Sortie du numéro 34 de Fraction Magazine
Issue 34 includes the photographic work of Robert Adams, Richard Benson, Edward Ranney, Judith Joy Ross
This issue and the beginning of 2012 mark the fourth year of Fraction Magazine. The past 33 issues have focused primarily on emerging photography, as one of Fraction's primary goals is to introduce compelling photographic work to new audiences. Another aspect of that goal is to show important and influential photography that the Fraction audience may not be aware of, and so I decided to dedicate this first issue of the year to four seminal photographers who have certainly influenced my own photography.
Robert Adams has published many books of his own photographs, but he has also written several books about photography in general, including Why People Photograph (a book I highly recommend). He has had ...
Auction : Modern and Contemporary PhotographsOn Wednesday 26 November over 250 lots of modern and contemporary photography will be auctioned at Villa Grisebach in Berlin.
The modern photography selection is lead by two vintage pigment prints by the Czech photographer Frantisek Drtikol, dating from the mid-1920s. Depicting scenes typical of Drtikol’s output, "The Movement" and "Akt" work with elements of art deco, the theatre and of abstraction; only very rarely do works of this quality appear on the market (each €15,000/25,000). Two outstanding examples of early twentieth century pictorial photography are provided in the form of works by Rudolf Koppitz ("Esche", bromoil transfer print, c. 1912, €15,000/20,000) and Heinrich Kühn ("Pustertalerinnen", bromoil transfer print on Japan paper, 1913-1914, &eur...
Les "true stories" de la photographie américaine
American photography forms an extensive and simultaneously top-quality focal point in the collection, of which a selected overview is now being exhibited for the first time. The main interest of young photographers, who have been examining changes in political, social and ecological aspects of everyday American life since the late 1960s, has been the American social landscape. Oscillating between individual world views, analytical stock-taking and conceptual strategies, they have developed new stylistic devices that define a pictorial style perceived as genuinely American.
Whereas Lee Friedlander, Garry Winogrand, Robert Adams, Lewis Baltz and Larry Clark, who are now considered classical modern photographers, have remained true to black-and-white photography, William Eggleston and Stephen Shore in particular have...