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It's a MOC MOC! (My wwn creation mint on card...nerd.) This is just a fun little art project for me, but if you're interested in making the figure, I'm happy to share the original artwork. I just ask that, if possible, you make me one. (Or a few, if you're capable of pad/digitally printing some.)
'Stormy weather': close up of proofing swatch printed on faux suede by Spoonflower. Original: Oil on canvas. © Su Schaefer 2013
In this print you can clearly see the impasto textural swirls of the original oil painting. I love the way digital printing can do this!
A related design is: 'Stormy weather in a Moroccan quatrefoil'.
[Stormy_weather_IMG_6989_1]
Stedelijk Museum Amsterdam
Digitale print op vinyl
Digital printing on vinyl
If you want a picture of the future, imagine a boot stamping on a human face - forever.
(Part III, Chapter III, Nineteen Eighty-Four by George Orwell)
Met beelden en woorden benadert Barbara Kruger de representatie van macht, identiteit en seksualiteit in de massamedia. Zelf zei ze erover: ‘Ik werk met beelden en woorden omdat die het vermogen bezitten te bepalen wie we zijn, wat we willen zijn en wat we worden.’ Krugers oeuvre is breed – van fotoprints op papier en vinyl tot video, grote installaties, werk in opdracht, drukwerk en artikelen voor de verkoop. Met haar directe taalgebruik en woorden als ’jij’, ‘ik’, ‘wij’ en ‘ze’ spreekt zij de sociale omgeving van de bezoeker aan. Voor deze installatie – speciaal ontworpen voor de Erezaal, de grootste tentoonstellingsruimte in het Stedelijk – bedekt Kruger de vloer en wanden met gedrukte teksten die ons luid en duidelijk toespreken. Haar provocerende en emotioneel beladen opmerkingen, over de manier waarop mensen elkaar beschouwen en hoe ze met elkaar omgaan, verstoren het traditionele museumdecorum. Kruger brengt de wereld in haar werk en haar werk in de wereld. Ze stelt stereotiepen en clichés aan de kaak en verplettert ze met vernietigende kritiek, een groot inlevingsvermogen en scherpe humor.
Barbara Kruger’s work with pictures and words addresses mass culture’s representations of power, identity and sexuality. As she has stated, “I work with pictures and words because they have the ability to determine who we are, what we want to be, and what we become.” The range of Kruger’s works is broad—from photographic prints on paper and vinyl to videos, room-size installations, public commissions, printed matter, and a variety of merchandise. Using the language of direct address and words like “you,” “me,” “we,” and “they,” her works reach out into the social space of the spectator.
In this installation—designed especially for the building’s largest gallery, known as the Hall of Honor—Kruger’s wraps the floor and walls with printed texts that “speak” directly and loudly to the spectator in a chorus of voices. Her provocative, emotionally charged statements about how people regard and treat each other disrupt the decorum of a traditional museum space. Bringing the world into her work and her work into the world, she confronts stereotypes and clichés, shattering them with a rigorous critique, a generous empathy and a sharp wit.
3D Sublimation 101
Dye sublimation, a digital printing process that uses heat to transfer dye to materials such as a plastic card, printer paper, poster paper, or fabric, is rapidly gaining market share due to the increasing availability of new and improved combinations of inks, media, hardware and software that have pushed the quality range of digital media much higher.
Dye sublimation printing can reproduce images on a variety of flexible and rigid substrates, which can endure the amount of heat, pressure and dwell time necessary for image transfer. With two primary areas of focus, including sublimation to textiles/soft fabrics as well as rigid substrates, dye sublimation enables the production of items such as point-of-sale applications, banners, custom flags, license plates, snowboards and promotional pieces.
New Applications for Dye Sublimation Printing: Driving Market Change
There are literally hundreds of different applications for dye sublimation, meaning plenty of profitable business opportunities for digital decoration. The primary limitation is that the surface must be composed of polymer fibers and able to withstand 400° F of temperature without melting. Provided those criteria are met, sublimation will create a premium full-color, photographic-quality image that will not crack, peel or wash away from the substrate. You can download our free Extensive Marketing Report.
2D vs 3D Sublimation
2D sublimation normally using heat press. The flat (flat platen) press is available as a clam-shell style or a swing-sway style. The clam-shell version opens and closes like a clam, where the bottom platen is stationery and the top platen moves up and down. The swing-away press opens by lifting up the top platen, but then will move sideways completely out of the way for ease of placement and removal of transferred products. It only can press flat substrates.
3D sublimation use vacuum heat press or oven, it can fully sublimate curved products using an air-forced vacuum, like phone cases, mugs, computer mouse, perfect for curved products that don’t work easily in flat heat presses.
Paper vs Film 3D Sublimation
As we mentioned the major priority of 3D sublimation heat press or oven is fully sublimate curved products, there are two types of 3D sublimation system in the market, using paper or film. However the output quality are huge different. Simply google 3d sublimation heat press, you will find tons of red and black color 3d sublimation heat presses which are made in China, selling around one thousand dollar. These machines use sublimation paper to wrap the substrate first, then using an air-forced vacuum to suck the thin silicon pad to wrap the paper which wrap on the substrate, however the sublimation paper is not soft, so if the substrate has round corner, then either the image can not be fully sublimated or paper crease is sublimated onto the substrate. We bought one of them and have been testing phone cases over 6 months. The conclusion is only can make iphone 4/5/5s cases which are straight corner, most of Samsung cases and iPhone 5C cases are all fail, because thoses cases are round corner. Even sophisticated operator will have 20% defective rate for iPone 5 and 90% defective rate for those round corner stye cases. Moreover, it only can make one case each cycle as the vacuum suction is not strong enough. Don’t be fool by the video that shown can make 4 even 6 cases each cycle, but it never be, truste me. Also the image color is little dull even printed on glossy cases and impresson of silicon pad also sublimated onto the surface if you look carefully.
