliées de l'histoire, ou reléguées au second rang de muse. Dans cet épisode bonus, nous nous demandons, au-delà de ces figures, quelle est la place qui est réservée aux femmes dans les musées et dans l'histoire de la photographie. Pour y répondre, l'historienne Clara Bouveresse reçoit trois professionnelles de l'art qui se battent au quotidien pour que les femmes photographes aient la place qu'elles méritent : Gaëlle Morel, commissaire de l'exposition Lee Miller présentée au festival des Rencontres de la photographie d'Arles, Marie Robert, conservatrice en chef au Musée d'Orsay en charge de la photographie et du cinéma, et Yto Barrada, photographe, directrice de la cinémathèque de Tanger et commissaire de l'exposition Bettina Grossman avec Gregor Huber. Un Autre Regard est la deuxième saison du podcast Une Autre Histoire. Une série imaginée en collaboration avec #WomenInMotion, un programme de Kering pour mettre en lumière les femmes dans les arts et la culture. Abonnez-vous à Une Autre Histoire sur la plateforme de votre choix : https://linktr.ee/unautreregardpodcast. Vous pouvez aussi suivre Louie Media sur Twitter et Instagram et nous écrire à hello@louiemedia.com. Retrouvez toutes les références utilisées pour ce podcast sur notre site internet. Un Autre Regard est un podcast de Louie Media. Cette table ronde a été enregistrée à Arles, lors de la semaine d'ouverture du festival des Rencontres de la photographie. Cet épisode a été enregistré, réalisé et mixé par Franck Haderer. Les musiques sont de Raphaël Ankierman et Adrien Casalis. L'illustration est de Louise de Crozals. Louise Hemmerlé est chargée de la production d'Un Autre Regard, accompagnée d'Elsa Berthault. La supervision éditoriale était assurée par Maureen Wilson, la supervision de production par Mélissa Bounoua. Une Autre Histoire a reçu le soutien de l'association Mnémosyne. Notre politique de confidentialité GDPR a été mise à jour le 8 août 2022. Visitez acast.com/privacy pour plus d'informations.

小捌和赋格团聚于南加州沙漠，用声音把这个周末记录了下来。 深夜塔罗牌时间 (3:55) 资本主义下昂贵的艺术课 (8:05) Joshua Tree 沙漠风貌 (38:55) Matthew Wong: Blue View @AGO，打动人的画展 (41:40) Marie Colvin 与艺术家的人设 (59:15） 因英年早逝而神秘的 Francesca Woodman (62:59) Fun Home by Alison Bechtel (66:36) 这是三期「夏日特辑」的第一期，点此浏览捕捉的相关影像。 --- Send in a voice message: https://anchor.fm/GFtherapy/message

Direction Arles, dans le sud de la France, où se poursuivent jusqu'au 25 septembre les Rencontres internationales de la photographie. Coup de projecteur sur une exposition collective qui présente les projets de 71 figures majeures de l'avant-garde féministe des années 1970. 200 œuvres jalonnent le parcours de cette exposition. Chaque image, chaque vidéo semble dénoncer les injustices d'une société résolument patriarcale. Les œuvres sont signés d'artistes venues d'Europe, d'Amérique du Nord et d'Amérique latine essentiellement. Christoph Wiesner est le directeur des Rencontres d'Arles : « Elles étaient sur des continents différents, mais elles utilisaient finalement le même langage et le même vocabulaire, avaient des pratiques communes alors qu'elles ne se connaissaient pas. Ce qui est très intéressant, c'est de voir comment la photographie a servi aussi de moyen d'émancipation. »     Toutes ces photos proviennent de la collection viennoise Verbund, constituée dans les années 1970. Elle montre les travaux de photographes ou plasticiens d'avant-garde dont fait partie la française Orlan.  « La fondation Verbund a une énorme collection qui est uniquement basée sur les années 1970 et la révolution féministe. Donc, ils lui ont acheté beaucoup d'œuvres, et ces œuvres tournent dans le monde entier. Depuis le début, la fondation essaye d'éclairer justement toutes ces femmes qui, la plupart du temps, sont mortes sans aucune visibilité » poursuit le directeur des Rencontres.  ► À écouter : Rencontres de la photographie d'Arles : « Un monde à guérir », 160 ans de photographies de la Croix-Rouge L'essentiel de l'exposition est constituée de photos en noir et blanc. L'œuvre de l'Américaine Francesca Woodman occupe une place centrale dans ce vaste panorama. La photographe, disparue tragiquement en 1981 à l'âge de 22 ans, met en scène sa rage face aux standards esthétiques de l'époque. Parmi les autres images fortes, les autoportraits de la cubaine Ana Mendieta, qui se photographie le visage collé à une vitre déformant ses traits. L'exposition se clôt sur un autoportrait d'Orlan. L'artiste française crée un second corps de femme à partir de son propre corps. Explications de Christophe Wiesner : « Cette photo s'appelle "Orlan accouche d'elle-m'A-I-M-E". Ce n'est pas un corps de femme, c'est plutôt un corps comme une œuvre d'art, comme un corps mutant. L'idée, c'était vraiment d'accoucher de l'art. On ne sait pas quel corps c'est. » L'exposition est organisée en plusieurs chapitres comme « Femmes au foyer – mère – épouse », ou  « Enfermement – émancipation », ou encore « Diktat de la beauté – corps féminin ». Elle est présentée dans un lieu baptisé La Mécanique générale, sur le site des anciens ateliers SNCF. Peut-être une manière de rappeler que le chantier de l'égalité hommes-femmes est loin, lui, d'être terminé. ► À lire aussi : Culture : 53e Rencontres de la photographie d'Arles, un cru très féministe

Dieses Mal ist die Schriftstellerin Katja Petrowskaja bei DEAR READER zu Gast. Die auf Deutsch schreibende russischsprachige Ukrainerin hat 2014 einen der besten Texte der letzten Jahrzehnte veröffentlicht. „Vielleicht Esther“ bei Suhrkamp erschienen. Für einen Auszug aus dem Erzählband hatte sie im Jahr davor den Bachmannpreis gewonnen. „Vielleicht Esther“ wurde in dreißig Sprachen übersetzt. Das fragmentarische Erzählen beherrscht Katja Petrowskaja so gut, dass hier Komik und die Beschreibung unermesslicher Brutalitäten nebeneinanderstehen können. Die Veröffentlichung fiel in eins mit dem Euromaidan und der Annexion der Krim. Und auch ihr aktuelles Buch „Das Foto schaute mich an“ ist vom Krieg umklammert. Die in der Bibliothek Suhrkamp erschienene Textsammlung ist eine Auswahl ihrer Fotokolumnen aus der Frankfurter Allgemeinen Sonntagszeitung. Seit Jahren verliebt sich Katja Petrowskaja alle drei Wochen öffentlich in ein Bild. Es sind ganz unterschiedliche Bilder, bekannte Kunstfotografien von Francesca Woodman, Schnappschüsse, Archivbilder, Plattencover, Pressebilder oder Rayogramme radiokativer Pflanzen. Und so divers wie das Material sind auch die kleinen Geschichten, die Petrowskaja aus diesen Bildern heraus entwickelt. Was ihre Art zu schreiben und ihre Methoden des Sehens mit ihrer Lesebiografie, ihrem Studium der Literaturwissenschaft in Estland bei Jurij Lotman, einem der Mitbegründer der Moskau-Tartu Schule für Kultursemiotik zu tun hat und ob Bücher und Kunst auch eine Art Widerstand gegen den Krieg sein können, darüber unterhalten sich Mascha Jacobs und Katja Petrowskaja. Sie sprechen über den aktuellen Krieg in der Ukraine, über den Zweiten Weltkrieg, Gleichzeitigkeiten, Freiheit, Sprache, Berlin, Kyiv, Totalitarismus, Fotografien,Erfahrungen, Frauen in der Mitte des Lebens, Widerstand, Wolken, Alice im Wunderland, Tschernobyl, Gewalt, Haltung, Ohnmacht, Widerstand und über die Liebe. Hinter all dem steht die Frage, wie man mit den Katastrophen dieser Welt leben kann, ohne zu resignieren oder verrückt zu werden. Katja Petrowskaja hat ein vor Kurzem gelesenes Buch „Abhängigkeit“ von Tove Ditlevsen (Aufbau Verlag/No Kidding Press) und einen weiteren für sie sehr wichtigen Text das Hohelied – Shir ha-schirim – aus dem Alten Testament (Deutsche Bibelgesellschaft), übersetzt von Martin Buber, mitgebracht.

