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"Lo que sostengo es que si una foto en particular requiere la posibilidad de compararla con obras y formas de arte existentes, no puede evadir el hecho de que reclama o afirma la etiqueta ARTE para sí misma, pase lo que pase"

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Tyrrhenian Sea Scilla, 1993

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White Man Contemplating Pyramids, Egypt 1989

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Equivalents

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Piscinao de ramos, Brazil . 2012

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Zero Gravity

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Daguerreotype of the Moon from March 1840, attributed to Dr. John William Draper

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Credits

Executive Producer: Tina Kukielski. Series Producer: Nick Ravich. Directors: Rafael Salazar Moreno and Ava Wiland. Producer: Ava Wiland. Editors: Rafael Salazar Moreno and Russell Yaffe. Director of Photography: Rafael Salazar Moreno.

Production Services: RAVA Films. Assistant Curator: Danielle Brock. Production Coordinator: Julia Main. Post-Production Coordinator: Alexandra Lenore Ashworth. Design & Animation: Momentist, Inc. Composer: Joel Pickard. Additional Music: Amalia Mondragón. Advising Producer: Ian Forster. Additional Art21 Staff: Lauren Barnett, Lolita Fierro, Joe Fusaro, Meghan Garven, Jonathan Munar, and Emma Nordin.

Additional Photography: Elan Alexenberg, Robert Biggs / Phoenix Drone Pros, Gina Clyne, Adrian Gutierrez, Nick Kraus, Christoph Lerch, and Alejandro Almanza Pereda. Tijuana Field Producer: Yadira Avila. Location Sound: Ariel Baca, Jacob Bloomfield-Misrach, Nikola Chapelle, Michael Cottrell, Rayell Abad Guangorena, Veronica Lopez, Baili Martin, Nathalie Piché, Chris Tolan, and Ava Wiland. Production Assistants: Ben Derico, Jake Grossman, Jacquelin de Hoyos, Keira Kennedy, Zac Settles, and Jorge Villarreal.

Digital Intermediate: Cut + Measure. Post-Production Producer: Alex Laviola. Colorist: David Gauff and Jerome Thélia. Post-Production Sound Services: Konsonant Post. Re-Recording Mixer & Sound Editor: Gisela Fullà-Silvestre. Online & Conform: David Gauff. Additional Animation: Andy Cahill. Assistant Editor: Jasmine Cannon, Jonah Greenstein, and Mengchen Zhang. Translation: Ava Wiland and Russell Yaffe. Video Quality Control: Jonathan Hansen.

Artwork Courtesy: Tanya Aguiñiga, Guillermo Galindo, Rafael Lozano-Hemmer, Richard Misrach, Postcommodity / Cristóbal Martínez & Kade L. Twist, Bockley Gallery, Fraenkel Gallery, Pace Gallery, and Volume Gallery. Past Postcommodity Collaborators: Raven Chacon (2009-2018), Steven Yazzie (2007-2010), and Nathan Young (2007-2015).

Archival Materials: AMBOS Project; Antimodular Research; AP Archive; Aperture
Artbound / KCET; Isaac Arnstein / Cinewest Archives; Jenna Bascom, Courtesy of Museum of Arts and Design, New York; Border Art Workshop / Taller de Arte Fronterizo; Cecilia Brawley; Critical Past; Cory Doctorow; Sam Wainwright Douglas / Big Beard Films; Benjamin Duffield / Fierce Bad Rabbit Pictures; Filmoteca UNAM; Jason Grubb; John McNeil studios; NASA; Pond5; and Jack Snell.

Public Relations: Cultural Counsel. Station Relations: De Shields Associates, Inc. Legal Counsel: Barbara T. Hoffman, Esq. Interns: Shane Daly, Grace Doyle, Eda Li, Daniela Mayer, Jason Mendoza, Nikhil Oza, Anika Rahman, Ana Sanz, Sara Schwartz, Victoria Xu, and Sadie Yanckello.

Postcommodity Artwork: "A Very Long Line," 2016. Whitney Museum of American Art, New York; purchase with funds from the Director's Discretionary Fund, Russell Cowles and Stuart & Kate Nielsen.

Special Thanks: The Art21 Board of Trustees; The Aguiñiga Family; Lorena Alvarado; Saúl (Cassandro) Armendáriz; Armory Center For the Arts; Art Institute of Chicago; Andrew James Benson; Merche Blasco; Todd Bockley; Charlie Byrne; Leslie Moody Castro; Peter Catalanotte / Film Tucson Office; Karine Charbonneau; Matthew Coolidge; Ian Daniel; Kerry Doyle; Pamela Echeverría; Lauren Dapena Fraiz; Guillermo Galindo; Melissa Saenz Gordon; Dana Funaro Hallonquist; Hammer Museum; Edgar Hernandez; ICA Boston; Laura Kiernan; Esther Knuth; LAXART; Joanne Lefrak; Miguel Legault; Long Beach Museum of Art; MediaU; Julio César Morales; Nadine Mundo; Museo de Arte Contemporáneo de Monterrey; Micah Musheno; Office of Public Affairs, U.S. Customs and Border Protection; Edgar Picazo; Eva Respini; Rubin Center for the Visual Arts / The University of Texas at El Paso; San Francisco Art Institute; Chris Scorza; Sovanchan Sorn; Starlite & Rod Kustom Garage; Michael Sugarman; The Annenberg Space for Photography; Christine Turner; Lekha Hileman Waitoller; Hamza Walker; Claire Warner; and Jay Wehnert.

Major underwriting for Season 10 of Art in the Twenty-First Century is provided by PBS, National Endowment for the Arts, Lambent Foundation, The Anna-Maria and Stephen Kellen Foundation, The Andy Warhol Foundation for the Visual Arts, Toby Devan Lewis, The Horace W. Goldsmith Foundation, Henri Lambert, Nion McEvoy & Leslie Berriman, and Sakana Foundation.