Another 3D sublimation system using film, mostly call “3D Sublimation Oven“, just google “3D Sublimation Oven“, you will find most of these system selling by Europe company. Usually one case system pricing between $5000 to $8000 and 4 cases system pricing between $12,000 and $16,000 which are not include VAT and shipping cost. But the output quality will be completely different with the system using sublimation paper. The color is vivid and rich, image is fully sublimated onto the substrate no matter what curved shape of substrate. There is one important factor is labor, film system spend much less labor as it sublimate the printed film directly onto the blanks but paper system need to manually print the image on the sublimation paper, then cut and wrap it on the case, it spend couple mintes to make one case. If you are just selling 10 cases a day, it will be fine, but if you are selling 50 cases a day, you will feel frustrating. Simple formulars, you get what you paid.
Conclusion: The cheap paper system seems an amateur toy if compare with film system, it cost more labor and high defective rate. Film system is the one you need to run long term personalized products business, no matter output quality or production efficiency.
3D Sublimation System Comparison
On the right hand side, you may compare the output quality difference between paper and film system. Image is printed on iPhone 5C.
3D Sublimation Oven (Film)
Film system is designed to take the shape of any object that it is adhered to and to sublimate any kind of image onto the surface of that object. Image is Vivid. Save labor and productive.
3D Sublimation Press (Paper)
Color output is little dull compare using film and can not make round corner style substrate. High defective rate and cost more labor.
3D Sublimation Oven (Film)
3D Sublimation Press (Paper)
- www.dyesublimationblanks.com/dye-sublimation-news/3d-subl...
THIS IS A FREE SAMPLE. GET IT NOW at poundaprint.com. It's a 9 Meg jpg at 300 dpi and prints nicely onto A4 cartridge paper.
Fabric, Wallpaper, Home decor.
Collection :
www.spoonflower.com/collections/291596-funny-fashion-ladi...
Design of the photo :
www.spoonflower.com/fabric/6774246-fashion-addict-funny-l...
This photo shows work from Octink, London's leading display specialist. You can find out more information at www.octink.com/.
Edition of 75 numbered and signed copies
40 photographs
44 pages 14,8 x 21 cm (soft cover, staple binding, digital printing)
David
Michelangelo Buonarotti (1501 - 1504)
Galleria dell' Accademie
Florenz (I)
"The Great Masters" in the Votive Church
"David" by Michelangelo, "Mona Lisa" by da Vinci: Reproduced Renaissance classics are on display in the Votive Church. The exhibition runs from 1 September to 2 December.
Experience the "David" by Michelangelo in full splendor and marvel at Da Vinci's "Mona Lisa" just a few steps further? This is possible from 1 September in the Vienna Votive Church. This is where the exhibition "The Great Masters" begins, which brings together replicas of important Renaissance works under one roof. Here "art as a sustainable emotional event" should be taught.
So you do not have to queue at the Louvre or go to Florence to see the works of the greats of that time. The "visual adventure", as the show is described on the website, is aimed not only at a decidedly art-interested audience, but wants to appeal to the masses.
Exhibition for everyone
Behind the project are Manfred Waba as Artistic Director, who last year was responsible for the exhibition concept "Michelangelo's Sistine Chapel" in the Votive Church, and Wolfgang Grimme as Commercial Director. Wabe has again taken on the Votive Church to place the "David" in its original size, to present Michelangelo's "Last Judgment" and the "Creation of Adam" as well as to set Botticelli's "Birth of Venus" in scene.
David of styrofoam in original size
A total of 53 replicas of the most famous works of the Renaissance can be seen. Among them for example Michelangelo's David before the fight with Goliath, with 5.17 meters in original size, but made of marble powder and styrofoam. The original, however, was knocked out of a single block of Carrara marble. David was created in a workshop in Liesing (23rd district of Vienna), a perfect replica of the almost six-ton original.
Images like Botticelli's Birth of Venus or Da Vinci's Mona Lisa up to the Last Supper are staged like monumental stage sets.
Several visits to the Vatican were needed, among other things, to get impressions for the exhibition. State-of-the-art technology was in use for the true-to-original art prints: "It's just that you have to have the image licenses, with very high resolutions, so that you can print it. This has now become possible through the development of digital printing technology, "said Manfred Waba.
„Die großen Meister“ in der Votivkirche
„David“ von Michelangelo, „Mona Lisa“ von da Vinci: Reproduzierte Klassiker aus der Renaissance sind im Rahmen einer Ausstellung in der Votivkirche zu sehen. Die Ausstellung läuft von 1. September bis 2. Dezember.
Den „David“ von Michelangelo in voller Pracht erleben und nur einige Schritte weiter Da Vincis „Mona Lisa“ bestaunen? Das ist ab 1. September in der Wiener Votivkirche möglich. Da beginnt die Ausstellung „Die großen Meister“, die Repliken von bedeutenden Werken der Renaissance unter einem Dach vereint. Hier soll „Kunst als nachhaltig emotionales Event“ vermittelt werden.
Man muss also nicht beim Louvre anstehen oder sich nach Florenz begeben, um die Arbeiten der Größen jener Zeit zu besichtigen. Die „visuelle Erlebnisreise“, wie die Schau auf der Webseite beschrieben wird, richtet sich dabei nicht nur an ein dezidiert kunstinteressiertes Publikum, sondern will die breite Masse ansprechen.
