There really is an app for that. If you have an iPhone or iPod touch then this free application is a must. Not only can you brush up on your photo history with the “virtual tour of the technological evolution of cameras” but you can also take photos with all the various camera models. Tons of fun for every photo geek.




I learn a lot from my students, just take today for example. When my student Donnie said to me “but have you seen the 1.5 gigapixel image of President Barack Obama’s Inaugural Address by David Bergman?” Turns out this giant image was created with the help of the program GigaPan. This “is the newest development of the Global Connection Project, which aims to help us meet our neighbors across the globe, and learn about our planet itself.” Composed of 220 images, this photograph has an image size of 59,783 X 24,658 pixels or 1,474 megapixels! This is much like Photosynth (check out the dazzling demo on TED) but on a more solitary level.



Those of in the arts are well aware of the effect our current economy is having on the art world.  One of the more recent downfalls includes the sale of works from museum collections. When the institutions we rely on to collect and protect our art history started to auction off their collections in order to stay afloat, many of us were shocked and outraged. But what is one to do?
In the great tradition of protest art, members of the Perpetual Art Machine (PAM) have started an artistic protest in response to the latest announcement in the Boston Globe that “Brandeis University will close its Rose Art Museum and sell off a 6,000-object collection that includes work by such contemporary masters as Roy Lichtenstein, Andy Warhol, and Nam June Paik.”  You can find out more about the sale by reading the Q&A with the Rose Art Museum’s Director Micheal Rush online at Arts Journal.
You too can participate in this protest if you are an artist. Just join PAM and take action. Here are their directions on how to participate…
not for sale
Protest the selling of art by Brandeis.
What makes a University if there is no culture?
Make a difference and help keep the collection together.

email your displeasure to the President Jehuda Reinharz:

Send your letters here:
Office of the President | Irving Enclave 113, MS 100 | 415 South Street, Waltham, MA 02453 | (781) 736-3001

Let’s stop the liquidation of artwork before it disappears!

Starting this week we also urge all members of PAM to start sending artwork addressed to the office of Jehudah Reinharz, President of Brandeis.

Please make sure to not include anything malicious or crass, it is important to be on the right side of this argument. Make sure to include NOT FOR SALE on the front or back of the piece.

I have started a flickr group with the same name as this one in order for us to document and share the art we are sending to the office.

The goal of the project is to demonstrate the power of art. Yes, art can be made into a commodity, but artist can also protest this. Let our voices be heard on the displeasure of Mr. Reinharz’s decision to eliminate art from Brandeis.

Also if you are on facebook join the Artists Against Brandeis Art Liquidation Group.

Update: The Associated Press claims copyright infringement on the Obama HOPE poster. “The Associated Press has determined that the photograph used in the poster is an AP photo and that its use required permission,” the AP’s director of media relations, Paul Colford, said in a statement.

Update: The photographer for the iconic Hope photograph is Mannie Garcia. She writes on her website that she “made this photograph…of then Democratic Senator from Illinois, Barak Obama when he was with Actor George Clooney at the Press Club in Washington, DC in April 2006. They talked about Human Rights and Darfur. The Danziger Gallery which represents the artistic works of Mr. Fairey contacted me on the 21st of January 2009 to inform me that my photograph was in fact the basis for the artwork that has become better known now as the “HOPE”  and “PROGRESS” posters.”

As I continue to fall further down the blogging rabbit hole, I often come across odd debates. Most recently I stumbled upon The Online Photographer, a blog that reveals the source image for the now famous Obama Hope poster by the great street artist Shepard Fairey. The photographer is still unknown and I cannot help but wonder if they realize that their photograph has been appropriated into such an iconic image.

Mannie Garcia, Obama, April 2006

Shepard Fairey, Obama Hope poster

This conversation reminds me of Alberto Korda‘s photograph of Che Guevara which is considered to be the most reproduced image in the history of photography. I was fortunate to see the exhibition Revolution and Commerce: The Legacy of Korda’s Portrait of Che Guevara at the California Museum of Photography back in 2005. I recommend looking through the images on the exhibition’s website.

As far as the debate about image rights is concerned I found the biography by Brandi Leigh on the Art History Archive to be enlightening. But I personally think that Fairey should not be sued for his appropriation of the image.

Portrait of Alberto Korda

Alberto Korda, Guerrillero Heroico - Che Guevara at the funeral for the victims of the La Coubre explosion, March 5, 1960


Even with a temperature low of -17°F last night’s gallery scene was as crowded as any other. I was able to hop around and maneuver myself through a few spaces. The highlights included Adam Grossi‘s paintings (shown below) in The Unconventional Collage Show at the new 360see gallery. It is nice to see that UIC is still producing great artists. Suspend, the group exhibition paintings at Roots and Culture with Michelle Bolinger, Clare Grill, Stacie Johnson, Aliza Morell, and Kimberly Trowbridge is not to be missed. I also enjoyed the intimate video screening at Normal Projects where I was able to revisit the works of Greg Stimac and Jesse Avina. The evening then ended (as it so often does) down at the Co-Prosperity Sphere where fun times are always had.

Adam Grossi, Neighborhood Watch, 5/2008, acrylic and collage on canvas over panel

Adam Grossi, Rich Ground 1, 12/2008, acrylic and collage on wood panel

View the latest issues as well as search through the archive online of Art Review for free!

If you saw the exhibition or have read the catalogue The Perfect Medium: Photography and the Occult and you just cannot get enough of those great photographic mediums then just take a look at this Flickr set of spirit photographs of William Hope from the National Media Museum’s photostream which I learned about via

William Hope, Mrs Bentley and the spirit of her deceased sister. Taken some time in 1920

William Hope, Man surrounded by signs of spirit presence. Taken some time in 1920.

“These photographs of ‘spirits’ are taken from an album of photographs unearthed in a Lancashire second-hand and antiquarian bookshop by one of the Museum’s curators. They were taken by a controversial medium called William Hope (1863-1933).

Born in 1863 in Crewe, Hope started his working life as a carpenter. In about 1905 he became interested in spirit photography after capturing the supposed image of a ghost while photographing a friend.

He went on to found the Crewe Circle – a group of six spirit photographers led by Hope. When Archbishop Thomas Colley joined the group they began to publicise their work.

Following World War I support for the Crewe Circle grew as the grieving relatives of those lost to the war sought a means of contacting their loved ones.

By 1922 Hope had moved to London where he became a professional medium. The work of the Crew Circle was investigated on various occasions.

The most famous of these took place in 1922, when the Society for Psychical Research sent Harry Price to investigate the group.

Price collected evidence that Hope was substituting glass plates bearing ghostly images in order to produce his spirit photographs.

Later the same year Price published his findings, exposing Hope as a fraudster. However, many of Hope’s most ardent supporters spoke out on his behalf, the most famous being Sir Arthur Conan Doyle, and Hope continued to practice, despite his exposure. He died in London on 7 March 1933.”