Dieses Mal ist die Schriftstellerin Katja Petrowskaja bei DEAR READER zu Gast. Die auf Deutsch schreibende russischsprachige Ukrainerin hat 2014 einen der besten Texte der letzten Jahrzehnte veröffentlicht. „Vielleicht Esther“ bei Suhrkamp erschienen. Für einen Auszug aus dem Erzählband hatte sie im Jahr davor den Bachmannpreis gewonnen. „Vielleicht Esther“ wurde in dreißig Sprachen übersetzt. Das fragmentarische Erzählen beherrscht Katja Petrowskaja so gut, dass hier Komik und die Beschreibung unermesslicher Brutalitäten nebeneinanderstehen können. Die Veröffentlichung fiel in eins mit dem Euromaidan und der Annexion der Krim. Und auch ihr aktuelles Buch „Das Foto schaute mich an“ ist vom Krieg umklammert. Die in der Bibliothek Suhrkamp erschienene Textsammlung ist eine Auswahl ihrer Fotokolumnen aus der Frankfurter Allgemeinen Sonntagszeitung. Seit Jahren verliebt sich Katja Petrowskaja alle drei Wochen öffentlich in ein Bild. Es sind ganz unterschiedliche Bilder, bekannte Kunstfotografien von Francesca Woodman, Schnappschüsse, Archivbilder, Plattencover, Pressebilder oder Rayogramme radiokativer Pflanzen. Und so divers wie das Material sind auch die kleinen Geschichten, die Petrowskaja aus diesen Bildern heraus entwickelt. Was ihre Art zu schreiben und ihre Methoden des Sehens mit ihrer Lesebiografie, ihrem Studium der Literaturwissenschaft in Estland bei Jurij Lotman, einem der Mitbegründer der Moskau-Tartu Schule für Kultursemiotik zu tun hat und ob Bücher und Kunst auch eine Art Widerstand gegen den Krieg sein können, darüber unterhalten sich Mascha Jacobs und Katja Petrowskaja. Sie sprechen über den aktuellen Krieg in der Ukraine, über den Zweiten Weltkrieg, Gleichzeitigkeiten, Freiheit, Sprache, Berlin, Kyiv, Totalitarismus, Fotografien,Erfahrungen, Frauen in der Mitte des Lebens, Widerstand, Wolken, Alice im Wunderland, Tschernobyl, Gewalt, Haltung, Ohnmacht, Widerstand und über die Liebe. Hinter all dem steht die Frage, wie man mit den Katastrophen dieser Welt leben kann, ohne zu resignieren oder verrückt zu werden. Katja Petrowskaja hat ein vor Kurzem gelesenes Buch „Abhängigkeit“ von Tove Ditlevsen (Aufbau Verlag/No Kidding Press) und einen weiteren für sie sehr wichtigen Text das Hohelied – Shir ha-schirim – aus dem Alten Testament (Deutsche Bibelgesellschaft), übersetzt von Martin Buber, mitgebracht.

Morte inconnue à l'âge de 22 ans, Francesca Woodman s'impose aujourd'hui comme une légende de la photographie. Bien que courte, sa carrière a été d'une intensité exceptionnelle. La jeune artiste laisse derrière elle plus de 800 clichés. Des images déroutantes, se jouant des canons de l'autoportrait et du nu, du surréalisme et du symbolisme. Dépassant complètement la notion d'autoportrait, son travail questionne l'intimité, la féminité, le mouvement et la disparition. Comment, si jeune et en moins de dix ans, Francesca Woodman a-t-elle pu créer une œuvre qui transcende son époque, et continue de faire échos à nos propres fragilités ? Un Autre Regard est la deuxième saison du podcast Une Autre Histoire. Une série imaginée en collaboration avec #WomenInMotion, un programme de Kering pour mettre en lumière les femmes dans les arts et la culture.Abonnez-vous à Une Autre Histoire sur la plateforme de votre choix : https://linktr.ee/unautreregardpodcast. Vous pouvez aussi suivre Louie Media sur Twitter et Instagram et nous écrire à hello@louiemedia.com. Retrouvez toutes les références utilisées pour ce podcast sur notre site internet.Un Autre Regard est un podcast de Louie Media. Cet épisode a été écrit par Lucie Thomas et Gabriel Ariñ Pillot, avec l'aide de l'historienne Clara Bouveresse. Il est joué par Julie Gayet (fil rouge), Manon Adolphe (Francesca Woodman) et Marine Galland (Sloan Rankin). Il a été réalisé et mixé par Théo Boulenger. Les enregistrements ont été faits au studio La Fugitive. Les musiques sont de Raphaël Ankierman et Adrien Casalis. L'illustration est de Louise de Crozals. Louise Hemmerlé est chargée de la production d'Un Autre Regard, accompagnée d'Elsa Berthault. La supervision éditoriale était assurée par Maureen Wilson, la supervision de production par Mélissa Bounoua. Une Autre Histoire a reçu le soutien de l'association Mnémosyne. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Connaissez-vous le nom de Lee Miller, Gerda Taro, Francesca Woodman, Virginia de Castiglione et Bérénice Abbott? Et leurs histoires ? Ce sont cinq femmes dont les vies dépassent la fiction. Elles sont photographes, et surtout des pionnières dans leurs domaines. Elles ont repoussé les limites de la photographie, et immortalisé l'histoire. Alors pourquoi ont-elles elles-même été effacées de notre mémoire collective ? A l'occasion des Rencontres de la Photographie d'Arles 2022, Louie Media crée Un Autre Regard, la nouvelle saison du podcast Une Autre Histoire, le podcast d'histoire qui redonne aux femmes la place qu'on leur a ôtée. Un Autre Regard retrace les vies de cinq femmes photographes, racontées par Julie Gayet.Retrouvez Un Autre Regard dès le 5 juillet sur toutes les plateformes de podcast. Un Autre Regard est une série réalisée grâce au soutien du programme Women In Motion de Kering. Depuis 2015, Women in motion a pour mission de mettre en lumière les femmes dans les arts et la culture, pour faire évoluer les mentalités et lutter contre les inégalités femmes-hommes. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