Ausstellung für jedermann
Hinter dem Projekt stecken Manfred Waba als künstlerischer Leiter, der bereits im Vorjahr das Ausstellungskonzept „Michelangelos Sixtinische Kapelle“ in der Votivkirche verantwortete, und Wolfgang Grimme als kaufmännischer Leiter. Wabe hat sich erneut der Votivkirche angenommen, um dort den „David“ in Originalgröße zu platzieren, Michelangelos „Jüngstes Gericht“ und die „Erschaffung Adams“ zu präsentieren sowie Botticellis „Geburt der Venus“ in Szene zu setzen.
David aus Styropor in Originalgröße
Insgesamt sind 53 Repliken der berühmtesten Werke der Renaissance zu sehen. Darunter etwa Michelangelos David vor dem Kampf mit Goliath, mit 5,17 Metern in Originalgröße, aber aus Marmorpulver und Styropor gefertigt. Das Original hingegen wurde aus einem einzigen Block Carrara Marmor herausgeschlagen. Entstanden ist David in einer Werkstatt in Liesing, ein perfekt anmutender Nachbau des fast sechs Tonnen schweren Originals.
Bilder wie Botticellis Geburt der Venus oder Da Vincis Mona Lisa bis hin zum Abendmahl sind wie monumentale Bühnenbilder in Szene gesetzt.
Mehrere Besuche im Vatikan waren unter anderem nötig, um sich Eindrücke für die Ausstellung zu holen. Für die originalgetreuen Kunstdrucke war modernste Technik im Einsatz: „Es ist so, dass man einmal die Bildlizenzen haben muss, mit sehr hohen Auflösungen, damit man das drucken kann. Durch die Entwicklung der digitalen Drucktechnik ist das jetzt möglich geworden“, sagte Manfred Waba.
This is just a fun little art project for me, but if you're interested in making the figure, I'm happy to share the original artwork. I just ask that, if possible, you make me one. (Or a few, if you're capable of pad/digitally printing some.)
This photo shows work from Octink, London's leading display specialist. You can find out more information at www.octink.com/.
டிஜிட்டல் பிரிண்டிங்
கல்யாணமா? காதுகுத்தா? எதுவாக இருந்தாலும் பரவாயில்லை, முதலில் டிஜிட்டல் பிரிண்டிங்யில் பேனரை தயார் பண்ணலாம் வாங்க.
அனைத்து வகையான பிரிண்டிங்களுக்கு அனுகவும் - PrintHub
#PrintHub #Printing #DigitalPrinting
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Contact:
Sathiya Ramanan – 9600919690
This photo shows work from Octink, London's leading display specialist. You can find out more information at www.octink.com/.
T-shirts for men, We provide digital printing for the Mahakal T-shirt and Custom printed t-shirt, mobile cover, accessories, keychain at the low price in India. visit - www.mahakaalstore.com
Robert Weingarten 8/14 2003 40x40
Signed and Numbered 4/10
The artist’s work is included in a number of permanent collections including the George Eastman House, the J. Paul Getty Museum, the Los Angeles County Museum of Art, The Metropolitan Museum of Art and the Whitney Museum of American Art. He holds the distinction Fellow of the Royal Photographic Society and has been the recipient of several awards in photography. Robert Weingarten’s work is the subject of numerous of monographs and publications, including the 2004 Steidl book Another America: A Testimonial to the Amish.
Selected Collections
American University Museum at the Katzen Arts Center, Washington, DC. Center for Creative Photography, Tucson, AZ.
Center for Photographic Art, Carmel, CA.
Corcoran Gallery of Art, Washington DC.
Denver Art Museum, Denver, CO.
Farnsworth Art Museum, Rockland, ME.
Fernbank Museum of Natural History, Atlanta, GA.
Frederick R. Weisman Museum of Art, Malibu, CA.
Frye Art Museum, Seattle, WA.
The George Bush Presidential Library and Museum, Dallas, TX.
George Eastman House, International Museum of Photography and Film, Rochester, NY.
High Museum of Art, Atlanta, GA.
The Huntington, Library, Art Collections, and Botanical Gardens, San Marino, CA.
J. Paul Getty Museum, Los Angeles, CA.
Los Angeles County Museum of Art, (LACMA), Los Angeles, CA.
The Metropolitan Museum of Art, New York, NY.
Monterey Museum of Art, Monterey, CA.
El Museo de Arte Contemporáneo (Conde Duque, Madrid). Spain.
National Gallery of Australia, Canberra, Australia.
National Gallery, Washington D.C.
Norton Museum of Art, West Palm Beach FLA.
The Contemporary Museum, Honolulu, Hawaii.
The Museum of Contemporary Art, (MOCA), Los Angeles, CA.
The Minneapolis Institute of Art, Minneapolis, MN.
The Museum of Fine Art Florida, (MofA), Tallahassee, Florida.
The Museum of Fine Arts, Boston, MA.
The Museum of Fine Arts, Houston, Texas. The Museum of Tolerance, Los Angeles, CA.
Museum of Photographic Arts, San Diego, CA.
(The) POLIN Museum of Art, Warsaw, Poland.
Museum of Tolerance, Los Angeles, CA. Pollock-Krasner House and Study Center, East Hampton, NY. The Peabody Essex Museum, Salem MA. Santa Barbara Museum of Art, Santa Barbara, CA. Smithsonian Institution, National Museum of American History, Photographic History Collection. Smithsonian Institution, National Portrait Gallery, Washington, DC. Tel Aviv Museum of Art, Tel Aviv, Israel. Whitney Museum of American Arts, New York, NY. The Ansel Adams Home in Carmel, CA. The Edward Weston Home "Wildcat" in Carmel, CA. Numerous Corporate & Individual Collections Worldwide.
