Unc basketball hi-res stock photography and images – Alamy
Luigi Ghirri’s photographic study of a very little Italy
The late artist and photographer Luigi Ghirri had a lifelong interest in the relationship between fiction and reality. This was a prevalent theme within his practice, and the subject of many of his works, including a series of photographs titled In Scala, which he began in 1977.
During this time, and well into the 80s, Ghirri made several visits to the famous Italia in Miniatura theme park, situated just outside of the city of Rimini. Here, he became fascinated by the park’s extensive collection of scale models representing Italy’s iconic natural and architectural landmarks. In particular, he was drawn to the way in which they enter into dialogue with reality.
The photographs from this series – including some never-before-seen images – have been released as a book, Italia in Miniatura, by London-based publisher Mack, along with materials lifted from the archive of the park’s founder and designer, Ivo Rambaldi.
Though it is not known whether the two ever met, in the book Ghirri’s photography and Rambaldi’s maps, sketches, collages, and reference images come together to form a cohesive visual study of miniaturisation.
Writing in the book’s foreword, Italian curator Ilaria Campioli – who headed this project along with fellow curators Joan Fontcuberta and Matteo Guidi – says: “When Ghirri started working on the In Scale series in 1977, roughly ten years had passed since his first experiments with the medium, during which time his extensive production of images and in-depth theoretical reflection had allowed him to conduct an attentive and thorough analysis of systems of representation, images, and their relationship with reality.
“Ghirri did not merely ponder the status of the image but immediately set himself a specific, well-defined goal that he determinedly pursued, to reveal the gap that exists between reality and a second-degree reality which consists entirely of images and relentlessly superimposes itself on the former.”
In photographing these scale models, Ghirri was building on the established tradition of visually depicting Italy through its most famous landmarks – a tradition that finds its roots in 15th-century geographic drawings – as well as on the widespread tradition of postcard illustration that remains a popular way of capturing the country even today.
As with the postcards, Ghirri’s photographs offer a touristic perspective of Italy, but unlike the postcards, they also attempt to reveal the fictitious nature of such a perspective, which despite the mimesis at play, offers a decidedly alternative reality.
For example, in one of the photographs of the iconic Mont Blanc mountain, the light of sunset serves to reveal the artifice of the scale model, while in others the models are photographed from behind, showing the supporting structures used in their construction. Elsewhere, visitors to the park are featured within the frame, their presence becoming signifiers of scale that break the illusion of reality.
In capturing them, Ghirri not only treats the visitors as tools through which to lift the curtain, but also speaks to their own experience of the park, showing various moments in which they become aware that they are “inside a great sham”.
Interestingly, Campioli notes in the introduction that “it is precisely in front of the model that we can experience truth, reality. The copy recalls the real experience and not that mediated by the ever-increasing number of images. Hence, models, like photography, have the ability to evoke reality, to bring to mind the experience, and thus to illuminate.
“The amusement park becomes a great metaphor for how photography and images work,” she says.
Italia in Miniatura is published by Mack; mackbooks.co.uk
Photos That Capture the Soul of 1960s Dublin
Nearly six decades ago, a German-born photographer, Evelyn Hofer, created beautifully crafted shots of the city and its people.
For six months between 1965 and 1966, the German-born photographer Evelyn Hofer worked in Dublin, creating beautifully crafted portraits of the city and its people. Hofer took her time composing each shot, whether it captured a pair of housekeepers in brief repose or James Joyce’s death mask. The results were published in book form in 1967, to accompany an extended essay by V.S. Pritchett. Now, in DUBLIN (Steidl, $58), those images stand on their own to tell a thoughtful story of the city both in black-and-white and in quiet color.
Hofer, who died in Mexico City in 2009, was raised in Switzerland and Spain before settling in New York in 1946, where she contributed photo essays to Harper’s Bazaar and Vogue. In 1959, she began crafting literary portraits of cities, collaborating with Pritchett as well as Mary McCarthy and Jan (then James) Morris. In a letter to Pritchett, Hofer reflected on Dublin as an island “crowded with people who seem to live a life full of fantasies, imagination, talk — yet lonely, suspicious of each other, on the defensive — and yet more able to remain within themselves.” Those depths and contrasts are reflected here.
