#clement cheroux

[gagosiangallery]

Artist Talk—Jeff Wall on Walker Evans

DECEMBER 5, 2017

Jeff Wall joins the San Francisco Museum of Modern Art's Senior Curator of Photography, Clément Chéroux in conversation about SFMOMA’s current Evans exhibition, Evans’s legacy, and the meaning of that legacy for Wall’s art.

The talk takes place this Thursday, December 7, 6:30PM PT at SFMOMA's Phyllis Wattis Theater. Click HERE for more information. __________ Image: Jeff Wall, Tattoos and Shadows, 2000, transparency in lightbox, 77 × 100 3/8 inches (195.5 × 255 cm) © Jeff Wall.

[callealmamater]

Face B : The Mountain waves

Se laisser immerger par la nature et essayer la couleur. Trouver "Breve historia del error fotografico" et embrasser l'erreur.

"Lo que transforma el simple azar en un azar afortunado es esta capacidad de "buscar algo, y habiendo encontrado otra cosa, reconocer que lo que se ha encontrado es mas importante que lo que se buscaba" Breve historia del error fotografico, Clement Cheroux - p.120

"Ce qui transforme un simple hasard en hasard heureux, c'est cette capacité "à chercher quelque chose et, ayant trouvé autre chose à reconnaître que ce qu'on a trouvé a plus d'importance que ce que l'on cherchait""

[susanmeiselas]

Susan Meiselas in conversation with Clément Chéroux

Fondation Henri Cartier-Bresson 2, Impasse Lebouis, 75014 Paris

Monday June 21st, 2016 

6:30pm - 8pm

[diginsider]

Beyond the Decisive Moment

Beyond the Decisive Moment

Henri Cartier-Bresson was one of the great photographers of the 20th century. Best known as a prolific street photographer (for whom color was a commercial concession, not an aesthetic option), HCB’s life story is no less compelling than his lifetime of images. His career and personal commitments were well-described last year at an extensive exhibition at the Centre Pompidou in Paris. Happily,…

View On WordPress

[mercureality]

NOW, WE’RE A SPECIES OF EDITORS. WE ALL RECYCLE, CLIP AND CUT, REMIX AND UPLOAD. WE CAN MAKE IMAGES DO ANYTHING. ALL WE NEED IS AN EYE, A BRAIN, A CAMERA, A PHONE, A LAPTOP, A SCANNER, A POINT OF VIEW. AND WHEN WE’RE NOT EDITING, WE’RE MAKING. WE’RE MAKING MORE THAN EVER, BECAUSE OUR RESOURCES ARE LIMITLESS AND THE POSSIBILITIES ENDLESS. WE HAVE AN INTERNET FULL OF INSPIRATION: THE PROFOUND, THE BEAUTIFUL, THE DISTURBING, THE RIDICULOUS, THE TRIVIAL, THE VERNACULAR AND THE INTIMATE. WE HAVE NEXT-TO-NOTHING CAMERAS THAT RECORD THE LIGHTEST LIGHT, THE DARKEST DARK. THIS TECHNOLOGICAL POTENTIAL HAS CREATIVE CONSEQUENCES. IT CHANGES OUR SENSE OF WHAT IT MEANS TO MAKE. IT RESULTS IN WORK THAT FEELS LIKE PLAY. WORK THAT TURNS OLD INTO NEW, ELEVATES THE BANAL. WORK THAT HAS A PAST BUT FEELS ABSOLUTELY PRESENT. WE WANT TO GIVE THIS WORK A NEW STATUS. THINGS WILL BE DIFFERENT FROM HERE ON…

Clement Cheroux, Joan Fontcuberta, Eric Kessels, Martin Parr, and Joachim Schmid, Joint Manifesto for From Here On, Rencontres d’Arles Photography Festival, Arles, France, 2011

[tulpendiebe]

Clément Chéroux: Fautographie. Petite histoire de l’erreur photographique (2003). [pdf download].

"C'est important de faire de mauvaises photographies." — Diane Arbus