Awards and Achievements
2001 Awarded the distinction Fellow of the Royal Photographic Society (FRPS), Bath, England.
2000 Awarded the Silver Medal for the Royal Photographic Society’s 143rd International Print Competition, Bath, England.
1999 Awarded the distinction Associate of the Royal Photographic Society (ARPS), Bath, England.
1997 Awarded the distinction Licentiateship of the Royal Photographic Society (LRPS), Bath, England.
Exhibitions
2018
Solo Exhibition, 6:30A.M. Series, Mary Ryan Gallery, New York, NY. Solo Exhibition, 6:30A.M. Series, “Focus on Infinity”, Los Angeles Public Library, Los Angeles, CA. Solo Exhibition, “Pentimento”, The Dortort Center for Creativity in the Arts, Hillel, UCLA, Los Angeles, CA.
Exhibition, “California Nature”, Fresno Art Museum, Fresno, CA.
2017
Exhibition, “Wooster Wild Style Wall”, Gallery 151, New York, NY.
2015
Exhibition, “Ansel Adams-Before and After”, Booth Western Art Museum, Cartersville, GA.
Exhibition, “California Light”, Descanso Gardens, Sturt Haaga Gallery, La Cañada, CA.
Solo Exhibition, “Pentimento Series”, Marlborough Gallery, New York, NY.
2014
Exhibition, “Western American Art South of the Sweet Tea Line IV Exhibit”, Booth Western Art Museum, Cartersville, GA.
Solo Exhibition, “Living Legends” The Montage Portraits of Robert Weingarten. Norton Museum of Art, Palm Beach, Florida.
Solo Exhibition, “Another America” a Testimonial to the Amish, George Eastman House, International Museum of Photography and Film, Rochester, NY.
Solo Exhibition, “6:30A.M. Series”, Peabody Essex Museum, Salem, MA.
Solo Exhibition, “Pentimento Series”, Craig Krull Gallery, Santa Monica, CA.
2012
Solo Exhibition, “Pushing Boundaries: Portraits by Robert Weingarten”,
Smithsonian Institution, International Gallery, S. Dillon Ripley Center, Washington, D.C.
2011
Exhibition, “In Focus: The Sky”, J. Paul Getty Museum, Los Angeles, CA.
Solo Exhibition, “Portraits Without People” Marlborough Gallery, New York, NY.
Exhibition, “Adams & Weston and the Masters of California Photography”, Monterey Museum of Art, CA.
Exhibition, "Face to Face”, 150 Years of Photographic Portraiture, Center for Creative Photography, Phoenix, AZ.
Exhibition,“Skydreamers”, Autry National Center, Los Angeles, CA.
Solo Exhibition, “Portraits Without People” Craig Krull Gallery, Santa Monica, CA.
Exhibition, “Distilled Moments”, Santa Barbara Museum of Art, Santa Barbara, CA.
Exhibition, “New Faces” of the Collection, Santa Barbara Museum of Art, Santa Barbara, CA.
Exhibition, “Lift Off”, Rutgers University, Newark, NJ.
2010
Solo Exhibition, “The Portrait Unbound; Photographs by Robert Weingarten”, High Museum of Art, Atlanta, GA.
Solo Exhibition, “Robert Weingarten Retrospective”, Lumière, Atlanta, GA.
Exhibition, “Exposing Time”, Phoenix Art Museum /Center for Creative Photography, Phoenix, Arizona.
2009
Exhibition,” This side of Paradise: Body and Landscape in Los Angeles Photographs”, Musée L’Elysee, Lausanne, Switzerland.
Solo Exhibition, “Palette Series”, Springfield Art Museum, Springfield, MO.
Exhibition, “Paris and Pinpoints”, Benham Gallery, Seattle, WA.
2008
Solo Exhibition, “Palette Series”, Galería Marlborough, Madrid, Spain.
Exhibition, “This side of Paradise: Body and Landscape in Los Angeles Photographs”, The Huntington Library, San Marino, CA.
Solo Exhibition, Benham Gallery, Seattle, WA.
Exhibition, “Picturing the Process: Landscapes Through Time and Space”, Museum of Photographic Arts, San Diego, CA.
2007
Solo Exhibition, “Palette Series", Lumière, Atlanta, GA.
Exhibition, “20/20 Vision", Center for Photographic Art, Carmel, CA.
Solo Exhibition, “Palette Series”, Craig Krull Gallery, Santa Monica, CA.
Exhibition, “Recent Acquisitions”, Permanent Collection, Monterey Museum of Art, Monterey, CA.
Exhibition, “Summer Exhibition”, Marlborough Gallery, New York, NY.
Exhibition, “A View Within”: Selections from the Permanent Collection of the Frederick R. Weisman Museum of Art.
2006
Solo Exhibition, “Palette Series”, The Corcoran Gallery of Art, Washington, DC.
Solo Exhibition, “6:30 A.M.”, George Eastman House, International Museum of Photography and Film, Rochester, NY.
Solo Exhibition, “Palette Series” Marlborough Gallery, New York,
Solo Exhibition, “6:30 A.M.” The Philbrook Museum of Art, Tulsa, OK.
Solo Exhibition, “Palette Series: Artifacts”, Weston Gallery Carmel, CA.
Exhibition, “Right Here, Right Now - Contemporary Art from the Marlborough Gallery, NY”,
Exhibition, “Palette Series: Pensacola Museum of Art, Pensacola, FL.
Solo Exhibition, “Another America”, Cal State University, Todd Madigan Gallery, Bakersfield, CA.
2005
Solo Exhibition, “6:30 A.M.”, Marlborough Gallery, New York, NY.
