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Prix Pictet - Wikipedia

The Prix Pictet (Pictet prize) is an international award in photography. It was founded in 2008 by the Geneva-based Pictet Group with the mandate to use the power of photography to communicate messages about sustainability to a global audience.[1] Its goal is to uncover photography of the highest order, applied to current social and environmental challenges. With the participation of over 4,700 photographers, the prize is judged by an independent jury and carries a prize of 100,000 Swiss francs.

Global Program on Sustainability

The Global Program on Sustainability (GPS) helps countries value nature as a driver of jobs, resilience, investment, and long-term prosperity.

New Topographics: photographs that find beauty in the banal

William Jenkins's 1975 exhibition rewrote the rules of landscape photography. Does it have the same impact today?

Open Sustainable Technology

Open technology projects sustaining stable climate, energy supply, biodiversity and vital natural resources

ELI5 : What exactly is Aesthetic Visual Analysis?

I am a designer and I recently read about Netflix using an image discovery tool called AVA to generate frames from the content on their platform…

Gazing Back at the Surveillance Cameras That Watch Us (Published 2018)

These photographers explored the implications of a culture of pervasive monitoring.

À propos d'ÉCOLAB - ÉCOLAB

ÉCOLAB explore et promeut les pratiques écoresponsables en arts visuels. Un espace de partage et de découverte soutenu par le Fonds de recherche du Québec.

A Camera, Not an Engine II

Further thoughts on photography in latent space, now with agents!

Sustainable Vienna

Conscious shopping, organic agriculture, and smart infrastructure show that quality of life and sustainability go hand in hand in Vienna.

Greg Girard May Be Too Cool | The Tyee

The Vancouver photographer got famous documenting life in China and Hong Kong. A new survey of his career showcases his work with fresh eyes.

AmbientLight - Canadian Photography Laws

AmbientLight

The Great Season — 13FOREST Gallery

On Friday, January 24, 13FOREST Gallery will open The Great Season, an exhibition of new and recent acrylic work by painter Nicole Duennebier. Dark and sumptuous, The Great Season highlights a fantastical six-panel painting that associates the random beauty of nature with an elaborate 19th-century parlor game. Set against black backgrounds, Duennebier’s complex forms strongly refer to Baroque still-life paintings in which fruits and vegetables simultaneously emerge and pass into different stages of maturity. A key difference in Duennebier’s work is that, rather than render images of everyday objects, she bases them on her fascination with biology, particularly bacteria, fungi and other objects hidden from view. Referring to her use of darkness, the artist states that her inky backgrounds are “like a primordial soup, a pool of black that springs forth a decadent and sometimes horrible growth.” Each of the paintings in the show is associated with lush proliferation. In Bright Beast After Nature, for instance, a black background gives rise to a nebula of unfolding, biomorphic forms that seem to divide and overtake one another. Painted in thin, translucent layers, the work suggests a still life captured in only one of many stages it will eventually pass through. With Bright Beast Dissected View Duennebier gives an equally fantastic image of the engine behind such proliferation. Similar to vivisections seen in science textbooks, the painting shows the surface of a soft, woolly plant and the interior, biological source of its existence. In content the “engine” plays with the idea of a still life, but one made of flowers, vegetables and animal viscera. Duennebier’s centerpiece in The Great Season is a vast, six-panel painting titled, Hydnellum Myriorama. Its title refers to a type of fungus found in nature and to a Victorian card game – myriorama – in which children could arrange a series of illustrated cards to form hundreds of different landscapes. In Duennebier’s six panels are hybrid images that resemble Baroque still lifes, coral, fur, crystals and close-ups of microscopic fauna. Each of the forms emerges from nothing and stands bathed in a common light source. Despite the panels’ differing environments, Duennebier negates their importance by enabling viewers to arrange the panels into aesthetic experiences of their own choice. With Hydenellum Myriorama, the random potential of generation and decline in nature is given its parallel in art. Of her own work Duennebier states: “My interests in natural phenomenon (dermoid cysts, fungus, invasive flora/fauna) and my love of candied Old Master opulence always seem to be present in my painting… Painting with attention to detail, I’ve become accustomed to the fact that nature in itself, or anything living really, never totally allows you to have a perfectly idealized experience. Everything is always spewing, dripping, rotting a little.”