Series Creators: Susan Dowling and Susan Sollins.

©2020 Art21, Inc.

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Credits Executive Producer: Tina Kukielski. Series Producer: Nick Ravich. Directors: Rafael Salazar Moreno and Ava Wiland. Producer: Ava Wiland. Editors: Rafael Salazar Moreno and Russell Yaffe. Director of Photography: Rafael Salazar Moreno. Production Services: RAVA Films. Assistant Curator: Danielle Brock. Production Coordinator: Julia Main. Post-Production Coordinator: Alexandra Lenore Ashworth.

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Welcome to the newly updated official website of Massimo Vitali photographer. Browse through the photo archive, read the blog, get inspired!

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Agenda

Fondation GoodPlanet - Domaine Longchamp, premier lieu dédié à l'écologie et l'humanisme au cœur du Bois de Boulogne (Paris).
www.goodplanet.org

HUMAN

HUMAN es un díptico de relatos e imágenes de nuestro mundo que nos permite llegar a lo más profundo del ser humano.

www.human-themovie.org

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Agenda Fondation GoodPlanet - Domaine Longchamp, premier lieu dédié à l'écologie et l'humanisme au cœur du Bois de Boulogne (Paris). www.goodplanet.org HUMAN HUMAN es un díptico de relatos e imágenes de nuestro mundo que nos permite llegar a lo más profundo del ser humano. www.human-themovie.org

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'The most advanced evolution of life is a human brain... that's why I want to go back to the point where humans gained consciousness.' Hiroshi Sugimoto is discussing his practice from his 7th-floor Tokyo apartment - a minimalist retreat high above the city, its rooms cut with streams of light.

'I practice photography, architecture, performing arts - many things,' Sugimoto explains. Today, however, it is his photographic works, which have become among his most renowned, that we are here to discuss. Working with a large-format camera, he often uses long exposures to capture scenes over an extended period of time.

The approach is one that has resulted in some of Sugimoto's most famous works, such as the Theatres series, begun in 1978. To make these images of American movie theatres - using only the light from the screen - the artist matches the exposure to the film's running time to distil a feature-length production into a single frame.

Sugimoto's interest in photography began when he was a child - now aged 69, he still keeps the first album of photographs he made when he was just 9 years old, in 1957. With the trains in a Tokyo station as their subject, these early shots demonstrate a remarkable awareness of composition - indeed, only the height of the camera indicates that they were taken by a young boy.

One of his latest projects, the design for the Odawara Art Foundation, is set to open in Kanagawa in 2017. 'Architecture is the most beautiful illusion that you can ever make,' he observes. 'The human presence may not be for ever, of course - look at Greek or Roman times, or an Egyptian Pyramid. In five or six thousand years, if people still remain, they'll look at the ruins of modern civilisation.

'A sense of time is a very important factor of early human consciousness,' the artist continues. As Sugimoto becomes more distanced from that 9-year-old boy at the train station, his meditations on time take on a more personal tone. 'I'm going backwards; people are going forwards,' he muses. 'The gap between me and the world is getting bigger and bigger. But I don't care. I just do what I want to do.'

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Studio Visit: Hiroshi Sugimoto | Christie's

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'The most advanced evolution of life is a human brain... that's why I want to go back to the point where humans gained consciousness.' Hiroshi Sugimoto is discussing his practice from his 7th-floor Tokyo apartment - a minimalist retreat high above the city, its rooms cut with streams of light.

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In the summer of 1922, Alfred Stieglitz began to take photographs of clouds, tilting his hand camera towards the sky to produce dizzying and abstract images of their ethereal forms. In an article the following year, Stieglitz maintained that these works were a culmination of everything he had learned about photography in the previous forty years: "Through clouds [I wanted] to put down my philosophy of life-to show that my photographs were not due to subject matter-not to special trees, or faces, or interiors, to special privileges, clouds were there for everyone-no tax as yet on them-free."[1] Over the next eight years, he made some 350 cloud studies, largely produced as contact prints on gelatin silver postcard stock.

Stieglitz called these photographs Equivalents. More than describing the visible surfaces of things, the works could express pure emotion, paralleling the artist's own inner state. Stieglitz, along with many of the artists of his circle, argued that visual art could assume the same nonrepresentational, emotionally evocative qualities as music. Indeed, music was an inspiration for the Equivalents, and this is reflected in the early titles he gave them: Music: A Sequence of Ten Cloud Photographs (1922) and Songs of the Sky (1923). Stieglitz did not limit himself to clouds, or allusions to music, in these photographs: one notable work, Spiritual America, shows a close-up of the nether regions of a harnessed gelding (a castrated male horse), the image serving as a metaphor for the artist's impression of a diminished American culture in the same way that his depictions of clouds represented his emotions.

Stieglitz often presented the Equivalents in series or sets, recombining different groupings of prints for exhibition. Georgia O'Keeffe donated thirty of the works to the Art Institute of Chicago, including Set A, made up of eight photographs, and Set E, made up of three photographs printed from the same negative.

[1] Alfred Stieglitz, "How I Came to Photograph Clouds," Amateur Photographer and Photography 56 (1923), reprinted in Richard Whelan, ed., Stieglitz on Photography: His Selected Essays and Notes (Aperture, 2000), p. 237.

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In the summer of 1922, Alfred Stieglitz began to take photographs of clouds, tilting his hand camera towards the sky to produce dizzying and abstract images of their ethereal forms. In an article the following year, Stieglitz maintained that these works were a culmination of everything he had learned about

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Michael Kenna