Solo Exhibition, “6:30 A.M.”, Frederick R. Weisman Museum of Art, Malibu, CA. Solo Exhibition, “Landscape • Cityscape”, Marlborough Gallery, New York, NY.
Exhibition, “Minimalist Visions”, Weston Gallery, Carmel, CA.
2004
Solo Exhibition, “6:30 A.M.”, Craig Krull Gallery, Santa Monica, CA
Solo Exhibition, “6:30 A.M.”, Museum of Photographic Arts, San Diego CA.
Solo Exhibition, “Another America”, Museum of Photographic Arts, San Diego CA.
Exhibition, "Wanderers, Travelers & Adventurers", Museum of Photographic Arts, San Diego, CA.
Solo Exhibition, "6:30 Series", Santa Barbara Museum of Art, CA.
2003
Exhibition, "International Annual Center Awards", Center for Photographic Art, Carmel, CA.
Exhibition, "Ansel Adams and His Legacy", High Museum of Art, Atlanta, GA.
Exhibition, "California Color", Santa Barbara Museum of Art.
Solo Exhibition, "Landscape As Symphony", Sidney Mishkin Gallery, Baruch College, NY.
Exhibition, "Rhythm and Color in the Landscape", Benham Gallery, Seattle, WA.
2002
Solo Exhibition, "Landscape As Symphony", Edward Carter Gallery, New York, NY.
Exhibition, "Inner Light", The Frederick R. Weisman Museum of Art, Malibu, CA.
Exhibition, "Colour & Concept", National Gallery of Australia.
Exhibition, "International Annual Center Awards", Center for Photographic Art, Carmel, CA.
Solo Exhibition, Benham Gallery, Seattle, WA.
Exhibition, "Traveling Light", Museum of Photographic Arts, San Diego, CA.
Solo Exhibition, McLean Gallery, Malibu, CA.
Solo Exhibition, Craig Krull Gallery, Santa Monica, CA.
2001
Solo Exhibition, "The pastoral Landscape", Weston Gallery, Carmel, CA.
Solo Exhibition, “Intimate Vision”, Howard Schickler Gallery, New York, NY.
Exhibition, “Water Forms” Galleries of Mumm, Napa Valley, CA.
Solo Exhibition, Ansel Adams Gallery, Monterey, CA.
2000
Exhibition, “10th International Annual Center Awards”, Center for Photographic Art, Carmel, CA.
Solo Exhibition, “American Landscape”, McLean Gallery, Malibu, CA.
Exhibition, “Trees” HBO/Time Warner Gallery, New York, NY.
Exhibition, “Intimate Landscapes”, Tacoma Art Museum, Tacoma, WA.
Solo Exhibition, “Quietscapes", Henry Street Settlement, Abrons Art Center, New York, NY.
Exhibition, "143rd International Print Exhibition", Royal Photographic Society, Octagon Galleries, Bath, England.
Exhibition, "Five Person Show, LACMA Rental and Sales Gallery, Los Angeles, CA.
Exhibition, “It’s About Time,” Riverside Art Museum, Riverside, CA.
1999
Exhibition, “Earthscapes: Charlie Waite and Robert Weingarten,” Center for Photographic Art, Carmel, CA.
Exhibition, “Americans in Spain,” Paula Vincenti Gallery, Marbella, Spain.
Exhibition, “Moving Towards the Millennium,” Barnsdall Art Center, Los Angeles, CA.
Solo Exhibition, “Paintings…Through a Lens”, McLean Gallery, Malibu, CA.
Exhibition, “25 Years of Photography,” CEPA Gallery, Buffalo, NY.
Exhibition, “International Landscapes,” Mall Gallery, London, England.
Exhibition, :Artists Council 30th Annual National Juried Exhibition", Palm Springs Desert Museum, CA.
Solo Exhibition, “Quietscapes”, Mayer, Brown & Platt, New York, NY.
Solo Exhibition, “Quietscapes”, Sylvia White Gallery, New York, NY.
1998
Solo Exhibition, “Quietscapes”, Sylvia White Gallery, Los Angeles, CA.
Exhibition, “The Horse Show: Images of the Horse in Contemporary Art,” Sylvia White Gallery, LA, CA.
Exhibition, "16th Annual September Competition", Alexandria Museum of Art, Alexandria, Louisiana.
Solo Exhibition “Quietscapes,” McLean Gallery, Malibu, CA.
Exhibition, Sylvia White Gallery, Los Angeles, CA.
Exhibition, “Light is Diverse in California,” Center for the Visual Arts Gallery, Oakland, CA.
Exhibition, “Realism 1998,” Stage Gallery, Merrick, NY.
1997
Exhibition, "European Landscape Photography", Christie’s, London, England.
Lectures
2019
“Pentimento Series”, Master Class to MFA students at Claremont Graduate University of Art. Los Angeles, CA.
2018
Pentimento Series interview by Howard Fox, UCLA, The Dortort Center for Creativity in the Arts, Los Angeles, California USA.
2014
From Film Fidelity to Digital Metaphor, PEM Peabody Essex Museum, Salem, Massachusetts, USA.
Another America: A Testimonial to the Amish, George Eastman House, Rochester, New York, USA.
2012
Pushing Boundaries, S. Dillon Ripley Center, Smithsonian Institution, Washington, DC, USA.
2011
Robert Weingarten: From Film Fidelity to Digital Metaphor, Santa Barbara Museum of Art, Santa Barbara, California, USA.
2010
My Journey From Film Fidelity to Digital Metaphor, J. Paul Getty Museum, Los Angeles, California, USA.
2009
Artist talk, School of Art, San Diego University, San Diego, California, USA.
