FAST, CHEAP, & Easy: The Copy Art Revolution CEPA Gallery, Buffalo, NY September 14 – December 15, 2018.
Curated by Robert Hirsch, Kitty Hubbard, Klaus Urbons, and Tom Carpenter.
Fast, Cheap & Easy: The Copy Art Revolution CEPA Gallery exhibition catalog is now available
This 80-page, full-color, spiral bound CEPA Gallery exhibition catalog includes: individual project descriptions, artists’ statements and bios, plus hundreds of exhibition and historical images, artists’ book examples, and complete checklist. Additionally, there are essays by Robert Hirsch, Beate Reese, Kate Eichorn, and Herbert Lachmayter.
Fast, Cheap & Easy: The Copy Art Revolution is an international survey featuring over 100 artists from the 1960s to the present who have explored the neglected and underserved role of the copy machine as a quick, affordable, and innovative method to express ideas and inexpensively produce and circulate copy art to a larger audience. Specially, the exhibition focuses on artists who worked in proximity to Rochester, San Francisco, and Mülheim an der Ruhr, Germany.
Robert Hirsch Interview by Judge Penny Wolfgang on WECK Radio. A 30-minute discussion about the driving forces behind Hirsch’s Ghosts: French Holocaust Children.
Wednesday, February 6, 2019 - 7:30 pm Sponsored by the Bennett Center for Judaic Studies
Robert Hirsch: Ghosts Exhibition Interview on Unity Groove with Lady Beth @ WVOF 88.5/Fairfield University, Fairfield, CT February 13, 2019
Ghosts: French Holocaust Children
January 24 – March 2, 2019
Light and Lens, 3rd Edition
By Robert Hirsch and Greg Erf
424 pages | 350 Color Illustrations
About the Book
Quickly and simply puts you on a personal path of expressive imagemaking.
The new edition of this pioneering book allows students to acquire an essential and fluid foundation for digital photography. Fully updated, it clearly and concisely covers the fundamental “forever” concepts of imagemaking, how to use digital technology to create compelling images, and how to output and preserve images in the digital world. This expanded gateway to learning investigates history, theory, and methods, offering classroom-tested assignments and exercises from leading photographic educators, approaches for analyzing, discussing, and writing about photographs, and tools to critically examine and make images with increased visual literacy.
New to this edition:
Completely revised, updated, and simplified to reflect technological advances that promotes direct and strategic imagemaking
Expanded coverage of cell phone/mobile photography
Enlarged treatment of careers options
Inspiring images with artist commentary by 250 international photographers that encourages one to discover their own visual path.
The long-awaited new edition of this seminal text features clear, reliable, step-by-step instructions on innovative alternative and traditional photographic processes. Over and above a full update and revision of the technical data, there are new sections on digital negative making, electrophotography, and self-publishing. Foremost practioners, including Edward Bateman, Dan Burkholder, Tom Carpenter, Mark Osterman, France Scully Osterman, Jill Skupin Burkholder, Brian Taylor, and Laurie Tümer, have contributed their expertise to this edition. Perfect for practitioners or students of handmade photography, the book covers classic black-and-white film and paper processes, hand-coated processes like Cyanotype, and Platinum/Palladium. Also featured is an enhanced section on gum bichromate, invaluable instruction on workflow, and the integration of digital, promoting the effective union of one’s concepts, materials, and processes. The book showcases work and commentary from more than 150 international artists.
The definitive history of photography book, Seizing the Light: A Social & Aesthetic History of Photography delivers the fascinating story of how photography as an art form came into being, and its continued development, maturity, and transformation.
Covering the major events, practitioners, works, and social effects of photographic practice, Robert Hirsch provides a concise and discerning chronological account of Western photography. This fundamental starting place shows the diversity of makers, inventors, issues, and applications, exploring the artistic, critical, and social aspects of the creative process. The third edition includes up-to-date information about contemporary photographers like Cindy Sherman and Yang Yongliang, and comprehensive coverage of the digital revolution, including the rise of mobile photography, the citizen as journalist, and the role of social media.
Highly illustrated with full-color images and contributions from hundreds of artists around the world, Seizing the Light serves as a gateway to the history of photography. Written in an accessible style, it is perfect for students newly engaging with the practice of photography and for experienced photographers wanting to contextualize their own work.