In ArtiFact #20, Joel Parrish and Alex Sheremet went through the history of photography from Louis Daguerre (the creator of the daguerreotype) to contemporary photographers. In ArtiFact #25, there are fewer technicals to address and more emphasis on ‘forgotten' and misunderstood photographers, with more connections to the art world as a whole. Among the questions asked: how can artists understand the techniques of one medium and apply it to their own art? What should the viewer look for in a photograph, anyway? What are the unique advantages and drawbacks of photography, especially in light of “borrowed” tropes such as painting's still life genre? What do ‘timeless' photographic shots look like, and is there a difference between those and documentary-style photography? Photographers covered: Josef Sudek, Zdzisław Beksiński, Francesca Woodman, Hengki Koentjoro, Gordon Parks, Harry Callahan, Josephine Sacabo, Sebastiao Selgado, Laura Macabresku, William Eggleston, Pete Turner You can also watch this conversation online: https://www.youtube.com/watch?v=au4d8fjlmhQ Subscribe to the ArtiFact podcast on Spotify: https://spoti.fi/3xw2M4D Apple Podcasts: https://apple.co/3wLpqEV Google Podcasts: https://bit.ly/3dSQXxJ Amazon Music: https://amzn.to/2SVJIxB Podbean: https://bit.ly/3yzLuUo iHeartRadio: https://ihr.fm/3AK942L ArtiFact #25: Photography From Josef Sudek To Laura Makabresku | Joel Parrish, Alex Sheremet Timestamps: 0:24 – introduction; why there has been such a glut of good (and terrible) photography the past half-century; Joel on the popularization of photography over time 6:12 – Josef Sudek (1896 – 1976) – his strengths & influence; the use of light, color, motifs, and inversions of expectation; an example of a great cityscape; Sudek's use of abstraction; some issues with still life photography 53:29 – Zdzisław Beksiński (1929 – 2005) – a look at his paintings, surrealism, & comparisons with his photography; an excellent video montage of his photos; how photography naturally lends itself to a ‘softer' or more muted surrealism; how to apply these principles across art forms & disciplines 01:26:06 – Francesca Woodman (1959 – 1982) – a young photographer who was known for her selfies; how Woodman was able to subvert the “nude in a dilapidated building” cliché; a (rare) excellent photographic still life; responding some flaws in The Woodmans (2010) documentary 01:48:32 – Hengki Koentjoro – a still-living Indonesian photographer known for his landscapes, oceanscapes, and more minimalist shots; Koentjoro's subtle use of time-lapse photography 02:50:45 – Harry Callahan (1912 – 1999) – a Detroit-based photographer who was excellent in a number of styles, techniques, and photographic genres 03:06:08 – Gordon Parks (1912 – 2006) – a black American photographer who excelled at everything from fashion photography, to the documentary style, to breaking conventions across genres; how his Red Jackson series on Harlem captures the basis for art's longevity 03:29:00 – Sebastiao Selgado (b. 1944) – a contemporary Brazilian photographer who is most known for his documentary-style photography, even as he pushed boundaries and tropes far outside of the range of more typical documentary snapshots 03:45:35 – Josephine Sacabo – a contemporary photographer with some of the richest uses of analog-style editing techniques; her dipping into ‘painterly' processes; Josephine Sacabo as a technician 04:06:14 – Laura Makabresku – a contemporary photographer with a tremendous work ethic & an emphasis on symbolism, folklore, religious imagery 04:30:03 – William Eggleston (b. 1939) – a modern photographer who was a pioneer in the use of color, seemingly “unartistic” or banal shots, & documenting the American South at a time when it was out of vogue 04:42:32 – Pete Turner (1934 – 2017) – a photographer across genres and styles anchored by his expert use of color, whether it's the depiction of New York City in the 1950s using a now-unexpected palette, his travel photography in Africa & beyond, or his more symbolic work Video thumbnail © Joel Parrish Joel's website: https://poeticimport.com Read the latest from the automachination universe: https://automachination.com Read Jessica Schneider's review of The Woodmans: https://www.automachination.com/so-mu... Read Alex's (archived) essays: https://alexsheremet.com

Hola, me emociona compartirles el primer video-podcast de Otra ves es lunes. En esta ocasión les platico sobre Francesca Woodman, una de mis fotógrafas favoritas. Espero lo disfruten. Busca este episodio en Youtube como Otra vez es lunes podcast :) IG / TW: https://www.instagram.com/yezk.romero... https://twitter.com/suckihuman

“I somehow see Plexus as a portrait project – a portrait of what has faded, and what is still lingering,” explains photographer Elena Helfrecht. “Maybe it can be seen as a sort of conjuring.” I originally poured over the images in Plexus on a mobile phone, and realized I wasn't doing her work justice. When I looked at Plexus on my iMac, I had a completely different experience. I immediately thought of the Blair Witch Project, Paranormal Activity, and more of the found-footage horror movies that dominated my younger years. That's where I became enamored with the series. You can view this article and much more with minimal banner ads in our brand new app for iOS, iPadOS, and Android. And for $24.99/year, you can have a banner ad-free experience. I think Plexus is not a series that belongs in print. To be honest, I think that would ruin the series. It belongs on your screen in dark mode, with you staring at the photos. When you peer into the work, you can almost feel its moving elements. Combine this with the fact that Plexus explores generational trauma, and you've got a recipe for a cinematic piece of photographic work. Personally, I'm also a huge fan of the direct flash, no Photoshop or post-production, and the use of black and white. The Essential Camera Gear of Elena Helfrecht Sony a7r II Flash I am mostly working digitally, as this allows me to experiment with the utmost flexibility, and without material (and financial) restrictions. My main tool is a Sony A7RII, which I chose first and foremost because of its capabilities to work in low light. Phoblographer: It looks like you've used a lot of direct flash. How did this help you express yourself creatively? Elena Helfrecht: The beauty of flash is its ability to highlight forms and structures and to blacken out the background. This often helps me to elevate the subject I had in mind. Since one overarching concept of the project is the visualization of psychological structures, and the exploration of how they are connected through different times and international contexts, the materials of the photographed subjects become a symbol for these aspects. Flash, together with the reduction of color, even them out and make them appear as one fabric. Phoblographer: How much Photoshop was used in this project? Was most of it created in-camera? Elena Helfrecht: While I always work on contrasts, lighting, and minor retouching, the whole project was created in-camera. “The beauty of flash is its ability to highlight forms and structures and to blacken out the background. This often helps me to elevate the subject I had in mind.” Phoblographer: A lot of your work is in black and white. What do you feel it does for your creativity? Elena Helfrecht: A reduction of colors emphasizes form and structure, and it breaks down the image, so only the essentials are left. In turn, the image becomes more abstract and the eye is guided towards shapes and textures, which often helps to materialize the vision I had in mind. Recently, colors frequently seem more and more like a distraction to me. If I use color, it has to be for a very specific, often symbolic, reason. Phoblographer: What photographers have influenced you? How have they done so? Elena Helfrecht: It's not only photography that influences my work, but my roots actually lie in art history. I think Symbolism and Romanticism have influenced me a lot. And then there is literature and movies, too. Some photographers I adore are Joel-Peter Witkin, Roger Ballen, George Shiras, Frederick Sommer, Annegret Soltau, and Francesca Woodman, for example. I believe we are constantly influenced by what we see and experience. Phoblographer: Almost all of these images were shot in portrait orientation. How does that help viewers understand what you're conveying in the images? Was that a purposeful creative decision? Elena Helfrecht: I somehow see Plexus as a portrait project – a portrait of what has faded, and what is still lingering. Maybe it can be see...

Í Víðsjá dagsins fjöllum við um þrjár listakonur: Málfríði Einarsdóttur, bandaríska ljósmyndarann Francescu Woodman og fjöllum um nýja bók um verk myndlistarkonunnar Jónu Hlífa Halldórsdóttur Við hugum að ný útkominni bók um myndlist sem heitir Brim Hvít Sýn en þar er fjallað um myndlist Jónu Hlífar Halldórsdóttur, innsetningar og textaverk hennar. Jóna Hlíf hefur verið iðin við myndlist sína á undanförnum árum jafnframt því sem hún hefur brunnið fyrir baráttumálum myndlistarmanna og stýrt Gerðarsafni í Kópavogi um tíma. Auður Aðalsteinsdóttir er ritstjóri þessarar nýju bókar og jafnframt útgefandi hennar undir merkjum Ástríkis, Auður verður gestur Víðsjár undir lok þáttar og ræðir við okkur um Jónu Hlif og verk hennar. Í gærkvöldi hófst fyrsti lestur á nýrri kvöldsögu hér á Rás1. Um er að ræða Samastað í tilverunni eftir Málfríði EInarsdóttur. Samastaður í tilverunni er fyrsta bók Málfríðar, að stofni til sjálfsævisögulegt verk, og kom út þegar Málfríður var 78 ára. Hún hafði skrifað verkið ártugum fyrr og reynt að fá það útgefið án árangurs þar til árið 1977. En Víðsjá hefst á umfjöllun um bandaríska ljósmyndarann Francesca Woodman sem lést aðeins 22 ára árið 1981.