Artist talk on "The Portrait Unbound", Bergamot Station, Santa Monica, California, USA.
2008
Artist talk on "Landscapes," "Another America," "6:30 A.M." and "Palettes" series, Todd Madigan Gallery, California State University at Bakersfield, Bakersfield, California, USA.
2007
Artist talk on "Landscapes," "6:30 A.M.," "Palettes" and "Portraits Without People" series, Photo LA, Los Angeles, California, USA.
2007
Artist talk on "Landscapes," "Another America," "6:30 A.M." and "Portraits without People" series, Atlanta History Center, Atlanta, Georgia, USA.
2006
Artist talk on "Landscapes," "6:30 A.M." and "Palettes" series, Philbrook Museum of Art, Tulsa, Oklahoma, USA.
Artist talk on "Landscapes," "Another America," "6:30 A.M." and "Palettes" series, George Eastman House, Rochester, New York, USA.
2004
Artist talk on "Another America" and "6:30 A.M.", Museum of Photographic Art, San Diego, California, USA.
Catalogues and Monographs
2011 Thomas Perich, Shannon . "The Changing Face of Portrait Photography, From Daguerreotype to Digital" . Washington, D.C.: Smithsonian Books.
2011 Marlborough Inc.. Robert Weingarten: Portraits without People. New York: Marlborough Chelsea.
2009 Cox, Julian, Curator. The Portrait Unbound. Atlanta: The High Museum.
2008 Castellote, Alejandro . Paletas de Artistas (Serie). Madrid: Galería Marlborough.
2006 Lanzone, Dale. Palette Series. New York: Marlborough Chelsea.
2005 Weingarten, Robert. 6:30 A.M. Berlin: Hatje Cantz Verlag.
2004 Weingarten, Robert. Another America: A Testimonial to the Amish. Göttingen: Steidl Publishing.
1999 High, Dennis. Earthscapes. Carmel: Center for Photographic Art.
1999 Gallery. Americans in Spain. New York: Paula Vincenti Gallery and Sylvia White Gallery.
Bibliography
David Van Reybrouk, “ODES”, Poetry. ODE AAN DE LENTE, pg 42. Jackson Pollock #2, 2007 photo on pg 47. Olson, Katelyn, “Past bleeds into present in Hillel at UCLA’s newest art exhibits”, Hillel at UCLA’s Winter 2018, January 23, 2018. 2nd Hanna S. Barsam Photography Invitational, illustrated catalog, Fresno Art Museum, Fresno, CA. January 26, 2018. Gallery 151, illustrated sales kit for “Decade” anniversary “Wooster Wild Wall” exhibition. New York, NY, November 2016 – January 2017. “Overnight Ink” Poetry compilation. Book cover 6:30A.M. #77. Tokyo, Japan, 2016. Acquisition Highlights, illustrated catalog. George Eastman Museum, Rochester, NY, July 2015. Pentimento Series, illustrated exhibition catalog. Essay by: Colin Westerbeck. Marlborough Gallery, New York, NY, January 2015. Richard, Andrea "At the Norton: Robert Weingarten's Unusual "Portraits" of Don Shula, Sonia Sotomayor, and More. Broward/Palm Beach New Times, Art. August 29th, 2014.
Sjostrom, Jan, "Complex Portraits: Photographer Depicts Celebs without Using Faces", Palm Beach Daily News, Arts, Local, August 10, 2014.
Thomason, John, "Portraiture as you've never seen it before", Boca Raton Magazine, Arts. August, 8th, 2014.
Calder, Diane, "Pentimento Series" at Craig Krull Gallery, ArtScene, July/August 2014. Pg. 20 & 21.
Bielak, Jessica, “Face Off”, Palm Beach Illustrated, Agenda. July/August 2014.
Entertainment Life, "Meditations on California Skyline" July, 31, 2014.
Valys, Phillip, “Legends Live on in Art” South Florida Sun Sentinel, July 13, 2014. Lifestyles 2G.
De Palma, Donna, "A Simpler Life" Democrat & Chronicle, March 9, 2014. Pg., 1C, RocArts and pg., 5C, Arts.
O’Sullivan Michael, “Don’t Miss”, Museums openings, The Washington Post, June 29th, 2012, weekend section.
Shannon Thomas Perich, Smithsonian Books, "The Changing Face of Portrait Photography, From Daguerreotype to Digital" 2011. Chapter 10, pg. 138-149.
Paul Sisolak, “Portraits of another matter”, The Malibu Times, May 5, 2011, Malibu Life, Section B.
Jeff Kent, “The Portrait Unbound” Professional Photographer, June 2010, pg. 24.
Richard Nilsen, “Exhibit displays powerful photos of time in motion” The Arizona Republic. March 28th, 2010.
Hillary M. Sheets, “A Few of Their Favorites Things”. ARTnews, Art Talk, March 2010, pg 32.
The Portrait Unbound, The High Museum, Atlanta, GA, 2009. Essay by Julian Cox, Curator.
Camille Howell Dautrich, “These Sunflowers Bloom in Different Way”, Springfield News-Leader. Pg 3C-4C, October 2009.
417 Magazine, “Robert Weingarten, The Palette Series”. September 2009.
Daylight & Architecture magazine by Velux. 6:30A.M Series pp. 34-35. Issue 9 autumn 2008.
Jennifer A. Watts, Claudia Bohn-Spector, Douglas R. Nickel. “This side of Paradise: Body and Landscape in Los Angeles Photographs”, June 2008, pp 228-229.
José Manuel Ibáñez. “Exploración de la Luz”. Mucho Viaje No 36. Pistas/Exposiciones May 2008.