Robert Hirsch's Ghosts: French Holocaust Children catalog is now available for free download at www.lightresearch.net
Ghosts is a three-dimensional photo-based installation that acts as an ethereal commemoration for the 11,000 Jewish children who were deported from France to Auschwitz and other Nazi death camps in railway boxcar convoys. The 30-page catalog, sponsored by CEPA Gallery, features project images and installation views plus an essay: "Before Ghosts: A Brief History of Anti-Semitism" by Dr. Patricia E. Behre, Associate Professor of History at Fairfield University.
I admire your willingness to take on broad cultural/historical subjects and collaborate beyond the narrow field of fine artists-very refreshing. Ghosts gets to that rare place of having real emotional resonance. Ghosts reminds me of when I first saw Robert Frank’s "The Americans,” and his broad look and critique of American culture. In present times, few artists could or would dare to define such a big and difficult "concept." The art world, often dominated by internal, esoteric, and puny concerns, needs to see such work! Congratulations on a great and massive project. I hope it travels long and far.
Exhibition Dates: March 7 - April 18, 2015
Opening Reception: Saturday, March 7, 6 - 8pm
Art Intersection presents our fourth annual
Light Sensitive exhibition, with guest juror
Robert Hirsch – artist, curator, and author.
celebrates the art of creating handmade images
using traditional photographic print making
processes. Work this year comes from national
and international artists and includes c-prints,
platinum/palladium, cyanotype, gelatin silver,
gum bichromate, wet plate collodion tintypes,
and many other printing processes.
The Art Intersection curatorial staff will select
three artists from Light Sensitive to show
additional work during an exhibition running
from December 2015 to January 2016.
Transformational Imagemaking: Handmade Photography Since 1960
Transformational Imagemaking: Handmade Photography Since 1960 is a groundbreaking survey of significant work and ideas by imagemakers who have pushed beyond the boundaries of photography as a window on our material world. These artists represent a diverse group of curious experimentalists who have propelled the medium’s evolution by visualizing their subject matter as it originates from their mind’s eye. Many favor the historical techniques commonly known as alternative photographic processes, but all these makers demonstrate that the real alternative is found in their mental approach and not in their use of physical methods.
Artist Lecture | Opening Reception (free and open to the public) Wednesday, November 13, 2013 at 6:30 p.m.
Many people think of photography as a window on the world, a process that delivers recognizable pictures of concrete subjects. Since the 1960s, Carl Chiarenza (b. 1935) has been part of a movement to expand the medium’s conceptual boundaries. Transmutation: Photographic Works by Carl Chiarenza chronicles how the artist’s work has evolved from tightly framed, documentary-style images into a vocabulary of visual abstraction. He achieved this by taking leave of the natural landscape and constructing collages from scrap materials for the purpose of being photographed under a copy stand with a 4x5 inch view camera. The resulting work, often relating to the landscape, dismantles formal media boundaries and permits photography to merge with graphic design, painting and sculpture.
The exhibition included numerous photomontages, a Timeline, Button Women, rotating Mobile, monolithic Peace Sign, and Brion Gysin’s flickering, hypnotic Dream Machine. The installations help baby boomers and fans of the era reconstruct the past through histories, stories, and confessions.
As part of The Everson Museum of Art’s The Other New York: 2012 (TONY: 2012) the Onondaga Historical Association is pleased to announce the exhibition of Robert Hirsch’s Manifest Destiny & The American West. The installation consists of about 1000 individual jars, each containing an image with two of the same pictures printed on a black field (similar to a stereocard). The jarred images have been placed in three of the front gallery windows of Onondaga Historical Association, providing a “transparent” viewing experience. This is adjacent to other image jars that displayed on pedestals inside their gallery, which are juxtaposed against a series of 40 x 60-inch prints on the interior gallery walls. This amalgamation of historical and original images offer a complex and variable narrative that explores the relationships between the people, land, and animals of North America’s frontier as it unfolded across a blood-streaked stage.
Robert Hirsch presented selections from World in a Jar: War & Trauma and a work in progress, Ghosts: French Holocaust Children, at the 42nd Annual Scholars’ Conference on the Holocaust and the Churches (ASC). The ASC is oldest interdisciplinary, interfaith, and international gathering on this topic in the United States – meeting in Rochester, N.Y. at Monroe Community College, May 12-14, 2012.