How the Rybolovlev vs Sotheby’s case shows the need for greater transparency in the art market
It may be strange to pity the Russian billionaire Dmitry Rybolovlev, given his testimony in the civil trial between him and Sotheby’s last month. In his lawsuit against the centuries-old auction house, the oligarch lamented the art market’s unique idiosyncrasies: “It’s not only a matter of money. It’s important for the art market to be more transparent, because as I’ve already mentioned, when the largest company in this industry [Sotheby’s] is involved in actions of this sort, clients don’t stand a chance.”
Fighting back tears, Rybolovlev described his work relationship with the Swiss dealer Yves Bouvier: “When you trust people, when a person is like a member of your family, there’s a point in time at which you begin to completely and utterly trust a person.”
I cannot comment on the validity of Rybolovlev’s claims against Sotheby’s or whether the billionaire businessman should have known better, but no one would argue that issues of transparency and trust are unfamiliar to today’s art market.
When opinion is verdict
It has always been common to be taken at your word in the art market’s extravagant dealings. For example, the scholar Bernard Berenson’s opinion on the authenticity of a work was not just an opinion, but a verdict, with enormous consequences for the value of a painting. We know now that Berenson was as much an art historian as an art dealer, with alleged secret dealings with Joseph Duveen that often saw his 5% regular commission for acquisitions boosted another invisible 20% for the buyer. In her 2013 biography of Berenson, Rachel Cohen wrote: “This clear conflict of interest has thrown into doubt many of his authentications for Duveen and a number of these have been shown, through careful examination, to have become more optimistic, therefore considerably more valuable, once he was working for Duveen.”
Providing indisputably reliable information on artworks is a prerequisite for effectively transacting in the art market. But in the case of Berenson, as in the claims brought by Rybolovlev, even the potential of backroom collusion erodes the truly independent nature of scholarship on which buyers are meant to rely.
In my former life as an art dealer, my largest client was the German businessman Hasso Plattner, with whom I shared a deep fondness for French Impressionism. Initially together, and later with a specialist team, Plattner built one of the largest collections of French Impressionist works, now housed in his privately founded Museum Barberini in Potsdam. Unlike Rybolovlev’s description of his dealings with Bouvier, Plattner did not rely on his trust in me. I quickly learned that to be trusted unconditionally was a precarious position to hold. Instead, proving the independence of the scholarship and research I provided to Plattner was the greatest priority in our dealings. For years, I would leave no catalogue raisonné, institutional literature or historical document unturned in order to compile iron-clad justifications for the price of each work.
For individuals without such means, navigating the opaque informational asymmetries between experts, sellers and buyers can be an immense undertaking. It is my strong belief and the mission of my company Artory that, when used correctly, blockchain technology helps to address issues of transparency, accountability and independent scholarship in the art market. The technology—introduced to me through Plattner’s broad tech network—can be used to aggregate and protect the expert-validated artwork information, documentation and transaction data into a fully auditable, certified asset token.
Blockchain tokenisation is an invaluable tool for navigating—and ultimately expanding—the art market. By carrying out the complicated task of securing transaction data and exceptional domain expertise in a single source of truth, these tokens provide individuals and institutions with the credible resources needed to effectively participate in the art market without the need to wholly trust any one individual.
• Nanne Dekking is the founder and chief executive of Artory, and a former chair of The European Fine Art Fair (Tefaf)
Darko milicic hi-res stock photography and images – Alamy
Wall Art Market to Record Growth at a CAGR of 5.10% During 2032
The Wall Art Market flourishes, offering diverse artistic expressions. Increasing demand for personalized decor and unique aesthetics drives market growth.
Report Overview
Polaris Market Research has recently published its latest report titled Wall Art Market 2024: By Types, Applications, Size, Share, Key Players & Regions Forecast Analysis till 2032. The research study gives an in-depth analysis of the market, assessing all the major aspects businesses need to know.
It tracks all the major trends in the industry and their impact on the overall market. Also, it assesses the market dynamics and covers the key demand and price indicators in the industry.