Carlos García-Osuma. “Las Paletas de los Artistas”. La Vanguardia / Exposiciones. May 4, 2008.
Fernando Castro Florez. “El Lugar de Todas las Mezclas” Descubrir el Arte magazine No 111 May 2008. Agenda Arte Exposiciones.
Arte y Parte “Robert Weingarten” Revista de Arte No 74 April 2008, pp. 97.
C. de A., El Punto de las Artes “Robert Weingarten. Palette Series” April 29th 2008.
Introduction by Alejandro Castellote., Paletas de Artistas (Serie), illustrated exhibition catalog, Galería Marlborough, Madrid April 2008.
Benjamin Epstein, Where Guest Book Los Angeles “Waking State”. January 2008, pp. 30-38.
Kim Beil. “In Pursuit of Perception”. Art Ltd. West Coast Art + Design May 2007, pp. 36.
Nash Editions “Photography and the Art of Digital Printing” Graham Nash, introduction, essays by Richard Benson, R. Mac Holbert, Henry Wilhelm and edited by Garrett White. New Riders, Voices that Matter, January 2007.
O’Sullivan Michael. “Capturing the Many Hues of Creativity.” The Washington Post July 28, 2006, Weekend, pp. 23.
Watts Jr., James D. “An ever-changing landscape.” Tulsa World, June, 4, 2006, pp H5.
Stewart Smith, Joan. “Epson Prints Bring California to Wintry Upstate New York”, “Robert Weingarten’s “6:30 a.m.” at George Eastman House.” Epson Website, March 2006.
Palette Series, illustrated exhibition catalog. Introduction: Interview by Dale Lanzone., Marlborough Chelsea, New York, NY March 2006.
Gantenbein, Douglas. “Film Photography Fades to Black” The Wall Street Journal, March 14, 2006, pp. D8.
Tobin, Jacqueline. “Rise and Shine.” Photo District News, February 2006, pp.134-136.
Kennedy, Randy. “California Dreaming on Such a Winter’s Day.” The New York Times, January 12, 2006, pp. E1, E7.
Sugarman, Martin. “6:30 AM by Robert Weingarten”, H2O, 2006 (book review).
American Photo, “Bay Light”, January 2006.
Weingarten, Robert, 6:30 A.M, Germany: Hatje Cantz Verlag, 2005.
Looking at Los Angeles, New York: Metropolis Books/D.A.P., 2005.
“Testimonial to the Amish”, LensWork, January-February 2005, pp. 10-27.
Harris, Jane, “Robert Weingarten.” The Village Voice, May 18-24, 2005 p. 84.
Another America: A Testimonial to the Amish. Germany: Steidl Publishing, 2004.
Pincus, Robert L. “For Robert Weingarten, a pair of themes inspires beautiful images.” The San Diego Union-Tribune, June 13, 2004, pp. F1, F4, F5.
"Landscape as Symphony", Camera Arts, April - May 2002.
Royal Photographic Society Journal, 143rd International Print Competition Award Winning Images, Bath, England, May and June 2000.
Earthscapes, Introduction by Dennis High, Center for Photographic Art: Carmel, CA, November 1999 illustrated (exhibition catalog).
Americans in Spain, Paula Vincenti Gallery, Marbella, Spain and Sylvia White Gallery, New York, NY September 1999, illustrated (exhibition catalog).
This photo shows work from Octink, London's leading display specialist. You can find out more information at www.octink.com/.
This photo shows work from Octink, London's leading display specialist. You can find out more information at www.octink.com/.
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This photo shows work from Octink, London's leading display specialist. You can find out more information at www.octink.com/.
Some film sold here, digital printing service too, but no film developing.
La Serena, Chile, September 2019.
This photo shows work from Octink, London's leading display specialist. You can find out more information at www.octink.com/.
This is the only store I know of to use the 2005 pole signage still...and notice how the Photo Center sign has covered up the "Film" word between Cameras and Digital Printing.
"The Great Masters" in the Votive Church
"David" by Michelangelo, "Mona Lisa" by da Vinci: Reproduced Renaissance classics are on display in the Votive Church. The exhibition runs from 1 September to 2 December.
Experience the "David" by Michelangelo in full splendor and marvel at Da Vinci's "Mona Lisa" just a few steps further? This is possible from 1 September in the Vienna Votive Church. This is where the exhibition "The Great Masters" begins, which brings together replicas of important Renaissance works under one roof. Here "art as a sustainable emotional event" should be taught.
So you do not have to queue at the Louvre or go to Florence to see the works of the greats of that time. The "visual adventure", as the show is described on the website, is aimed not only at a decidedly art-interested audience, but wants to appeal to the masses.
Exhibition for everyone
Behind the project are Manfred Waba as Artistic Director, who last year was responsible for the exhibition concept "Michelangelo's Sistine Chapel" in the Votive Church, and Wolfgang Grimme as Commercial Director. Wabe has again taken on the Votive Church to place the "David" in its original size, to present Michelangelo's "Last Judgment" and the "Creation of Adam" as well as to set Botticelli's "Birth of Venus" in scene.
David of styrofoam in original size
A total of 53 replicas of the most famous works of the Renaissance can be seen. Among them for example Michelangelo's David before the fight with Goliath, with 5.17 meters in original size, but made of marble powder and styrofoam. The original, however, was knocked out of a single block of Carrara marble. David was created in a workshop in Liesing (23rd district of Vienna), a perfect replica of the almost six-ton original.
Images like Botticelli's Birth of Venus or Da Vinci's Mona Lisa up to the Last Supper are staged like monumental stage sets.