Í Víðsjá dagsins fjöllum við um þrjár listakonur: Málfríði Einarsdóttur, bandaríska ljósmyndarann Francescu Woodman og fjöllum um nýja bók um verk myndlistarkonunnar Jónu Hlífa Halldórsdóttur Við hugum að ný útkominni bók um myndlist sem heitir Brim Hvít Sýn en þar er fjallað um myndlist Jónu Hlífar Halldórsdóttur, innsetningar og textaverk hennar. Jóna Hlíf hefur verið iðin við myndlist sína á undanförnum árum jafnframt því sem hún hefur brunnið fyrir baráttumálum myndlistarmanna og stýrt Gerðarsafni í Kópavogi um tíma. Auður Aðalsteinsdóttir er ritstjóri þessarar nýju bókar og jafnframt útgefandi hennar undir merkjum Ástríkis, Auður verður gestur Víðsjár undir lok þáttar og ræðir við okkur um Jónu Hlif og verk hennar. Í gærkvöldi hófst fyrsti lestur á nýrri kvöldsögu hér á Rás1. Um er að ræða Samastað í tilverunni eftir Málfríði EInarsdóttur. Samastaður í tilverunni er fyrsta bók Málfríðar, að stofni til sjálfsævisögulegt verk, og kom út þegar Málfríður var 78 ára. Hún hafði skrifað verkið ártugum fyrr og reynt að fá það útgefið án árangurs þar til árið 1977. En Víðsjá hefst á umfjöllun um bandaríska ljósmyndarann Francesca Woodman sem lést aðeins 22 ára árið 1981.

“La fotografia è un oggetto profondamente malinconico.Lo strappo della pelle della realtà, l'immagine cristallizzata, il tempo congelato fermano la vita in un istante bloccandola: nell'affermarsi come materia, conservano al loro interno un'inevitabile componente di morte a cui ogni immagine latentemente rinvia. La metafora sta anche nel rapporto positivo/negativo del rullino.”Passi di: Isabella Pedicini. “Francesca Woodman Gli anni romani tra pelle e pellicola”. Apple Books.⬇️⬇️⬇️I miei LINK :Instagram CONTENUTI EXTRA : • https://www.instagram.com/otticainfissa/ •Io sono : • https://www.instagram.com/magnitudo.art/ •• https://www.instagram.com/magnitudovibes/ •TELEGRAM : • https://t.me/otticainfissapodcast •Spreaker : • https://www.spreaker.com/show/ottica-in-fissa •Fatemi sapere cosa ne pensate!

In episode 78 – and SEASON FINALE – of The Great Women Artists Podcast, Katy Hessel interviews the very brilliant writer, DEBORAH LEVY on photographers Francesca Woodman and surrealist Lee Miller, and painters Paula Rego and surrealist Leonora Carrington!!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] The author of seven novels, Levy is one of the leading writers of our time having been shortlisted twice each for the Goldsmiths Prize and the Man Booker Prize. She has also written for The Royal Shakespeare Company and her pioneering theatre writing is collected in Levy: Plays 1. She is a Fellow of the Royal Society of Literature, and, she has also taught writing at the Royal College of Art for ten years. But the reason why we are speaking with Deborah today is because over the past few years, she has brought out one of the greatest – and most emotionally daring – trilogy of memoirs, which she sees as a living autobiography on writing, gender politics and philosophy: Things I Don't Want to Know, The Cost of Living, and Real Estate, which throughout unexpectedly make short segues to female artists – from Francesca Woodman to Louise Bourgeois – as though their work becomes a character, an emotion, or reminds you of elements in your daily life. It is such a beautiful and relatable way about talking about art, and as an art lover, captivating to see artists' work interwoven like this. So, I thought what better way to celebrate this special episode by looking into the lives and works of four women artists from her brilliantly unique perspective. I am so delighted to say that today we will discuss photographers Francesca Woodman and surrealist Lee Miller, and painters Paula Rego and surrealist Leonora Carrington…  LISTEN NOW + ENJOY!!! Some links: https://www.penguin.co.uk/books/253221/things-i-don-t-want-to-know/9780241983089.html https://www.penguin.co.uk/books/295634/the-cost-of-living/9780241977569.html https://www.penguin.co.uk/books/295635/real-estate/9780241977583.html and more books! https://www.penguin.co.uk/authors/7514/deborah-levy.html THANK YOU FOR LISTENING TO SEASON 6 OF THE GWA PODCAST! Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

durée : 00:04:56 - Mon oeuvre à moi - par : Mattéo Caranta - Macha Makeïeff questionne le corps féminin à travers deux photographies miroirs, deux autoportraits de deux femmes photographe, Diane Arbus et Francesca Woodman...

En speciel genre har ramt europæisk fiktion - en genre, der kunne kaldes 'oversete- kvindelige-fotografer-bliver-hovedpersoner-i-nye-romaner-genren'. Men hvad laver de kvindelige fotografer i fiktionen, og ser de noget specielt gennem linsen? I dagens program kan du møde Gerda Taro i en ny prisvindende italiensk roman. Hun var den første kvindelige krigsfotograf, der døde på slagmarken, og du kan høre historien om den amerikanske kultfotograf, Francesca Woodman, der sprang ud fra et tag blot 22år gammel. Sidstnævnte spiller hovedrollen i forfatter, Christina Englunds roman, 'Slugt', der er indstillet til DR-Romanprisen 2022. Vært: Nanna Mogensen.

Lissa McClure is the inaugural Executive Director of the Woodman Family Foundation, which stewards the work and legacies of Betty Woodman, Francesca Woodman, and George Woodman. She directs the vision and strategy for the Foundation with the Board of Directors and oversees its administration, operations, and partnerships. Prior to joining the Foundation, she was a longtime director of the Marian Goodman Gallery, where she worked closely with Julie Mehretu, John Baldessari, and Lawrence Weiner, and with Betty and George Woodman on behalf of Francesca Woodman. She was the founding Senior Director of Kurimanzutto New York and is currently on the Board of Directors of the John Baldessari Family Foundation. Francesca Woodman, Untitled, Rome, Italy, 1977-1978 Vintage gelatin silver print: 4 5/8 x 4 3/4 in. (11.6 x 11.9 cm). Photograph courtesy of Woodman Family Foundation and Marian Goodman Gallery, © Woodman Family Foundation / Artists Rights Society (ARS), New York, 2021. Francesca Woodman, Untitled, Providence, Rhode Island, 1975-1978 Vintage gelatin silver print: 5 1/2 x 6 1/2 in. (13.8 x 16.5 cm). Photograph courtesy of Woodman Family Foundation and Marian Goodman Gallery,© Woodman Family Foundation / Artists Rights Society (ARS), New York, 2021. Francesca Woodman Contact sheet, Italy, c. 1977-1978 Vintage gelatin print; 8 x 10 in. (20.3 x 25.4 cm). Photograph courtesy of Woodman Family Foundation and Marian Goodman Gallery, © Woodman Family Foundation / Artists Rights Society (ARS), New York, 2021.

Francesca Woodman'ın aynasından, görünenin ardındaki yansımalar... ‘'Ey dostum göründüğüm gibi değilim ben. Görünen üzerime giydiğim giysiden; beni senin sorgulamalarından, seni benim ihmalimden koruyan, özenle örülmüş bir giysiden ibarettir. Sen benim denizlerde yol alan düşüncelerimi anlayamazsın. Ben de anlamanı beklemem. Denizlerde bir başıma olmak isterim ben” ( Halil Cibran / Meczup ) Yazının tamamına ve daha fazlasına, Aralık Mag Blog'tan erişebilirsiniz. Yazan: Esra Akyol Seslendiren: İlker Şimşekcan #francescawoodman #aralıkmag #esraakol

Ultima puntata della prima stagione dedicata a Francesca Woodman, personalità ammirata e controversa del panorama fotografico della seconda metà del ventesimo secolo. Artista sensibile, fragile e tormentata ma anche creativa e provocatoria, nonostante la sua breve vita ha prodotto un portfolio di opere molto complesso e corposo.A questo link potete trovare le opere di cui abbiamo parlato durante la puntata

Sarah was recently featured on Michelle's podcast, 11:11 Calling, where women share courageous stories of stepping into their power and following their calling. Sarah shares her adventures as a young artist in New York City in the 90's, and how her search for personal truth led to her launching the Psychic Artist podcast. Artists mentioned in this episode are Hannah Wilke, Ana Mendieta, and Francesca Woodman. Rate & Review Giveaway - Enter to Win a Free 30 min. Reading with Sarah. Write & submit a review of this podcast, wherever you listen, then take a screenshot and send it to: bookings@thepsychicartistpodcast.comEach month your name will be added to the Giveaway drawing until you win!Listen to Michelle Hayne's podcast, 11:11 Calling, on your favorite listening platform. And find out more on Instagram and Facebook at: 11:11 Calling.Sarah Rossiter is an artist, writer and psychic medium. You can find out more about her work online at: SarahRossiter.comInstagram: SRossiterStudioFacebook: ThePsychicArtistPodcastQuestions and requests please email: bookings@thepsychicartistpodcast.comThanks for listening to The Psychic Artist Podcast.If you've enjoyed this episode, please leave a review and share!