Besides, it covers research data of several market key players, gross margin, and benefits through pictorial representations like tables, charts, and graphs.
The research study includes a thorough examination of the revenue generated by various segments across different regions worldwide. To help stakeholders gain an in-depth understanding of the Wall Art Market, the study taps hard-to-find information on aspects such as supply chain optimization, distribution channels, and technology advancements.
Furthermore, the report includes Porter’s Five Forces to analyze the prominence of several features in the industry.
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Industry Analysis
“According to the research report, the global wall art market was valued at USD 56.76 billion in 2023 and is expected to reach USD 88.66 billion by 2032, to grow at a CAGR of 5.10% during the forecast period.”
Competitive Landscape
This section of the report sheds light on the competitive landscape in the industry. It provides an in-depth examination of the Wall Art Market key players, covering their market share, production capacity, and plant turnarounds.
The study also details all the major strategic developments, such as mergers, acquisitions, and collaborations, in the industry.
Major Key Players:
- VGL Group
- Art.com
- Uprise Art
- Saatchi Art
- Society6
- Minted
- Artsy
- 1stdibs.com
- Artnet Worldwide
- Artspace.
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The Wall Art Market is a vibrant sector within the broader home decor industry, characterized by a diverse range of artistic expressions that transform walls into personalized and aesthetically pleasing spaces. As consumers increasingly seek unique and visually appealing decor solutions, the market for wall art has witnessed substantial growth.
Let’s explore three key growth drivers and applications shaping the Wall Art Market.
Three Key Growth Drivers:
- Rising Demand for Personalized Decor: The growing preference for personalized and customizable home decor fuels the demand for wall art. Consumers seek unique pieces that reflect their individual tastes and create distinctive living spaces.
- E-commerce and Online Retail: The proliferation of e-commerce platforms has significantly contributed to the growth of the Wall Art Market. Online channels provide consumers with a wide variety of choices, enabling convenient and diverse shopping experiences.
- Artistic Innovation and Trends: Ongoing artistic innovation and emerging decor trends drive market growth. From contemporary and minimalist designs to eclectic and bohemian styles, evolving artistic expressions cater to diverse consumer preferences.
Three Applications of Wall Art:
- Residential Interior Decor: Wall art is a staple in residential interior decor, serving as a focal point in living rooms, bedrooms, and other spaces. It adds personality, color, and style to walls, contributing to the overall ambiance of a home.
- Commercial and Office Spaces: Businesses utilize wall art to enhance the aesthetic appeal of commercial and office spaces. Corporate offices, hotels, restaurants, and retail stores integrate artistic elements to create visually engaging environments for customers and employees.
- Event Decor and Staging: Wall art finds applications in event decor and staging for occasions such as weddings, parties, and exhibitions. Large-scale installations and murals create immersive and memorable experiences for attendees.
Segmental Analysis
The research report for the Wall Art Market has been primarily segmented by type, application, end-use, and region. It offers an in-depth analysis of each of these segments and lists the top segments that are projected to witness the fastest growth.
Besides, a thorough overview of various sub-segments is included in the report.
Regional Overview
This section of the report offers an in-depth analysis of the regional markets in the industry. It evaluates the regional markets by analyzing the pricing of products compared to the revenue generated.
Besides, other important aspects such as production capacity, supply and demand, logistics, and past performance of the Wall Art Market in the given region are also covered.
The major regions and sub-regions covered in the study are:
- North America (U.S., Canada)
- Europe (France, Germany, UK, Italy, Netherlands, Spain, Russia)
- Asia Pacific (Japan, China, India, Malaysia, Indonesia. South Korea)
- Latin America (Brazil, Mexico, Argentina)
- Middle East & Africa (Saudi Arabia, UAE, Israel, South Africa)
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Research Methodology
The research report has been prepared by using industry-standard methodologies to provide an accurate and reliable analysis of the market. It involves the collection of data by expert analysts only to have it filtered to offer significant predictions about the market.
Also, it includes interviews with industry experts to keep the research relevant and practical. Along with primary and secondary data approaches, the study considers publicly available sources to provide an insightful market understanding.