The second edition of Light and Lens: Photography in the Digital Age, expands and updates its groundbreaking predecessor, clearly, and concisely providing introductory instruction and the building blocks necessary to create thought-provoking, digitally-based photographs. It is an adventurous idea book that features numerous classroom-tested exercises from leading photographic educators, and encourages critical exploration and the creation of images from the photographer’s eye – an aesthetic point of view.
Images and Words: An Online History of Photography
This feature of Luminous-Lint is a collaborative project between Alan Griffiths and Robert Hirsch. It's
purpose is to provide an authoritative, online history of photography that will evolve and expand over
time with moderated input from the global photographic community.
The World in a Jar: War & Trauma, Edinboro University’s Bruce Gallery September 1 – 22, 2010.
The Sky is Falling, shown in conjunction with Karen Engle's reading from her book, Seeing Ghosts: 9/11 and the Visual Imagination. Burchfield-Penney Art Center, Thursday, April 8, 2010.
The World in a Jar: War & Trauma – Pictures and the Nature of Evil by Robert Hirsch
The PIEA Journal for Photography Education (Photographic Imaging Education Association)
Robert Hirsch’s Unseen Terror: The Bomb, Other Bogeymen, and a Culture of Fear can be seen at the NOORDERLICHT INTERNATIONAL PHOTOFESTIVAL’S HUMAN CONDITIONS, September 6 – October 4, 2009, Groningen, The Netherlands.
Hirsch’s project featured in “War Machines” an exhibition curated by Wim Melis that also included work by Gabriel Jones (US), Shunkichi Kikuchi (Magnum), Simon Norfolk (GB), Simon Roberts (US), Paul Shambroom (US), P.W. Voigt (DE),
and Yosuke Yamahata (Magnum).
In an ambitious and probing photo festival Noorderlicht curator Wim Melis and five guest curators offer their views on themes that define the human condition. Stuart Franklin, Lauren Heinz, Simon Njami, Marc Prüst and Bas Vroege take us with them to conflict areas, and provide their commentary on developments in the vanguard of engaged, narrative documentary photography. On the basis of weaponry Melis underscores the absurdity of war. Six diverse exhibitions, but one powerful thread: the love and the horrors of which man is capable; the struggles that remain hidden from the eyes of the world. Thus Noorderlicht deliberately turns the spotlight on the footnotes of world history, on ordinary people and their circumstances, their will to live and their capacity to destroy.”
The exhibition will features contemporary work from the Burchfield Penney's collection, including: sculpture, representational and non-representational painting, photography, drawings, prints, video and mixed media installations. Featured works by Cindy Sherman, Robert Longo, John Pfahl, Russell Drisch, and Robert Hirsch.
The Buffalo State College Dance Ensemble(right) was among several performers Saturday during the 31-hour opening celebration of the Burchfield Penney Art Center in front of Robert Hirsch's World in a Jar installation. The new state-of-the-art facility is located on the Buffalo State College campus.
Following an aesthetic strategy of search and discovery, World in a Jar: War & Trauma utilizes the camera as a cultural tool to curate and re-imagine key components from historical and original images to explore the workings of our collective societal memory involving loss, popular culture, religion, tragedy, and the nature of evil over the past four centuries.
Using the Shoah as it point of departure, World in a Jar is a free-form sculptural montage that rethinks the customary linear narrative by offering a supermarket of moveable images. The original installation consisted of 850 individual image jars, each one serving as an interchangeable viewing block, allowing it to be a perpetual work in progress that recreates itself each time it is installed. This permits each photograph to not only present its own split-second historical reference, but also informs the context and interpretation of the surrounding images. There are no captions to anchor the images to particular events, which allows the images to transcend their specific time-based circumstances. Rather, images freely float in an ambiguous and enigmatic space, encouraging viewers to interact and expand meanings based on their own experiences. This engagement is a reminder how photographs continue to seduce us into believing that they are objective records, when in fact all images are not what they initially appear to be and require thoughtful interpretation. This open-ended production, emulating how the puzzles and paradoxes of our own memories are constructed, can convey an endless tale about the human condition that exists outside of chronological time.