Tuesday, October 4, 2016
Thursday, December 3, 2015
Pratt Photography on Vimeo.
Jim Goldberg is well known for his photographs, multi-media projects and books. His work often combines words and images to create vivid narratives about both insiders and outsiders of society. Goldberg, a professor at California College of the Arts, is a three-time National Endowment of the Arts Fellow, and a Guggenheim Fellowship recipient. His landmark book Rich and Poor has been re-designed and expanded by the artist for Steidl.
Donovan Wylie frequently focuses on the social and political landscape of his native country of Ireland. Wylie is a member of Magnum Photos and has won a BAFTA Award for his film, The Train. His recent trilogy of books, entitled The Tower Series, depicts vision and power in military architecture across the globe.
Posted by Danko Stjepanovic at 2:09 PM
Tuesday, December 1, 2015
Wednesday, November 25, 2015
Monday, April 20, 2015
The recordings for Presque rien no. 1 were made during the summer of
1968, in the town of Vela Luka on the isle of Korcula, in what was then
Yugoslavia (now Croatia). Ferrari had travelled there that August to
participate in an arts festival, and was particularly impressed by the
stillness that fell over the village at night: “It was very quiet. At night
the silence woke me up—that silence we forget when we live in a city.
I heard this silence which, little by little, began to be embellished. . . . It
was amazing.” Inspired, Ferrari began making recordings of the hours
just before dawn. After accumulating a number of these tapes, he
noticed certain events that would recur from morning to morning—“
the first fisherman passing by same time every day with his bicycle, the
first hen, the first donkey, and then the lorry which left at 6 a.m. to the
port to pick up people arriving on the boat. Events determined by
society.” From the material he had collected, Ferrari pieced together
over the next few years a sonic representation of a typical morning in
Vela Luka, completing it in 1970. In his interviews with Pauli, Ferrari
describes Presque rien as inaugurating a new genre, although he is quick
to deny its status as a “ work”; rather, Ferrari explains that
these things, which I call “The Presque Riens” because they are lacking
development and completely static, because really almost nothing happens
musically, are more reproductions than productions: electro-acoustic nature
photographs—a beach landscape in the morning mists, a winter day in
He continues by stating that one can play these recordings in one’s
apartment or house, “just as one might hang photos or pictures on the
The Politics of Presque rien wall.” Uncannily prefiguring the ambient
nature recordings that would meet with commercial success in the 1990s,
Ferrari’s comments suggest that Presque rien no. 1 was not to be listened to
as much as heard, used to colour or to decorate an interior space.
Posted by Danko Stjepanovic at 11:05 AM