Nothing Is As It Seems: Harvey Benge Photobooks

https://www.aucklandartgallery.com/whats-on/exhibition/nothing-is-as-it-seems-harvey-benge-photobooks = Nothing Is As It Seems: Harvey Benge Photobooks My interest lies in the strange anthropology of cities, observing and making photographs of the unusual and overlooked in the human landscape where nothing is as it seems. – Harvey Benge Harvey Benge (born 1944) is a New Zealand photographer who lives and works in Auckland and Paris. Benge's work most often takes the form of limited edition photobooks and he recently donated the 60 publications displayed in this exhibition to the E H McCormick Research Library. The photobooks are published by Benge's imprint FAQEDITIONS as well as specialist publishers Dewi Lewis in the UK, Kehrer Verlag in Germany and Super Labo in Japan, among others. Benge has collaborated with well-known international photographers such as Daido Moriyama to produce multi-volume photobook sets and has worked with a number of writers to create book works that sympathetically combine texts and photographs. Benge travels widely and creates tantalising titles for his photobooks. He explains his practice as 'setting out to look at the nature of truth, with photographs that meander amongst the often opposing aspects of truth ... in a world where, when one thing is happening here, something else is happening over there. What I like about his practice is that his interests are on the study of the origin and development of human societies and cultures of the cities, and that it deals with cities, the same as my project. He takes photos of the remarkable and overlooked things in the world seen by us, humans. And it makes us doubt of how things may seem, as well.

Comments

Post a Comment

Popular posts from this blog

The journey of my work throughout the seminar 2 (term 4)

15 October= (on my walls) - Used the whole wall from top to bottom - Kept using different scale/sizes of images - Cropped my pix when possible, in order to remove distractions - Removed repetition - Dont shoot more, just my pix so far made , the one from previous weeks and terms , and look for connection between them as long as we can't tell it was from the same location = as if theres one pic from each location (even its not true but as least you can't tell it was shot in the same location. My priority from now onwards= my writing for the draft which is due next tuesday - Show more of greenery , with leaves and flowers (from my last seminar and pix ) on my walls , its lacking 22 October= - After the meeting next tue 29, contact Yoon to test out the types of paper like glossy or matte. 28 October= - Measure up the walls from my space of end of year exhibition = done - Put the photos on the 2 facing walls in my...
Read more

Guy Debord: Theory of the Derive (1981)

https://nbrokaw.wordpress.com/wp-content/uploads/2010/12/theory-of-the-derive-4.pdf = One of the basic situationist practices is the dérive [literally: “drifting”], a technique of rapid passage through varied ambiances. Dérives involve playful-constructive behavior and awareness of psychogeographical effects, and are thus quite different from the classic notions of journey or stroll. In a dérive one or more persons during a certain period drop their relations, their work and leisure activities, and all their other usual motives for movement and action, and let themselves be drawn by the attractions of the terrain and the encounters they find there. Chance is a less important factor in this activity than one might think: from a dérive point of view, cities have psychogeographical contours, with constant currents, fixed points and vortexes that strongly discourage entry into or exit from certain zones....
Read more

How I arranged my photographs on my end of year exhibition (layout)

My inspiration is Wolfgang Tillmans's installation strategy. https://www.guggenheim.org/artwork/11554= Wolfgang Tillmans Guggenheim Installation For Tillmans, the images are only half the work; the installation or layout constitutes its completion. He affixes his prints directly to the wall with pins or tape, juxtaposing old and new images of varying sizes and mediums. He eschews standard darkroom procedures, blurring the lines between color and black and white (printing black-and-white images on color paper, for instance). Color photographs are placed next to inkjet prints and next to postcards and magazine clippings of his own images, contesting conventional hierarchies of scale and subject matter while drawing focus to the materiality of the photographic medium—all within a carefully composed environment that seems to disdain permanency. https://www.sleek-mag.com/article/wolfgang-tillmans/ = The Ultimate Guide to Wolfgang Tillmans Wolfgang Tillmans has pioneered a pre...
Read more