Several visits to the Vatican were needed, among other things, to get impressions for the exhibition. State-of-the-art technology was in use for the true-to-original art prints: "It's just that you have to have the image licenses, with very high resolutions, so that you can print it. This has now become possible through the development of digital printing technology, "said Manfred Waba.
„Die großen Meister“ in der Votivkirche
„David“ von Michelangelo, „Mona Lisa“ von da Vinci: Reproduzierte Klassiker aus der Renaissance sind im Rahmen einer Ausstellung in der Votivkirche zu sehen. Die Ausstellung läuft von 1. September bis 2. Dezember.
Den „David“ von Michelangelo in voller Pracht erleben und nur einige Schritte weiter Da Vincis „Mona Lisa“ bestaunen? Das ist ab 1. September in der Wiener Votivkirche möglich. Da beginnt die Ausstellung „Die großen Meister“, die Repliken von bedeutenden Werken der Renaissance unter einem Dach vereint. Hier soll „Kunst als nachhaltig emotionales Event“ vermittelt werden.
Man muss also nicht beim Louvre anstehen oder sich nach Florenz begeben, um die Arbeiten der Größen jener Zeit zu besichtigen. Die „visuelle Erlebnisreise“, wie die Schau auf der Webseite beschrieben wird, richtet sich dabei nicht nur an ein dezidiert kunstinteressiertes Publikum, sondern will die breite Masse ansprechen.
Ausstellung für jedermann
Hinter dem Projekt stecken Manfred Waba als künstlerischer Leiter, der bereits im Vorjahr das Ausstellungskonzept „Michelangelos Sixtinische Kapelle“ in der Votivkirche verantwortete, und Wolfgang Grimme als kaufmännischer Leiter. Wabe hat sich erneut der Votivkirche angenommen, um dort den „David“ in Originalgröße zu platzieren, Michelangelos „Jüngstes Gericht“ und die „Erschaffung Adams“ zu präsentieren sowie Botticellis „Geburt der Venus“ in Szene zu setzen.
David aus Styropor in Originalgröße
Insgesamt sind 53 Repliken der berühmtesten Werke der Renaissance zu sehen. Darunter etwa Michelangelos David vor dem Kampf mit Goliath, mit 5,17 Metern in Originalgröße, aber aus Marmorpulver und Styropor gefertigt. Das Original hingegen wurde aus einem einzigen Block Carrara Marmor herausgeschlagen. Entstanden ist David in einer Werkstatt in Liesing, ein perfekt anmutender Nachbau des fast sechs Tonnen schweren Originals.
Bilder wie Botticellis Geburt der Venus oder Da Vincis Mona Lisa bis hin zum Abendmahl sind wie monumentale Bühnenbilder in Szene gesetzt.
Mehrere Besuche im Vatikan waren unter anderem nötig, um sich Eindrücke für die Ausstellung zu holen. Für die originalgetreuen Kunstdrucke war modernste Technik im Einsatz: „Es ist so, dass man einmal die Bildlizenzen haben muss, mit sehr hohen Auflösungen, damit man das drucken kann. Durch die Entwicklung der digitalen Drucktechnik ist das jetzt möglich geworden“, sagte Manfred Waba.
Ex cinema board painter, painting political and celebrity portraits to survive joblessness in the age of digital printing.
This photo shows work from Octink, London's leading display specialist. You can find out more information at www.octink.com/.
I spent the whole weekend taking a fairly boring photography class: "The Art of Digital Printing". I learned so much...wow! There is a lot involved in this. Unfortunately, after looking at beautiful fine art prints for 2 days, I feel like deleting all my work and starting over!
Design-This fig is awesome! Originally I wanted the Desert Strike Force fig but he didn't have it...I was worrying! Then my eyes caught this...it was one of those "Holy Crap!" moments and I picked it up and bought it. :P Well this fig is very cool because of it "personalized" look. Like how the buckle on the pockets is unbuckled and the dog tag. For all of you who don't like digital printing...it's like exactly the same! I took the risk and and scratched with my fingernail has hard as I good and it was still as good as new! Very awesome with the muscles added, it gave a tougher look to the new Hunter fig! Victor made a awesome fig, I am sure you will like it too!
Durability-As I said before this thing is very durable! It's water resistant so water won't harm it (although I am not sure why someone would stick a awesome fig like this in water... :P).
Weapons-The weapon choice for this fig was awesome! But the only thing was I didn't get a Combat Knife (that was just with my fig) but I don't care because I have a bunch of them anways! :p So I give it a 10/10 anyways. :P
Price-I don't know about you guys but my parents flipped when they saw how much this was (and all the other stuff at BF... :P). So I broke it down and explained how much it costs and how much hard work it took to make this happen. BrickSlasher explains it very well here. ;)
Overall this fig is completely worth it, I suggest you buy it!
This photo shows work from Octink, London's leading display specialist. You can find out more information at www.octink.com/.
OPG.016 - CANADA by JOÃO SOBRAL
"CANADA is the title of this fanzine which portrays the trip I made during the summer of 2011 with my family to visit my aunt and my cousins who live in Toronto."
A5, 20 pages
full colour digital printing
hand bound
edition of 30 numbered copies
published by O PANDA GORDO, 2013
flip through video here.
This technique was developped by Emmanuel Gatti, an artist from Paris, France ( gatti.carbonmade.com/ ).
Transfer is a combination of digital printing and traditional engraving technique. At first, we print a digital inkjet file on a plastic film that is not suitable for printing. Also the ink remains fresh and on the surface of this film. In a second step we press this film on engraving paper with an engraving press. However it takes several inkjet prints on film and several prints of it on paper to have an interesting image. The process ultimately questions the nature of this new image. Photography, engraving, painting? This is an alternative and creative technique of photo printing.
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