Philipp scholz rittermann biography template
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PHILIPP SCHOLZ RITTERMANN: Night Light
PHILIPP SCHOLZ RITTERMANN: Night Light
PHOTOGRAPHER’S FORUM MAGAZINE
| EDITOR / PUBLISHER Glen R. Serbin PHOTO EDITOR, CONTESTS Nell Campbell MANAGING EDITOR Julie Simpson CREATIVE DIRECTORS Mehosh Dziadzio Kimberly Kavish BOOK EDITOR Amanda Quintenz-Fiedler COPY EDITOR Cynthia Anderson ADVERTISING DIRECTOR Karen Solomon CONTROLLER Mai Raack ACCOUNTING Tom Brooks SOCIAL MEDIA MARKETING Chinaza Osisioma PRESIDENT Elizabeth Owen DISTRIBUTION COORDINATOR Stacy Brostron ACCOUNT COORDINATOR Johanna Wagner DIRECTOR OF PRODUCTION Tamra Dempsey PRODUCTION MANAGER Barbara Kuhn PRODUCTION STAFF Terri Wright MARKETING STAFF Ellie Altomare Susan Baraz Jo Ann Miller Bryan Allen Francesca Galesi |
SERBIN COMMUNICATIONS, INC.
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A Sweeping Survey of Disability Arts Claims Everyone Is, or Will Become, Disabled
“All of us experience, or will experience, illness and disability throughout our lives.” So states the wall text in “For Dear Life: Art, Medicine, and Disability,” on view at the Museum of Contemporary Art San Diego through February 2.
Accordingly, the show takes a broad view of disability arts. It features artists who openly identify as disabled and make work aligned with the movement for disability justice, as well as those for whom illness and impairment go unnamed.
The show begins in the s, with works of feminist art concerned with the body. The opener is Yvonne Rainer’s Hand Movie (): a 7-minute work comprising choreography for one hand that she filmed from a hospital bed, while convalescing. The introduction argues that feminism opened space for artists to confront corporeal experiences and oppression based in bodily difference, space to show us not genera
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Philipp Scholz Rittermann: China in Transition
Creative Journey
Words: Carol McCusker
Some years ago, Philipp Rittermann had a recurring dream: Camera in hand, he traveled weightlessly through levande landscapes in a state of exhilaration. The images he captured were like nothing he’d seen before. They were in 3-D, with continuous, running time inside each frame. Knowing he was dreaming, he grabbed a handful of exposed bio, hoping to bring it back to the tangible world: He invariably awoke with his hand clenched.
The dream is betydelsefull to the way Rittermann has thought about and made photographs ever since. In Rittermann’s mid-career museum retrospective and catalog, Navigating by Light (at the Museum of Photographic Arts, San Diego), included numerous multi-paneled panoramas. They were his most complex work to date.
To make the images, he hand-held his camera, pivoting it degrees on a fixed horizon, making exposures every few seconds, anticipating what was about to happen inom