zaterdag 18 november 2017

Views & Reviews THE HUMOR AND BEAUTY IN CAPTURING GRAFFITI CLEANUP Sorry for Damage Done Vincent Wittenberg Wladimir Manshanden Photography


Sorry for Damage Done

Vincent Wittenberg Wladimir Manshanden
170 x 240 mm
352 page softcover
printed in monochrome
and full-colour offset
language: English
edition: 1.000
978-94-92051-26-4
The starting point for this project was the discovery of a massive database of photographs made by cleaning companies in Eindhoven, a city in the Netherlands known for its industrial heritage, including the Philips factories. Between 2007 and 2013, these companies were commissioned to remove unauthorised images from municipal property in the city’s public space. As evidence of their work, they photographed each site twice – before and after cleaning – which resulted in a huge archive of 50,000 images.

Often, the dull images are unintentionally exciting and amusing, or contain a fascinating play between the ‘before’ and ‘after’ states. Sometimes one can wonder about the need for cleaning when the results are not necessarily an improvement of the old situation. But luckily, one can also find severely degraded locations being neatly refurbished.

When the authors, Vincent Wittenberg and Wladimir Manshanden, stumbled upon this bizarre collection, they immediately appreciated its historic value. The database is a meticulous seven-year inventory of the graffiti and sticker culture in Eindhoven and exposes the city’s struggle with the ambivalence of combatting vandalism versus embracing subcultures. It also documents urban space as a territory where a wide range of people leave their mark.

Sorry for Damage Done represents three percent of the entire database: more than fifteen hundred chronologically ordered photographs of graffiti and their ‘cleaned-up’ counterparts.

Including the essay The Destruction of Non Art by Christian Omodeo, who reflects on the debate on the dividing line between art and vandalism.

About Vincent Wittenberg
Vincent Wittenberg is a socially engaged spacial designer. Through interventions he reacts on his environment in both conceptual as physical ways. His ‘products’ are catalysts or vehicles for change. He graduated from the Design Academy Eindhoven in 2009, and is currently an ambassador for desired spontaneous vegetation at Gewildgroei.

About Wladimir Manshanden
Wladimir Manshanden is a committed city dweller and street artist. He works under the pseudonym MANSHANDEN OP STRAAT, and aims to show the city of Eindhoven in a more friendly and poetic light. Together with photographer Rob Stolk, he often takes people on urban safari, touring around the city’s orphaned viaducts, hidden street art and other forgotten places.

See also

Watching my name go by & the Art of Dr. Rat Dutch Graffiti '70s & '80s Amsterdam




AUTHOR: LAURA MALLONEE
11.17.1711:30 AM
THE HUMOR AND BEAUTY IN CAPTURING GRAFFITI CLEANUP
DESIGNER VINCENT WITTENBERG was at a seedy train station in the Dutch city of Eindhoven a few years ago when he noticed a man using a knife to scrape graffiti off a wall. Once finished, the guy pulled out his cellphone and snapped a pic. Wittenberg asked what he was up to, and the man explained he was a contractor tasked with cleaning up the station. Before-and-after images proved he did the job.

"I thought, ‘Wow, there must be thousands of these images for every station," Wittenberg says. "'There must be a huge archive.'"

Turns out, he was right: The city had a database of 50,000 photographs taken by janitors, all documenting the Sisyphean task of cleaning up the streets. Wittenberg highlights 1,500 of the best in Sorry for the Damage Done, a quirky book he co-curated with graffiti artist Wladimir Manshanden. "I really like this before-and-after—this struggle, this fight, this constant cleaning," he says.

Want to Look Famous? Just Photoshop Yourself With Marilyn Monroe and Andy Warhol
Eindhoven has a lively graffiti scene. It was one of the first European cities that embraced New York-style graffiti in the 1980s and appeared in the 1987 classic Spray Can Art. But in 2007, Wittenberg says, the city enacted a zero-tolerance policy against graffiti, hiring contractors to indiscriminately remove anything and everything illegally sprayed onto municipal property. Over the next six years, they purged Eindhoven of thousands of tags—and took even more photographs—before financial problems forced the city to scale back the program.

Wittenberg gained access to Eindhoven’s graffiti archive through Manshanden, who got a copy of it from the manager of the cleanup program in 2012. He finds it weirdly fascinating, capturing a strange equilibrium between the graffiti artists and those tasked with removing their work. "The cleaner doesn’t have work when there’s no graffiti," Wittenberg says, "and the graffiti artist doesn’t have work if there isn’t a clean surface."

He and Manshanden decided to compile the most interesting images into a book, following the tradition of artists like Erik Kessels, Peter Piller, and Hans-Peter Feldmann who elevate common, found imagery into art. Every day for 50 days last winter, they each combed through a thousand images, selecting their favorites and whittling down from there. "We really wanted to make a book a cleaning company might have in their office, like, 'Look, here's what we do,'" Wittenberg says.