Coco Chanel ed Elsa Schiaparelli, Eleonora Duse e Sarah Bernhardt, Helena Rubinstein ed Elizabeth Arden sono solo alcune tra le grandi donne di talento la cui rivalità ha lasciato un segno indelebile nella Storia - come racconta Paola Calvetti nel suo libro "Le rivali" (Mondadori, 276 p., € 22,00). Tina Modotti, Dorothea Lange, Lee Miller, Diane Arbus e Francesca Woodman sono invece cinque straordinarie fotografe che hanno avuto il coraggio di raccontare realtà poco conosciute e di offrire uno sguardo indiscreto e curioso sul mondo - spiega Elisabetta Rasy, autrice del libro "Le indiscrete. Storia di cinque donne che hanno cambiato l'immagine del mondo" (Mondadori , 252 p., € 20,00). RECENSIONI "Coco Chanel, una donna del nostro tempo" di Annarita Briganti (Cairo, 160 p., € 15,00) "Ephimera. Dialoghi sulla moda" a cura di Sofia Gnoli (Electa, 240 p., € 29,00) "Tina Modotti. Donne, Messico e libertà" a cura di Biba Giacchetti (24 ORE cultura, 128 p., € 25,00) "Tina Modotti fotografa" di Valentina Agostinis (Abscondita, 188 p., € 31,00) "Donne d'avanguardia" di Claudia Salaris (Il Mulino, 288 p., € 22,00) "Realismo magico e altri scritti sull'arte" di Massimo Bontempelli (Abscondita, 158 p., € 20,00) "Moda futurista. Eleganza e seduzione" a cura di Guido Andrea Pautasso (Abscondita, 222 p., € 23,00) IL CONFETTINO "A tu per tu con Coco Chanel" di Geronimo Stilton (Piemme, 96 p., € 12,50)

I romanen SLUGT møder vi en yderst talentfuld, men også skrøbelig kvindelig fotograf, i det sidste halve år af hendes liv. Forfatteren er inspireret af den amerikanske fotograf Francesca Woodman, der tog sit eget liv som 22-årig i 1981. Anbefaling i denne episode: Christina Englund, SLUGT. Sylvia Plath, Ariel. Medvirkende: Christina Englund og Anne Glad. Tilrettelæggelse: Mette Willumsen.

Elisabetta Rasy"Le indiscrete"Storie di cinque donne che hanno cambiato l'immagine del mondoMondadori Editorehttps://www.librimondadori.it/Tina Modotti, Dorothea Lange, Lee Miller, Diane Arbus, Francesca Woodman: sono cinque grandi fotografe che, con il loro sguardo, hanno reso indelebili alcuni momenti della storia del Novecento. I loro scatti sono talmente impressi nella nostra memoria, da risultarci familiari al primo sguardo, come la Donna con la bandiera di Tina Modotti, la Migrant Mother di Dorothea Langhe, le foto dei servizi di moda di Lee Miller. Non sempre, però, conosciamo il nome che si cela dietro all'obiettivo, cosa abbia generato il fermo immagine di quel preciso momento, quale alternanza di forza e fragilità, vulnerabilità e determinazione abbia mosso l'autrice della foto.Quello che intuiamo, è che dietro a ogni scatto si nasconde quella che nel suo nuovo libro, Le indiscrete, Elisabetta Rasy definisce l'arte dell'indiscrezione: un'arte dell'indiscrezione che è l'esatto contrario dell'indifferenza, il desiderio di far vedere ciò che per comodità o per interesse è stato tenuto lontano dalla vista, che si tratti di amore, dolore, politica, sesso, povertà, migrazioni, guerra o del corpo umano, soprattutto femminile. Riprendendo il percorso iniziato ne Le disobbedienti in cui, attraverso sei ritratti di pittrici, ha raccontato l'immagine e il posto della donna nel mondo dell'arte, con Le indiscrete Elisabetta Rasy ci conduce dietro all'obiettivo di cinque grandi donne, per cogliere il loro personalissimo sguardo femminile e il loro inarrestabile desiderio di libertà.Elisabetta Rasy è nata a Roma, dove vive e lavora. Ha pubblicato numerosi libri di narrativa e saggistica tra cui Posillipo (Premio Selezione Campiello 1997), Tra noi due, L'estranea, Memorie di una lettrice notturna, Figure della malinconia e Le regole del fuoco (Premio Selezione Campiello 2016). Da Mondadori ha pubblicato La prima estasi (1985) e Le disobbedienti (2019). Le sue opere sono tradotte in molti paesi europei e suoi racconti sono apparsi in numerose antologie italiane e straniere. Collabora al supplemento domenicale del «Sole - 24 Ore».IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

"Det er utroligt hvor forskelligt folk griber det an. Nogen har en hel bog inde i hovedet, før de skriver et eneste ord, og nogen går rundt om en fortælling i lang tid, før de begynder at skrive fra et eller andet hjørne og slet ikke aner, hvad de er på vej ind i." Christina Englund debuterede på Gyldendal som 17-årig 1 1992 med novellesamlingen "Uden egentlig at sove". Siden har hun udgivet en håndfuld romaner, undervist både børn og unge i at skrive og været vært på P1 programmet Jazz og Bøger. I april 2021 udkommer hendes nye roman SLUGT, der handler om den afdøde amerikanske fotograf Francesca Woodman. I denne samtale kommer vi ind på, hvordan man skriver om virkelige personer, om inspiration og research, omplantning af scener og kapitler, om sammenhængen mellem musik og litteratur - og om den nødvendige balance mellem det ophøjede og det legende, når man skriver. "Jeg kan stadig godt finde på at få mine venner til at sende mig stikord. Jeg kan godt lide det der med at noget bare bliver kastet ind fra højre."

In episode 57 of The Great Women Artists Podcast, Katy Hessel interviews the esteemed curator of the Woodman Foundation, Katarina Jerinic on the GROUNDBREAKING photographer, Francesca Woodman!!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] And WOW is this an incredible insight to the American photographer, who in her short career produced an extraordinary body of work (over 800 photographs) acclaimed for its unique style and range of innovative techniques. Born in Colorado in 1958, at the age of thirteen Francesca Woodman took her first self-portrait. From then, up until her untimely death in 1981, aged just 22, she produced incredibly visceral, expressive, dreamlike and gothic-like photographs. From the beginning: she was both the subject and object in her work.  Fragmenting her body hiding behind furniture, using reflective surfaces such as mirrors to conceal herself, or simply cropping the image, Woodman uses photography to emphasise the isolated body parts of the human figure. Slightly surrealist, her hauntingly narrative, small-scale photographs are almost akin to plays. They are at once theatrical, Baroque and operatic, as well as still and silent. In this incredibly in-depth insight into her career as told by Jerinic, who was close to Francesca's artist parents, Betty and George Woodman, we are given a full appreciation for Woodman's life and work. From growing up in Italy, attending RISD, and her final years in New York.  Since 1986, Woodman's work has been exhibited widely and has been the subject of extensive critical study in the United States and Europe. Woodman is often situated alongside her contemporaries of the late 1970s such as Ana Mendieta and Hannah Wilke, yet her work also foreshadows artists such as Cindy Sherman, Sarah Lucas, Nan Goldin and Karen Finley in their subsequent dialogues with the self and reinterpretations of the female body. ENJOY!! Further links: https://www.woodmanfoundation.org/ WORKS DISCUSSED: Self Portrait, Aged 13, 1972 https://www.woodmanfoundation.org/artworks/self-portrait-at-13 https://www.victoria-miro.com/artists/7-francesca-woodman/ Space 2 Series (Nature Lab), 1975–76 https://www.theguardian.com/artanddesign/2014/aug/31/searching-for-the-real-francesca-woodman#img-2 Space2 Series, 1976 https://www.woodmanfoundation.org/artworks/untitled-13 Polka Dots Series, 1976 https://www.woodmanfoundation.org/artworks/from-polka-dots Angel Series, Rome, Italy, 1977 https://www.woodmanfoundation.org/artworks/from-angel-series Untitled, 1977–78 https://www.woodmanfoundation.org/artworks/untitled-4 Eel Series, Venice, 1978 https://www.woodmanfoundation.org/artworks/from-eel-series Blueprint for a Temple, 1980 https://www.woodmanfoundation.org/artworks/blueprint-for-a-temple Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Laura Hendry  Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

