... Photos of the Day

The Best Photos of the Day

LOS ANGELES.- Giacomo-Maria Giovannini (frontispiece) (Italian, 1667 - 1717) and Marc'Antonio Chiarini (frontispiece) (Italian, 1667 - 1717) and Giovanni Battista Zaccarini (frontispiece) (Italian, fl. 17th century) Title/Date: Disegni del convito fatto dall'illustrissimo signor senatore Francesco Ratta all'illustrissimo publico, eccelsi signori anziani & altra nobilita¿: terminando il svo confalonierato li 28. febraro 1693, [1693?] Medium: publication Dimensions: Open (frontispiece, unfolded): 42.2 × 84.5 cm (16 5/8 × 33 1/4 in.) Closed: 33.3 × 23.7 × 0.6 cm (13 1/8 × 9 5/16 × 1/4 in.) Accession No. 1366-803 Copyright: Not Researched Object Credit: The Getty Research Institute

LOS ANGELES.- Mathäus Küsel (German, 1629 - ca. 1681) and Lodovico Ottavio Burnacini (Italian, 1636 - 1707) Title/Date: Il pomo d'oro: festa teatrale rappresentata in Vienna, per l'avgvstissime nozze delle Sacre Cesaree Reali Maesta¿ di Leopoldo, e Margherita, 1668-1702 Medium: engravings Dimensions: Open ([pl.4] between pg.4-5 (1375-410)): 30.3 × 49.5 cm (11 15/16 × 19 1/2 in.) Closed: 30.3 × 21.3 × 3.2 cm (11 15/16 × 8 3/8 × 1 1/4 in.) Accession No. 1375-410.c1.bw Copyright: Not Researched Object Credit: The Getty Research Institute

The Best Photos of the Day

LOS ANGELES.- The Edible Monument: The Art of Food for Festivals on view at the Getty features rare books and prints, including early cookbooks and serving manuals that illustrate the methods and materials for making edible monuments from the 16th to 18th centuries. In this image: Bosse, Abraham, Le pâtissier , ca. 1650. The Getty Research Institute The Getty Research Institute, Los Angeles (2014.PR.63).

LOS ANGELES.- Remondini family (Bassano) Title/Date: Discritione del paese di Chucagna dove chi manco lavora più guadagna, 1606 Medium: engraving Dimensions: Sheet: 41.5 x 55.5 cm (16 5/16 x 21 7/8 in.) Accession No. 2014.PR.72 Copyright: Not Researched Object Credit: The Getty Research Institute

The Best Photos of the Day

LOS ANGELES.- Felibien, Andre (1619-1695) and Félibien, André (1619-1695) and Le Pautre, Jean (1618-1682) and Vigarani, Carlo (1622 or 3-ca. 1713 ) Title/Date: Quatrième journée, 1676 Medium: Etching, engraving Album/Book Title: Les divertissemens de Versailles donnez par le roy a toute sa cour au retour de la conqueste de la Franche-Comté en l'année M.DC.LXXIV Credit Line: Research Library, The Getty Research Institute, Los Angeles, California

 

Guggenheim Museum examines new developments in contemporary photography

Lisa Oppenheim, The Sun is Always Setting Somewhere Else, 2006 (detail). Slide projection of fifteen 35 mm slides, continuous loop, dimensions variable. Solomon R. Guggenheim Museum, New York. Purchased with funds contributed by the Photography Committee 2009.60. Share on facebook Share on twitter Share on email Share on print Share on gmail More Sharing Services 10

NEW YORK, NY.- The Solomon R. Guggenheim Museum presents Photo-Poetics: An Anthology, an exhibition documenting recent developments in contemporary photography and consisting of photographs, videos, and slide installations by ten international artists. With more than 70 works by Claudia Angelmaier, Erica Baum, Anne Collier, Moyra Davey, Leslie Hewitt, Elad Lassry, Lisa Oppenheim, Erin Shirreff, Kathrin Sonntag, and Sara VanDerBeek, the exhibition runs from November 20, 2015–March 23, 2016, and presents a focused study into the nature, traditions, and magic of photography in the context of the rapid digital transformation of the medium. Organized by Jennifer Blessing, Senior Curator, Photography, with Susan Thompson, Assistant Curator, Solomon R. Guggenheim Museum, Photo-Poetics: An Anthology offers an opportunity to define the concerns of a new generation of photographic artists and contextualize their work within the history of art and visual culture. These artists mainly pursue a studio-based approach to still-life photography that centers on the representation of objects, often printed matter such as books, magazines, and record covers. The result is often an image imbued with poetic and evocative personal significance that resonates with larger cultural and historical meanings. The artists in the exhibition attempt to rematerialize the photograph through meticulous printing, using film and other disappearing photo technologies. Drawing on the legacies of Conceptualism and invested in exploring the processes and techniques of photography, they are also deeply interested in how photographic images circulate. Theirs is a sort of “photo poetics,” an art that self-consciously investigates the laws of photography and the nature of photographic representation, reproduction, and the photographic object. The works in the exhibition, rich with detail, reward close and prolonged regard; they ask for a mode of looking that is closer to reading than the cursory scanning fostered by the clicking and swiping functionalities of smartphones and social media. Both the exhibition and its accompanying catalogue are conceived as anthologies, as independent vehicles to introduce each artist’s important and unique practice.

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