Whether or not you view these banal, utilitarian images as art, there’s a subtle, poetic comedy to them. The cleaners often return to the same tunnel or train station or park multiple times to scrub away the new graffiti that's sprung up. “You can compare the fight against graffiti to the fight against weeds,” Wittenberg says. “It’s a never-ending story.”


























donderdag 16 november 2017

The PhotoBooks New Realities Photography in the 19th Century Rijksmuseum Amsterdam


New Realities
Photography in the 19th Century
Edited with text by Mattie Boom, Hans Rooseboom. Text by Saskia Asser, Steven F. Joseph, Martin Jürgens.

Presenting a selection of more than 300 photographs from the large and important collection of the Rijksmuseum, New Realities provides an impressive overview of the international development of photography. Major highlights include the earliest travel photos, motion studies by Eadweard Muybridge, advertising photography, portraiture, scenes of everyday life, the earliest photograph taken in Suriname and amazing shots that were made by microscopes and telescopes.

The invention of photography in 1839 led to a revolution in visual culture: photography both portrayed and created the modern world. For the first time, it was possible to depict and unlock every facet of that world. Photography secured a position in every field: in science, the arts, daily life and news reportage. New Realities conveys the dizzying breadth of its impact across cultures and disciplines.






Professional criminals of America by Byrnes, Thomas F., 1844?-1910 Publication date 1886




William E. Marshall, Travels amongst the Todas, or The Study of a Primitive Tribe in South India (London: Longmans, Green, 1873)




Album photographique de l'artiste et de l'amateur
by Blanquart-Evrard, Louis Désiré, 1802-1872
Publication date 1851




Hoofdportaal van de kathedraal van Amiens ('Portail de la façade principale de la Cathédrale d'Amiens') (plaat 12 ) Charles Marville
Souvenirs photographiques, Lille 1853


Monographie de Notre-Dame de Paris, et de la nouvelle sacristie de MM. Lassus et Viollet-Le-Duc : contenant 63 planches, gravées par MM. Hibon, Ribault, Normand, etc., 12 planches photographiques, de MM. Bisson frères, 5 planches chromolithographiques, de M. Lemercier





Roger Fenton [photographer] & Thomas Agnew & Sons [publisher] & Moulin [publisher] & Williams & Co. [publisher] & P & D. Colnaghi & Co. [publisher]
No title
Portrait of attributed to Lieutenant Archey R.A. in the Military Camp of the British Army during the Crimean War.
Roger Fenton, The valley of the shadow of death. Dirt road in ravine scattered with cannonballs. LC-USZC4-9217. One of the most famous photos of the Crimean campaign.

Roger Fenton's Crimean War photo series is the first historic attempt to portray war campaign with the help of new magic photo media, then still in its infancy. Sent as a replacement for the Richard Nicklin, a civilian photographer, who was lost at sea, along with his assistants, photographs, and equipment, when their ship sank during the hurricane that stuck the harbor at Balaklava on November 14, 1854. Fenton spend March-June 1855 in Crimea as an official campaign photographer, payed by the British government, recording participants and landscapes for posterity. These records never managed to capture battles, explosions, devastations, wounds, blood and tears, partly due to the limitations of photographic techniques of the period, but also because of official wish to glamorize the war and shift public attention away from government and military mismanagement, for which Crimean campaign became infamously known. However no text descriptions, drawings or paintings wouldn’t be able to surpass realism of Fenton’s photo of the besieged Sebastopol; the main allies ports at Kamiesh and Balaclava; mortar batteries, field trains, camps and everyday camp life; portraits of legendary allies leaders: Lord Raglan, Lord George Page, General Pennefather, Sir John Brown, Sir Colin Campbell, commander of the “Thin Red Line”; French Maréchal Pélissier, General Bosquet, “Little Nephew of the Great Uncle” Prince Napoleon; Turkish Ismail Pacha and Omar Pacha; officers of the Guards regiments, colorful highlanders and zouaves, sergeants, soldiers, orderlies, reverends, Royal comissioners, railway engineers, camp followers, laborers, fellow artists, war correspondents and civilian travellers. With the end of the Crimean War, quite modest public interest in Fenton's photos quickly faded away, in 1862 he left photography for good, dying several years later, financially broken and almost forgotten. In our days, however, historians unanimously recognize Fenton's remarkable accomplishments not only for his keen artistic eye and seminal role in establish photography as an artistic endeavor, but also honor him as one of the first professional war photographers.



Charles Thurston Thompson [photographer]
No title
Engraved crystal from the collection of the Louvre


Portrait of a Man in a Dressing Gown, anonymous, c. 1850 - c. 1860
daguerreotype, hand-coloured, h 153mm × w 122mm. More details
The sitter, wearing a patterned pink dressing gown, sprawls unabashedly in a green velvet armchair. He smokes a pipe and gazes out confidently at the photographer. This is not a portrait of a spouse or a loved one, but rather an apt characterization of a dandy, exactly as found in caricatures or fashion prints. The gold border is the perfect finishing touch.