This week Mason, Chris, and Sean consider the work of posthumously-celebrated photographer Francesca Woodman and discuss our culture’s toxic habits of deifying tragic figures, romanticizing struggling artists, and replacing basic human empathy with academic jargon. It’s a heavy one. Content warning: this episode contains strong language, adult themes, and frank discussion of the subject of suicide. If you or someone you know is experiencing suicidal thoughts, please contact the National Suicide Prevention Hotline at 1-800-273-8255.   Follow us on Instagram, Twitter, and sign up for the newsletter. ——— Meaning What is a product of it's no sam studios. Created by Mason Hershenow. Produced by Sean Ang and Christopher Scott McNeill. This episode edited by Christopher Scott McNeill. Additional editing and mix by Mason Hershenow. Our theme music is "January: Brief" by Mason Hershenow.

En un mundo de pantallas y pixels, donde consumimos miles de imágenes a diario casi sin ser conscientes, los libros de Fotografía y fotolibros – que no son lo mismo, aunque pueda parecerlo – siguen manteniendo intacta su capacidad para atraparnos y llevarnos de la mano a un mundo propio. Así que aquí está este nuevo episodio de Calle Oscura, en el que me siento a charlar de Fotografía y páginas de libros con alguien a quien le gustan tanto como a mí y de quien no dejo de aprender constantemente. En este episodio hablamos de - La experiencia de adentrarse en un fotolibro. - Cómo la inspiración puede colarse desde el lugar más inesperado. - La importancia de cultivar nuestra cultura visual. - Las conexiones entre palabra e imagen y cómo se influyen mutuamente. - La relación entre fotografía y otras formas artísticas. - La conveniencia de interesarte por lo aquello que está en las antípodas de lo que haces (y de lo que te gusta). - Que empezar copiando puede ser una gran manera de cultivar una mirada propia. - Por qué los trabajos clásicos son imprescindibles. - Que hay distintos fotolibros para diferentes momentos vitales. - Cómo acercarse a ese mundo desde cero. Y, claro, de muchas otras cosas que fueron saliendo durante la charla. Quién me acompaña Leire Etxazarra es una apasionada de la Fotografía y de los fotolibros, algo que se nota – y mucho – en todos sus proyectos. El primero fue un blog muy bien escrito y lleno de información valiosa (y entretenida, una combinación irresistible), a aquello le siguió un canal de Youtube dedicado a sus libros favoritos, que comparte y analiza desde una óptica muy personal. Disfruto muchísimo con todo lo que hace Leire y he aprendido tanto de su mano que no veía el momento de sentarme a charlar con ella de fotos, libros y – algo que sospechaba que sucedería – un buen puñado de cosas más. No olvides localizar y seguir a Leire en las redes a través de: - Su blog Cartier-Bressson no es un reloj (http://www.cartierbressonnoesunreloj.com). - El canal de Youtube con el mismo nombre (http://bit.ly/3asmOE9). - Su perfil de Instagram (http://www.instagram.com/leiremiska/). Referencias y enlaces Autores y autoras - Alan Schaller. - Alex Webb. - Bego Antón. - Duane Michaels (este catálogo es una gran manera de conocer su trabajo https://amzn.to/3u0cDOK). - Francesca Woodman (y sus libros On Being an Angel https://amzn.to/3qobH4B y Portrait of a Reputation https://amzn.to/3dyvzyz). Gabriele Croppi. - Jonas Bendiksen y esa fotografía que parece magia: http://jotabarros.com/grandes-fotografias-jonas-bendiksen-satellites/. - José Manuel Navia (http://jotabarros.com/aprende-de-jose-manuel-navia/). - Michael Ackerman. - Rafael Roa. Libros y trabajos - Hojas de Contacto, el libro de Magmun: http://jotabarros.com/libro-fotografia-magnum-contact-sheets/. - Garry Winogrand (el catálogo de la exposición: https://amzn.to/2ZrLW7w). - La Visión Fotográfica de Eduardo Momeñe (http://jotabarros.com/la-vision-fotografica-de-eduardo-momene/). - Mirar de Joel Meyerowitz (http://jotabarros.com/libro-fotografia-mirar-joel-meyerowitz/). Cómo Hago Fotografías, también de Meyerowitz (http://jotabarros.com/libro-como-hago-fotografias-20-consejos-joel-meyerowitz/). - The Americans de Robert Frank (http://jotabarros.com/the-americans-los-americanos-de-robert-frank/). - The Suffering of Light de Alex Webb (http://jotabarros.com/libro-fotografia-calle-the-suffering-of-light-alex-webb/). - Ravens de Fukase (http://jotabarros.com/libro-fotografia-callejera-ravens-masahisa-fukase/). - Street Photography Now (https://amzn.to/3jXnK6H). Muchas gracias por tu escucha Si te ha gustado este capítulo de Calle Oscura, deja tu valoración positiva en Ivoox, Apple Podcast y Spotify, donde también puedes encontrar este podcast. No olvides suscribirte a través de cualquiera de esas plataformas para no perderte ningún episodio. Por favor, comparte este contenido entre tus redes para que llegue a más gente, puede suponer una gran diferencia. Y ahí abajo tienes los comentarios, para seguir conversando sobre los temas abordados con Leire. Muchas gracias por estar ahí, al otro lado. Hasta pronto. Jota.

“Jeux de mains”Cécile Poimboeuf-Koizumi & Stephen Ellcockaux Editions Chose CommuneExtrait du communiqué de presseLa plupart des artistes ont, un jour, représenté le motif de la main, symbole absolu de la création. Nombreux aussi sont ceux pour qui la main en tant que sujet à part entière est un thème récurrent. Cette observation a inspiré Cécile Poimboeuf-Koizumi — éditrice et fondatrice de Chose Commune — à rassembler les oeuvres qui ont attiré son regard, sans suivre d'ordre thématique ou chronologique. La sélection a été réalisée en collaboration avec Stephen Ellcock, qui s'est fait connaître ces dernières années en rendant la galerie d'art accessible au grand public avec sa fabuleuse collection d'images qu'il partage tous les jours sur Instagram et Facebook. De Pablo Picasso à Helena Almeida, de Louise Bourgeois à Alberto Giacometti, de John Baldessari à Francesca Woodman, en passant par une multitude de trésors de l'Antiquité et documents de l'imagerie populaire, Jeux de mains confronte et mélange artistes célèbres, émergents et anonymes aux pratiques artistiques les plus diverses. Il en résulte une collection de plus de cent images, compilée de manière intuitive dans ce livre qui est désormais entre vos mains.Note : Ce livre a été relié à la japonaise. Les pages n'ont pas vocation à être découpées. En les entrouvrant délicatement, vous découvrirez à l'intérieur les informations de chacune des oeuvres. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

In the Land of the Cyclops is Karl Ove Knausgaard's first collection of essays to be published in English. In these wide-ranging pieces, Knausgaard reflects openly on Ingmar Bergman's notebooks, Anselm Kiefer, the Northern Lights, Madame Bovary, Rembrandt, and the role of an editor with penetrating intelligence. Accompanied by color reproductions throughout, these essays illuminate Cindy Sherman's shadowlands, the sublime mystery of Sally Mann's vision, and the serious play of Francesca Woodman. These essays capture Knausgaard's remarkable ability to mediate between the personal and the universal, between life and art. Each piece glimmers with Knausgaard's candor and his longing to authentically see, understand, and experience the world.

