PRICCAPractice is an online platform aimed at the research practices of artists, designers and photographers into the status of photography in our society.
Photography’s modern day quest was the reason for the research group Image in Context, within Academy Minerva, to start up a centre of expertise in which the insights of photographers and artists concerning this problematic status of photography can be brought together and studied. This centre of expertise PRICCAPractice (Photographic Research in Cross-disciplinary and Cross-cultural Artistic Prac
16/10/2022
A project of Minerva lecturer Rein Jelle Terpstra
The setting of violence - Museumtijdschrift Een fotografische benadering van Saló o le 120 giornate di Sodoma (1975) van Pier Paolo Pasolini door fotograaf en beeldend kunstenaar Rein Jelle Terpstra. Te zien in Rijksmuseum Twenthe vanaf 13 februari. In een villa in het plaatsje Saló, de hoofdstad van de marionettenrepubliek van Benito Musso...
20/01/2021
Dear all,
this week another OpenUp! artist talk will take place this week on Friday Januari 22, at 16.00 H.
The OpenUp! artist’s talks is a series of on line talks given by artists, with the aim to provide some inspiring input, food for thoughts and maybe some tools for your own artistic practice.
The artists invited for this lecture cycle will tell about their art practice, show work, and have an Q&A and talk with you afterwards. Every week you are welcome to join a talk .
The artist presented this week is… Jan Hoek!
Jan Hoek (1984) is artist and writer. In his work he is always attracted to the beauty of outsiders worldwide and always keen to collaborate intensively with people that normally are overlooked and create together a new image. He photographed movie stars like Nairobi based motor taxi riders, a Amsterdam based ex heroine addict who always dreamed of being a super model, created psychedelic zines about the s*x tourist capital of the world Pattaya, and made a serie about the Maasai who do not identify with the jumping stereotype image. In the universe of Hoek the ‘normal’ people are the strangers and the outsiders are the funky rulers of this planet. Hoek‘s work is shown at places such as Foam (Amsterdam), Unseen Festival (Amsterdam), Photoville (New York), Fomu (Antwerp) and Lagos Photo (Lagos).
see also:
https://janhoek.net
https://www.volkskrant.nl/cultuur-media/bij-deze-expositie-krijgen-de-modellen-het-radicaal-voor-het-zeggen~b80c3893/
https://www.foam.org/talent/spotlight/jan-hoek-the-artist-you-love-to-hate
https://www.bredaphoto.nl/jan-hoek/?lang=en
See you on line, on Friday, Januari 22 th, at 16.00 H!
30/03/2019
Photographs processed in Agisoft Photoscan got photographed and processed again (photogrammetry) and mimaki printed on silk satin, after which they were steamed, washed and hanged to dry.
14/10/2018
Questions and answers concerning photographs, seeing and education, from Kathmandu:
"Of photography, essayist Susan Sontag wrote, “In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe.” This she wrote in the 1970s, well into the entry of photography in mainstream commerce, but also long before the digital revolution equipped ordinary people with smartphones to shoot and social media to share. It is estimated that more than 1.2 trillion photographs were taken in 2017, with the number likely to increase this year. In her reflections, Sontag appears to be hinting towards the power that is inherent in the visual medium of photography. Now multiply that by 1.2 trillion. What happens to that power, then? Does it boggle our reality like it boggles the mind? Or does it get diluted, infinitesimally, until it is faded and forgotten?
As everyday producers and consumers of photographs, how much have we taken stock of what they can teach? What kind of visual code is dictating our wakeful, screen-infested days? What are the notions being deemed worthy? And what gets excluded, unseen?"
An ethics of seeing Of photography, essayist Susan Sontag wrote, “In teaching us a new visual code, photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe.
04/10/2018
Professors Victor Burgin, Ryan Bishop and Sunil Manghani in conversation at the John Hansard Gallery in Southampton recently. Art today seems to be predicated on photography, suggests Burgin.
19/07/2018
“This idea of photography as a kind of humanistic endeavor is gone,” Mr. Chanarin said.
Dissatisfaction with a photographic portrait’s ability to adequately grasp a subject’s essence dates back to the genre’s 19th century beginnings. Jan von Brevern, an art history professor at the Free University of Berlin, said that dissatisfaction was rooted in the “gap between what was expected of the then-new medium of photography and what it actually delivered.”
“As a technical medium, it was considered to be ‘exact’— and indeed most early accounts of photography talk about this supposed accuracy,” he said via email. “But actually, it produced a very specific kind of accuracy — one that wasn’t necessarily in line with what sitters expected from portraits at that time.”
What Do Facial Recognition Technologies Mean for Our Privacy? These photographers pushed the technological limits of photography to explore what makes a face distinct, and how that might affect the way powerful figures see people.
05/07/2018
"How archives obscure the image"; on (mis)appropriation and the (mis)understandings resulting from it.
Loss of Vision: How Early 20th Century Photography Was Misjudged by Historians and How Archives Obscure the Image