FELIX BONFILS
(FRENCH, 1831 - 1885)
Architecture antique. Égypte. Grèce. Asie Mineure. Album de photographies, first edition , 1872


Réunion des Tuileries au Louvre, 1852-1857, album 3 : décor des deux cours sud, dites aujourd'hui Lefuel et Visconti, vol 3


Les travaux publics de la France Allard émile




Mécanisme de la physionomie humaine, ou analyse électro-physiologique de l'expression des passions by Duchenne, Guillaume Benjamin
Publication date 1862
Publisher Paris : Jules Renouard


Large game shooting in Thibet and the north west
by Alexander Angus A . Kinloch
Publication date 1869


Life with the Hamran Arabs: an account of a sporting tour of some officers of the guards in the Soudan, during the winter of 1874-5
by Myers, Arthur Bowen Richards
Publication date 1876




Wild Life on a Tidal Water: The Adventures of a House-Boat and her Crew. 4to (xiv),145,[1]pp Sampson, Low, Marston, Searle & Rivington Limited, London, 1890. HB.
A clean copy of the non-de-luxe edition bound in decorated blue cloth boards respined and with replacement endpapers. Number 119 of 300 (stated as 500). With 30 fine tissue guarded photogravures of the area around Breydon and the Port in Great Yarmouth.


(OLMSTED, Frederick Law and BARKER, George). GARDNER, James T. Special Report of the New York State Survey on the Preservation of the Scenery of Niagara Falls, and Fourth Annual Report on the Triangulation of the State for the Year 1879. Albany: Charles Van Benthuysen & Sons, 1880. Octavo, original gilt-stamped brown cloth.

First edition of the 1880 New York Special Report, octavo edition, proposing preservation of Niagara Falls, substantially authored by Frederick Law Olmsted, with six folding maps (including two maps in the rear pocket), facsimile leaves from Hennepin’s New Discovery (1698), and featuring eight mounted vintage heliotype prints by renowned photographer George Barker.

This 1880 New York State Survey on the future of Niagara Falls, containing six large folding maps (two in the rear pocket) and eight vintage heliotype prints, was led by Frederick Law Olmsted and James T. Gardner. Their efforts came in response to concerns over preservation of the Falls in the 1870s. “Cherishing Niagara Falls as a great national symbol of nature, they called for a publicly owned reservation to safeguard the Niagara landscape… By 1879 Niagara activists began to have reason for optimism” when the governor and “legislature established a state survey ‘to determine the character of such defacements [at Niagara]… The survey, performed by Gardner and Olmsted, began at once and reached the anticipated conclusion that the private parceling of land around the cataract led to the unsightly and distasteful conditions at the Falls” (Irwin, New Niagara, 73).

Key to this Special Report’s power are its brilliant heliotype prints by George Barker, who was “renowned for views of Niagara Falls, in which rock and water spray are invested with spectacular drama” (Rosenblum, 140). It was Barker who especially “helped intensify the movement for a state reservation… [His] haunting photographs accompanying the 1880 survey depicted the starkly disfigured environs of Niagara. Barker’s images of the entrance to Goat Island, the enormous Bath Island paper mill, and the hotels and shops on the river’s edge verified that Niagara was far too disfigured to simply remove the structures and let nature take its course” (Irwin, 83). This is the octavo edition, with eight vintage heliotypes (and facsimile Plate XI), each measuring four-by-seven inches and tipped to heavy card stock, four folding maps (one lettered and outlined in red) and two large folding maps in rear pocket, two illustrated plates (one folding), along with facsimile leaves of selected text, a double-page illustration and the title page from Hennepin’s New Discovery of a Vast County in America (1698), as well as Reports by the Commissioner and the Director, Olmsted’s Notes, and numerous tables. Quarto edition with three maps published the same year, no priority established. Bookplate.





In 1901 French Professor of Natural Science Adolphe-Louis Donnadieu (1840-1911) published La photographie des objets immergés, in which he described the workings of the so-called 'Physiographe universel'. Donnadieu had invented this device with the aim of improving the way anatomical preparations were depicted. To achieve this, he photographed the preparations submerged in water. In the end, the Donnadieu method was overtaken by new developments in photography, such as chronophotography and X-ray photography.


Brinkley, Frank (Captain):
Japan, Described and Illustrated by the Japanese, Written By Eminent Japanese Authorities and Scholars, Boston, J.B. Millet Company, 1897~8, numerous editions (regular and deluxe formats) Folio (12 1 1/2 x 15+ in), decorative hard covers, decorative cord ties, table of contents at rear, 382 numbered pages of text, plates unnumbered. The books are organized into specific topics, covering Japanese festivals, history, customs, medieval Japan, etc.