In the Land of the Cyclops is Karl Ove Knausgaard's first collection of essays to be published in English. In these wide-ranging pieces, Knausgaard reflects openly on Ingmar Bergman's notebooks, Anselm Kiefer, the Northern Lights, Madame Bovary, Rembrandt, and the role of an editor with penetrating intelligence. Accompanied by color reproductions throughout, these essays illuminate Cindy Sherman's shadowlands, the sublime mystery of Sally Mann's vision, and the serious play of Francesca Woodman. These essays capture Knausgaard's remarkable ability to mediate between the personal and the universal, between life and art. Each piece glimmers with Knausgaard's candor and his longing to authentically see, understand, and experience the world.

We finish our 4th year with one of our favorite writer's on as a guest! Kailey Tedesco, author of She Used to be on a Milkcarton, and Lizzie Speak, among others, chose Candice Wuehle's haunting "Death Industrial Complex," a poetry collection channeling late photographer Francesca Woodman. We also, dig into the synth-heavy (ala Little Feet, etc.) Purity Ring and their 2012 album Shrines along with the Pumking beer. We remember macabre moments with our grandmother's and why this just might be one of the most interesting times to be reading poetry. Cheers to four years!!!

15. öykümle sözlerime devam ediyorum. Francesca Woodman'ın fotoğrafından etkilenerek yazdığım "Bazı Düzensiz Varoluşçu Geometriler" adlı öykümü Umay Nursal seslendirdi. Fon müziği ve öykü sonunda söylenilen şarkı yine Umay Nursal'a ait. Sizler de öykülerime ses olmak isterseniz, İnstagram'dan : @yazabilenyaratik 'tan ya da yazabilenyaratik@gmail.com'dan ulaşabilirsiniz. Saygılar.

Carlos Spottorno (Budapest, 1971), fotógrafo documental -e incluso postdocumental, aclara él- con influencias artísticas e intereses políticos, protagoniza hoy Full Frame. Licenciado en Bellas Artes, Spotttorno trabajó como creativo en una agencia de publicidad antes de dedicarse plenamente a la fotografía. Distinguido con numerosos premios internacionales -Kassel Photobook Award 2013, World Press Photo 2003 y 2015, American Photography...- Carlos Spottorno ha publicado cinco libros. Uno de ellos, junto al periodista Guillermo Abril, es una novela gráfica, "La grieta", sobre el drama de la inmigración, que expande los límites tradicionales del documentalismo fotográfico. En otro de ellos, "The Pigs", Spottorno, con ironía, sometía a revisión los tópicos, merecidos o no, a los que se enfrentaron los países del Sur de Europa al inicio de la última gran crisis económica. Además, en el programa nos ocupamos de "Francesca Woodman: Portrait of a Reputation", libro que, con imágenes inéditas de ella y de su amigo George Lange, se somete a revisión el cliché de artista torturada que acompaña a la fotógrafa. Por último, reflexionamos sobre el alcance de los "talent shows" de TV que se ocupan de la fotografía. El último de ellos es Top Photo. Dirige y presenta: Juan María Rodríguez Con: Leire Etxazarra Emisión: 23 / 06 / 20

Carlos Spottorno (Budapest, 1971), fotógrafo documental -e incluso postdocumental, aclara él- con influencias artísticas e intereses políticos, protagoniza hoy Full Frame. Licenciado en Bellas Artes, Spotttorno trabajó como creativo en una agencia de publicidad antes de dedicarse plenamente a la fotografía. Distinguido con numerosos premios internacionales -Kassel Photobook Award 2013, World Press Photo 2003 y 2015, American Photography...- Carlos Spottorno ha publicado cinco libros. Uno de ellos, junto al periodista Guillermo Abril, es una novela gráfica, "La grieta", sobre el drama de la inmigración, que expande los límites tradicionales del documentalismo fotográfico. En otro de ellos, "The Pigs", Spottorno, con ironía, sometía a revisión los tópicos, merecidos o no, a los que se enfrentaron los países del Sur de Europa al inicio de la última gran crisis económica. Además, en el programa nos ocupamos de "Francesca Woodman: Portrait of a Reputation", libro que, con imágenes inéditas de ella y de su amigo George Lange, se somete a revisión el cliché de artista torturada que acompaña a la fotógrafa. Por último, reflexionamos sobre el alcance de los "talent shows" de TV que se ocupan de la fotografía. El último de ellos es Top Photo. Dirige y presenta: Juan María Rodríguez Con: Leire Etxazarra Emisión: 23 / 06 / 20

Eric Mencher one of my favorite photographers I discovered on Instagram .His own site Eric Mencher Photogrpahy . We talk about how he got started in photography which in his case quaintly led to photo journalism. His poetic style and the beautiful settings and backgrounds of Guatemala and Mexico among others are quite enchanting and sometimes mysterious. Here are some of his main photographic influences: Garry Winogrand, Cartier-Bresson, Robert Frank, Dorothea Lange, Tina Modotti, Graciela Iturbide, Manual Alvarez Bravo, Robert Adams, Ray Metzker, Aaron Siskind, Harry Callahan, Paul Strand, Luis Gonzalez Palma, Mario Giacomelli, Diane Arbus, Francesca Woodman, Helen Levitt, Brassaï . And one painting of hundreds: Paris Street; Rainy Day by Gustave Do yourself a favor and check out Eric's work as well as his influences. #art #photograph# Iphone #guatemala #mexico #romanticimages #impressionism --- Send in a voice message: https://anchor.fm/mark-forman0/message

¡Hola gente linda de este canal! Este es el episodio 13 del podcast y queríamos aprovecharlo para compartir con ustedes un poco más de la experiencia que tenemos como fotógrafos y de cómo fueron nuestros inicios en este mundo.Todas las referencias que dimos las vamos a anotar aquí, en caso de que falte alguna por favor dejen su comentario y nosotros los ayudamos con gusto.Fotógrafos mencionados por Arturo: Ansel Adams, Aleksandr Rotchenko, Nelson Garrido, Duane Michels, Cindy Sherman y Sally MannEtapas fotográficas: Pictorialismo, Fotografía Directa.Fotógrafos mencionados por María: Francesca Woodman, Vivian Maier, Andrés Serrano, Henri Cartier-Bresson, Robert Mapplethorpe.Todos sus trabajos los pueden encontrar en internet.Los audífonos utilizados en el vídeo son los MU6 modelo Space 2, en verdad los recomendamos muchísimo el sonido es excelente, lo pueden manejar de manera táctil desde el mismo auricular y su precio con respecto a los similares es una ganga

Die früh verstorbene amerikanische Künstlerin Francesca Woodman gehört zu den starken weiblichen Stimmen der Fotografiegeschichte des 20. Jahrhunderts. Die C/O Berlin zeigt ab heute eine Auswahl aus Francesca Woodmans Werk. Neben den Bildern gehören auch Kurzfilme dazu. Eine Ausstellungskritik von Silke Hennig.

Francesca Woodman, with her dark, Gothic photographs and a life ended in suicide, was the quintessential “depressed artist.” Or was she? patreon.com/allmadpodcast

En este divertido Podcast estaremos compartiendo nuestra experiencias cuando hemos perdido la inspiración y que hemos hicimos para recuperarla.Los invitamos a que nos dejen sus tips de que hacer cuando esto sucede.Fotógrafos mencionados: Francesca Woodman, Vivian Maier y Andres SerranoPeliculas: El laberinto del fauno, Ciudadano KaneSerie contactos Magnum y BBC de Londres

Here’ EMp Show #54 with internationally renowned photographer and friend, Pittsburgh’s own, George Lange! Francesca Woodman, Duane Michaels, photographing the cast of Seinfeld, George‘s photo of Kramer walking a pigeon, photographing Jim Carrey, George’s new Pittsburgh studio, his recent Weisshouse event and much, much more! And even some old Steelers memories. Join Us! GeorgeLange.com EricMcKenna.com

Here’ EMp Show #54 with internationally renowned photographer and friend, Pittsburgh’s own, George Lange! Francesca Woodman, Duane Michaels, photographing the cast of Seinfeld, George‘s photo of Kramer walking a pigeon, photographing Jim Carrey, George’s new Pittsburgh studio, his recent Weisshouse event and much, much more! And even some old Steelers memories. Join Us! GeorgeLange.com EricMcKenna.com

See this exhibit of work by Francesca Woodman and her friend and schoolmate, George Lange's photographs of her at work at the Denver Museum of Contemporary Art. Comments? Send them to me at info@kennethwajdaphotographer.com and find me on IG at https://www.instagram.com/kennethwajda/ and on YouTube at HeresToGoodLight.com - We can post our photo assignment photos and connect on the Daily Photography Blog FB Group at https://www.facebook.com/groups/2151928021601330/ --- Send in a voice message: https://anchor.fm/kenneth-wajda/message Support this podcast: https://anchor.fm/kenneth-wajda/support

We discover how women creating art have depicted their identities, bodies and those of other women independent to the male gaze. We find out about Leonora Carrington’s artistic emancipation, touch upon photographer Francesca Woodman’s use of her own body and discover the satirical humour of Sarah Lucas. Then Jenny Saville explains how her understanding of the human figure was transformed by carrying a child.

