Royal Geographical Society (with IBG)’s Post

my iconography,the Saint Michael, silver and gold mixed technic on wood

I love FLW Foundation and Taliesin Preservation, but Taliesin isn’t only about Frank Lloyd Wright. Focusing only on Wright diminishes the evolution of the philosphies Wright followed and passed onto his apprentices, who inspired countless others. Taliesin was never just about FLW, it was about the community around it. I wish the posts shared more, what philosophies in particular? Organic Architecure? It’s awesome that amazing culinary events, yoga, wellness walks, early education, photography, and events are happening, as it was meant to be a place that evolved. Also, what inspired those philosophies, his time overseas? Growing up in the driftless? His unitarian uncle? How have those philosphies evolved? Both Taliesin’s are amazing places and I’m so incredibly to have spent time at both, but I wish the focus was less on FLW and more on how those philosophies are shaping today. My fear is that the amazing apprentices and people who have surrounded Wright are going to be forgotten. Why not share more about Wes Peters? Or Anthony Putnam? Or what the former Taliesin professors Ari and Michael are up to?

The historical nature of photographs. Whether we want them to be or not, they ultimately are. It's intrinsic. Examining the value of photographs from the earlier years of interning. #VisualStorytelling #GovernorsIsland #DocumentaryPhotography #ArchivingHistory #HistoricalArchive #ValueOfPhotographs Trust for Governors Island #ButtermilkChannel https://lnkd.in/evBBa8EQ

Complete Photo Archive of Yongin, South Korea

URBAN SPACES and PUBLIC LIFE A photographic exploration of urban and public life in Africa by the Market Photo Workshop in partnership with the Centre on African Public Spaces and the University of Johannesburg. Curated by: Andrew Tshabangu, Seth Kriger in, relating to, or characteristic of…brings together a set of photographers and cultural practitioners from across the continent who are highlighting the expansive landscape of urban and public life in Africa. These photographs lean towards new forms of social life and possibilities questioning our perceptions of ‘the urban’ and rather, eluding towards a new situated imaginary for us here on the continent. Although not all is perfect as themes of neglect, colonial hangovers, and social injustice plague some of these images, all is not lost. Instead, these photographs highlight an innate spirit held within our urban landscape. Bringing in photographic voices from across Africa, this exhibition re-introduces what we can indeed refer to as ‘urban’, and what is in, relating to, or characteristic of our understandings in being African. The photographers practice in South Africa, Uganda, Sudan, Egypt, Mozambique, Mali, Ghana and Nigeria. https://lnkd.in/euk2qzJq

Complete Photo Archive of Paju, South Korea

🌍 Travel with Ralph Velasco: From enthusiastic to global explorer. Meet Ralph Velasco, renowned photographer and travel organizer, on his journey from a young enthusiast to leading more than 120 international trips across 30 countries on six continents. In this episode, Ralph shares his transition to digital photography and how he takes advantage of digital media to expand his horizons of exploration. Discover Ralph's approach to travel, capturing not just images, but the soul of each destination. Whether you're a photography fan, a travel enthusiast, or someone inspired by transformative travel, this story is for you. 🔗 Listen to the episode: https://lnkd.in/eKm6E4wd #travelphotography #digitalmedia #explorer #inspiringstories