Key Highlights of the Report
- Includes strategically important information to help businesses formulate effective R&D strategies.
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The Report Answers the Following Questions
- What is the current size and projected value for the Wall Art Market?
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- Which segments are projected to account for the highest Wall Art Market share?
- What are the major opportunities industry players can capitalize on?
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Category: Market Research Publishers and Retailers Profile: Polaris Market Research is a worldwide market research and consulting organization. We give unmatched nature of offering to our customers present all around the globe across industry verticals. Polaris Market Research has expertise in giving deep-dive market insight along with market intelligence to our customers spread crosswise over various undertakings. We at Polaris are obliged to serve our different client base present over the enterprises of medicinal services, healthcare, innovation, next …
Category: Market Research Publishers and Retailers Profile: Polaris Market Research is a worldwide market research and consulting organization. We give unmatched nature of offering to our customers present all around the globe across industry verticals. Polaris Market Research has expertise in giving deep-dive market insight along with market intelligence to our customers spread crosswise over various undertakings. We at Polaris are obliged to serve our different client base present over the enterprises of medicinal services, healthcare, innovation, next …
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The Rangers were colorful on Players Weekend – Mangin Photography – rethnea.gr
The week in wildlife – in pictures: penguins, fireflies and a swan causing havoc
Environmental impact finalist: Out of the Trap, by Rob G Green, in the Nature Photography Contest 2023. A grizzly bear pauses before stepping out of a culvert trap in western Montana, US. Wildlife specialists captured, screened and relocated the bear after it had been found rummaging through rubbish in a nearby town.
93 Times People Tried To Capture Majestic Wildlife And Failed Hilariously (New Pics)
While vacationing in the Colorado Rockies, late at night driving down the road to our cabin:
Husband: ”OH MY… A Mountain Lion!!! Get the camera, GET THE CAMERA!!!”
Me: fumbling to get the camera and quickly snapping a pic before the mountain Lion is gone.
Husband: ”Did you get it, did you get it?”
Me: “Well, um… kind of”
I swear this is a mountain lion. The only one I’ve ever seen in my life, and the only picture I have to prove it.
Local woman focuses on mother/baby photography
Aguanga photographer Miranda Monteleone has turned her love for photography into a successful business capturing the special moments of birth, infants, mother and fatherhood. Her obsession with the camera began at an early age.
“I asked for my first camera for Christmas in 2009,” she said. “I was a freshman in high school and absolutely in love with photography from that moment on. I would even force my younger siblings to pose for me every chance I got.”
After many second-hand camera and lens upgrades over the years, and with a huge push from her husband, Monteleone finally pulled the trigger and invested in her current professional equipment.
“I shoot with a Canon EOS R6 Mark II, and my favorite lens is probably my 24-70mm f2.8,” she said. “My 35mm f1.4 lens is a close second for birth, newborn and family photos. When I’m shooting action, I love my 200-400mm f4.”
Monteleone and her husband-to-be Nic bought their first home in Aguanga in 2017.
“A few months later we tied the knot and started trying for our first baby,” she said. “We ended up struggling with infertility for a few years. After many rounds of IUI and two rounds of IVF, we finally added a sweet baby boy to our family in 2020 and another perfect little guy 18 months later in 2022. Struggling with infertility fueled my passion for anything related to pregnancy and birth.”
She directs her photographic talents towards capturing the birthing experience in pictures. Monteleone is currently working on her birth and bereavement doula certification to provide additional support for her birth photography clients through her studio, Monteleone Imagery.
“I offer sessions of all kinds but specialize in birth, maternity, lifestyle newborn and child portraits. I have a private studio in Murrieta but I’m also a lover of golden hour and natural light,” she added.
As a California lifestyle photographer specializing in birth, maternity and newborns, Monteleone fuels her passion while providing intimate images to be treasured for a lifetime.
To learn more about Monteleone Imagery, visit her on Facebook at https://www.facebook.com/MonteleoneImagery?mibextid=ZbWKwL, on Instagram at Monteleone_imagery or her website https://unscriptedphotographers.com/monteleoneimagery.
Diane Sieker can be reached by email at dsieker@reedermedia.com.