Mark Tardi begins a poem with a line from the journal of the artist Francesca Woodman, a photographer known for her haunting self-portraits. Produced by Katie Klocksin.

Can beauty be an ethical ideal? What did being handsome mean in C18 England? How do we look at images by Egon Schiele and Francesca Woodman or a Renaissance nude and is that affected by changing attitudes towards the body now? Anne McElvoy talks to the painter, Chantal Joffe, the philosopher, Heather Widdows, the writer, performer and activist Penny Pepper and the New Generation Thinkers Catherine Fletcher and Sarah Goldsmith. Chantal Joffe's solo show - Personal Feeling is the Main thing - is at the Lowry in Manchester until 2nd September. The Tate Liverpool exhibition Life in Motion: Egon Schiele and Francesca Woodman runs until September 23rd. The Italian Renaissance Nude by Jill Burke from the University of Edinburgh is out now from Yale University Press. Penny Pepper's book First in the World Somewhere, a memoir is published by Unbound New Generation Thinkers is a scheme run by the BBC and the Arts and Humanities Research Council to select ten academics each year who can turn their research into radio. Sarah Goldsmith is a Leverhulme Early Career Fellow at the University of Leicester working on A History of the Eighteenth-Century Elite Male Body. Catherine Fletcher is Associate Professor at Swansea University who has published Diplomacy in Renaissance Rome and The Black Prince of Florence.Producer: Zahid Warley

Iconic dancer and choreographer Akram Khan shows John around his studio at his home and discusses a life of dance, preparing for his final solo performance and what he plans to do now that he is retiring from the stage.The Austrian artist Egon Schiele features alongside a young American photographer Francesca Woodman in a new exhibition Life In Motion at Tate Liverpool. The artists used their own naked bodies as the focus for their work at different ends of the 20th century and both died prematurely in their 20s. Co-curator Tamar Hemmes discusses the unlikely pairing.The writer and former US soldier Kevin Powers gave the reader a visceral experience of the war in Iraq in his novel The Yellow Birds following his tour of duty there. Powers discusses his new novel A Shout in the Ruins, in which he gives us a similar experience, but this time focused on the American Civil War.Presenter: John Wilson Producer: Hannah Robins.

Bu hafta fotoğraf sanatçısı Merve Ünsal'la "Metin Olarak Fotoğraf" başlığı altında, fotoğraf kuramı ve Francesca Woodman fotoğrafları üzerinden bir sohbet gerçekleştirdik.  Programda belki de bir kaç açıdan yeni bir teknik denendi; görsel malzeme olan fotoğraf, sergilenmek yerine bir "okur" ya da "anlatıcı" aracılığıyla dinleyenlere benzetmek gerekirse "radyo tiyatrosu" şeklinde aktarılmış oldu. Bu teknik üzerine kişisel kısa bir yorum yapılacaksa eğer; fotoğrafı yorumlayanlar arasında geçen konuşmalar programın özelliğine fazladan bir "mahremiyet" ve "gizem" duygusu da eklemiş oldu denebilir.  Metin olarak fotoğraf: Fotoğraf, metin olarak ve metin gibi okunduğunda neler anlatabilir? Metinlerarası okumalarda, fotoğrafları öncelikle program çerçevesinde metinselleştirerek anlattıktan sonra kullanılan kelimeler ve anlatım biçimleri üzerine disiplinlerarası bir tartışma gerçekleştirildi. Giriş metinleri olarak Francesca Woodman ve Sophie Calle'in fotoğraflarını ele alındı.  

Kritiken om Francesca Woodman och Sally Mann - vilken är deras plats i fotohistorien och hur ser deras inflytande ut över fotokonsten? Programledare Anneli Dufva har bjudit in kulturredaktionens kritiker Mikael Timm och Cecilia Blomberg, för att tillsammans med fotografen Aida Chehrehgosha diskutera Moderna museets nya utställning. Francesca Woodman (1958-1981) fotograferade ofta kvinnor - eller sig själv - och skapade bilder som kretsar kring genus, representation, sexualitet och kropp. Sally Manns bildvärld handlar istället om familjen, landskapet, livet och döden. Nu har hon fyllt 64 och Mårten Arndtzén har läst hennes memoarer "Hold Still, A Memoir with Photographs" - essä i veckans Kritiken! Dessutom, intervju med Signe Gjessing, ett av stjärnskotten inom dansk lyrik och en närläsning av OEIs diktantologi "Det fanns flera vi och någon bad om tydlighet", där alla tretton poeter är födda 1984 och senare. Så, efter sommarens kulturdebatt om hur illa det är ställt för den svenska poesin och hur dansk dito skördar framgångar - hur mår den unga svenska lyriken?

Med Hannah Goldstein och Göran Segeholm. Om Hannahs förhållande till Francesca Woodman, om att bli äldre och vilja ställa ut, om att känna att det är "jag mot världen", om hur mycket vi älskar Mia Engbergs film Belleville Baby och om att vilja ha framgång eller inte. Bildradion är tillbaka. See acast.com/privacy for privacy and opt-out information.

This week, we talk a bit about the democratization of photography vs demonetization, not from the point of view of making money but from simply making pictures. Also, how can social media impact photography as an individual pursuit? When did photography become a social activity? Francesca Woodman is our Photographer of the Week.

This week, we talk a bit about the democratization of photography vs demonetization, not from the point of view of making money but from simply making pictures. Also, how can social media impact photography as an individual pursuit? When did photography become a social activity? Francesca Woodman is our Photographer of the Week.

She jumped from the window of a building on New York's East Side on January 19, 1981. Her face was erased by the fall. I'm not sure what I was doing that day but I did not kill myself. No one knew her name so her body remained unclaimed until she was reported missing. She was identified by her clothes. Suicide troubles me. I get it but I don't. I think I've known more people who killed themselves than the average person. This, too, troubles me. Francesca often denied the camera her face, turning away from it as though she didn't want to be photographed. But Francesca was a photographer, the very photographer, in fact, who was taking her picture. I think Francesca Woodman was hiding from herself. And one day she hid so very well that she never found herself again. Francesca was a profoundly artistic photographer. Had she not hidden herself so completely she might have enjoyed a visit to 1071 Fifth Avenue. The photographs she made during the 9 years following her 13th birthday have become the feature attraction of the Guggenheim, one of the world's most prestigious museums. I put a few of her photographs in the rabbit hole for you. (Just click the photo of Francesca hanging from the lintel of the door above the title of today's Monday Morning Memo. Each click of a photo beyond that portal will take you one step deeper.) Francesca Woodman was born when I was 5 days old. Steve was a couple of years older. I remember Steve because he and I often prayed together when I was 22. One day he and his wife asked Pennie and me to have dinner in their home. On a different day, his wife asked Steve for a divorce. Steve moved out, as requested. On a final day, Steve broke into his house while his wife and young son were out. He went into his son's room. I remember that room. You know what happened next. I don't know why I'm telling you this. Steve was a lineman for the telephone company. He had a life and then he didn't. Maybe I'm telling you this because one of you is thinking of quitting early. All I can say is this and it's probably the wrong thing to say; decades of sadness and confusion are the legacy left by those who quit early, the bitter inheritance you give to those who created a place for you in their hearts. Not everyone is showcased by the Guggenheim. Roy H. Williams