📯CALL FOR PAPERS! 📯 ARCHIVAL PRACTICES IN CONTEMPORARY VISUAL ARTS: A MODEL AND A SOURCE Organising committee: Ana Catarina Pinho Annalisa Laganà https://lnkd.in/dvERzfFS INFO & APPLICATIONS: https://lnkd.in/dBD6azK8 Archivo Platform and the Archivo Papers Journal, are pleased to announce the 5th ed. of the Reframing the Archive – International Conference on Photography and Visual Culture. The conference aims to gather contributions on archival art and archival research for contemporary art, considering them as two complementary aspects of a broad and complex field of investigation. On one hand, the archive serves as a structural model for artists from diverse backgrounds and engaged in various fields. On the other hand, authors' archives provide essential resources for historiographical studies on contemporary art, offering valuable information and direct testimonies. This dual focus necessitates engagement not only with the present but also with a relatively short historical span. Since at least the 1960s, artists have been grappling with the concept of the archive, influenced by post-structuralist studies and early achievements in conceptual art. By employing tools of collection, classification, and indexing borrowed from archival theory and practice, artists of that (sociologically changing) era explored artistic languages capable of transcending the objecthood prevalent in post-World War II art. This exploration led to the development of an expressive form that remains relevant today. Indeed, much of contemporary art continues to yield compelling results when its semantic and formal contents are mediated by the archival model, particularly in genres such as photography, installation and performance. Despite the vast productivity of this global trend, critics are currently challenged with defining and contextualising archival art, often grappling with the complexities of its heterogeneity. While the archive serves as an artistic model, its contemporary incarnation as an institution offers a formidable resource for reconstructing recent art history. In recent years, scholars have increasingly turned their attention to the author’s archive as a vital component in studies on the preservation of historical documents and art objects. Research efforts are expanding to develop criteria for the conservation and administration of contemporary art archives, describe case studies on the acquisition or museamisation of art document collections, and critically reinterpret artistic and artists' correspondence sourced from archives of artists, critics and scholars. Through such resources, the reconstruction of contemporary art gains detailed descriptive capacity, thanks to the archival documents containing first-hand information about artists' studios, relationships, contracts and exchanges with patrons, family memories, and personal research contained in notebooks, sketches, photographic negatives and other repertoires.

Complete Photo Archive of Nami Island, South Korea

📯CALL FOR PAPERS! 📯 ARCHIVAL PRACTICES IN CONTEMPORARY VISUAL ARTS: A MODEL AND A SOURCE Organising committee: Ana Catarina Pinho Annalisa Laganà https://lnkd.in/dvERzfFS INFO & APPLICATIONS: https://lnkd.in/dBD6azK8 Archivo Platform and the Archivo Papers Journal, are pleased to announce the 5th ed. of the Reframing the Archive – International Conference on Photography and Visual Culture. The conference aims to gather contributions on archival art and archival research for contemporary art, considering them as two complementary aspects of a broad and complex field of investigation. On one hand, the archive serves as a structural model for artists from diverse backgrounds and engaged in various fields. On the other hand, authors' archives provide essential resources for historiographical studies on contemporary art, offering valuable information and direct testimonies. This dual focus necessitates engagement not only with the present but also with a relatively short historical span. Since at least the 1960s, artists have been grappling with the concept of the archive, influenced by post-structuralist studies and early achievements in conceptual art. By employing tools of collection, classification, and indexing borrowed from archival theory and practice, artists of that (sociologically changing) era explored artistic languages capable of transcending the objecthood prevalent in post-World War II art. This exploration led to the development of an expressive form that remains relevant today. Indeed, much of contemporary art continues to yield compelling results when its semantic and formal contents are mediated by the archival model, particularly in genres such as photography, installation and performance. Despite the vast productivity of this global trend, critics are currently challenged with defining and contextualising archival art, often grappling with the complexities of its heterogeneity. While the archive serves as an artistic model, its contemporary incarnation as an institution offers a formidable resource for reconstructing recent art history. In recent years, scholars have increasingly turned their attention to the author’s archive as a vital component in studies on the preservation of historical documents and art objects. Research efforts are expanding to develop criteria for the conservation and administration of contemporary art archives, describe case studies on the acquisition or museamisation of art document collections, and critically reinterpret artistic and artists' correspondence sourced from archives of artists, critics and scholars. Through such resources, the reconstruction of contemporary art gains detailed descriptive capacity, thanks to the archival documents containing first-hand information about artists' studios, relationships, contracts and exchanges with patrons, family memories, and personal research contained in notebooks, sketches, photographic negatives and other repertoires.