posts dedicated to general musings on art: theories, practices, education, exhibition and review.
Fund Your Work: Upcoming Deadlines for Documentary, Fine-Art Grants and Prizes
Posted by Holly Hughes on Tuesday May 1, 2018 for PDN
posts dedicated to general musings on art: theories, practices, education, exhibition and review.
By Conor Risch
This is an exciting time for photography book publishing. Digital printing has lowered the costs and other barriers to self-publishing, and new, small publishers seem to crop up every season with interesting projects. “The beauty of where we’re at right now is that there are many different options for making a book,” says Aperture Foundation Publisher Lesley A. Martin. While more books are being produced, the level of interest in photography books has also increased.
Yet publisher Dewi Lewis tempers this optimism by making a couple of important points. The first is that the increase in the number of books being produced hasn’t necessarily led to more buyers. “That increased interest [in photo books] hasn’t really converted to sales,” Lewis says. The second, related point, is that “the majority of these books are being funded by the photographers themselves.” This doesn’t necessarily mean that photo book publishers are interested in books only if a photographer is willing to subsidize the production. But it does mean that some publishers are seeking to lower their financial risk when they publish a book. “It’s a market that’s being driven in a way which is almost certainly unsustainable in the long term,” Lewis argues.
Trade publishers offer photographers a different opportunity than publishers focused primarily on photo books. They publish very few monographs or fine-art photography books, but they do publish dozens of books that utilize photography to explore subjects that may interest a wider audience. For example, fashion, food, interior design, and science and nature are some of the big categories for Abrams, says VP and Editor-in-Chief Eric Himmel. If a photographer has produced work on one of these perennially popular topics, “then the opportunities [to publish the work with Abrams] get larger.”
PDN recently spoke with five experienced editors and publishers, at both specialty photo book publishers and trade publishers, to get their take on what photographers should consider when they’re thinking about pitching a book to publishers.
by Javier Pes
Classic images by the big beasts of photography are on show—and sale—at Photo London, the fourth edition of which opens to the public today, May 17, at Somerset House. The fair offers exhibitions of works by its 2018 Master of Photography, Edward Burtynsky, and one of the founding fathers of the medium, William Henry Fox Talbot, plus classic images by the likes of Brassaï and Bill Brandt, among many others. At the same time, collectors are sure to find fresh talent as well.
Here’s our pick of seven young artists who are stretching the medium, giving its traditions a fresh twist and attracting the interest of collectors and curators. One of them, Tania Franco-Klein, has already added a new prize to her burgeoning resume, winning the Photo London Artproof Schliemann Award 2018, which was announced last night. Something of a double whammy, the young Mexican artist who studied in London gets two residencies, one in Arles funded by Joana and Henrik Schliemann and the second in Tallinn at the Artproof workshop, which comes with a €10,000 ($12,000) production budget to create new works.
The Belgian photographer Bieke Depoorter (b. 1986) was just 25 when she joined the Magnum collective. She became a full member in 2016. Her “collaborative portrait,” of Agata, a young woman she met in a Paris strip club, is part of an ongoing series. “They have just been to Athens,” says Sophie Wright, Magnum’s global cultural director.
In the past Depoorter has asked strangers if she should stay the night in their homes, including in Egypt. “It is an incredibly brave slash crazy thing to do,” Wright says. Depoorter’s work will be featured in Magnum’s space in London in the fall in a group show with two leading US Magnum members, Carolyn Drake and Susan Meiselas. Her work at the fair is priced at £3,800 ($5,122), edition of seven.
The Munich-based artist Fiona Struengmann, who is a graduate of Parsons, has been mining an archive of around 7,000 found photographs and producing her own manipulated images. She transforms the snapshots of ordinary life in Germany from the 1920s to the 1950s by honing in on telling details, drawing attention to the way a woman is seated or a hand gesture, then blanking out the background, sometimes adding tiny drops of gold paint. Each is unique and at first glance the delicate monochrome images look like drawings.
“I was in a flea market and a woman came up to me and said ‘I have something for you,’” she explains of the source material. The artist kept some untouched but the rest form the basis of her series “Just Like You, But Different.”
She tells artnet News that she has discovered another trove, this time in France, this one “about slavery and colonialism.” Once again, a collector wants her to mine his archive.
Unique works at Photo London range from £800 to £1,350 ($1,000 to $1,820).
Photo London is on May 15 through 20 at Somerset House, London.
Read the full story HERE >>>> Source: Artnet News 7 Young Artists Making a Big Impression at Photo London | artnet News
By Brad Feuerhelm
I chose to reference a modern psychological house or hotel of horrors in which to situate this interview with Roger. I did not feel that I could express the way his work infects my thoughts by regurgitating historical tract or placing uncomfortable cultural analysis on his methodology. That has been covered may times in the past and the work needs less and less validation as one becomes more and more familiar with it. There are questions, but with those already answered, it felt somehow more palatable to speak about it with Roger through symbolism. I appreciate that he took the time and effort to work with what I presented him. I wanted theater and theater I got. Sincere thank you to Roger.
BF: “Tony is the little boy that lives in my mouth”
I feel like I never really understood you or your symbols. There was some desire to place you in a context-a construct of my own reality as if filtered through the commodification of my artistic interest in death externalized by my own architecture in pithy incongruent misgivings of self-loathing and a disobedient compassion for things that make other people look away. I wanted to place you in this box with me, but I never wanted a dialogue. I wanted to retreat, like Tony into my stomach as Danny. I am older now. I have found less compassion in myself, but have justified this with an ability to recognize in others the solipsism that binds us all to the chain of being human-the one-point perspective, the orange carpet and the inevitable moldy shower curtain pinned to the skin of the woman in room 237.
Our future environments are cast from the mold of our youth. We extract and interpret and fabricate our necessities that have been previously dictated to us through our wanders through basements and attics alone and unsure, the single solitary light bulb our only friend-the belief that we have an extra three seconds to run up those creaky stairs before darkness tries to grapple with our untied shoes. It is a reversal of an excavation-it comes from Tony’s home, leaving small chapped lips, catching ever so slightly on the baby teeth we have yet to lose. “Are you lost”? “I’m just …will say anything to you”. “Tell lies”? “Anything”. How were you as Danny? A life…has beginnings…where did you find your symbols?
Please recount your genesis with photography, including your mother’s influence with Magnum. Perhaps speak to us a bit about your travels, Kertesz and South Africa. Did America make your eyes?
RB: A shadow runs through my work. The shadow spreads, grows deeper as I move on, grow older. The shadow is no longer indistinguishable from the person they call Roger. I track my shadow (life) through these images.
It is always difficult to exactly know why one ended up the way one has. Life is not a straight line, nor can we remember all the subtle influences that pushed us in one direction or another. Besides the factors of day to day life, there is something to be said about our genes that separate one living thing from another.
My mother joined Magnum in the late 1960’s and worked as an assistant to some of the most famous photographers in the world. A few years later she started one of the first photographic Galleries New York.
My mother’s passion for photography had a deep influence on me. On the walls of the house were great photographs and the photo books were everywhere. By the time I was 18 years old I had a heightened awareness of what comprised an important photograph.
One of her favorite photographers was Andre Kertesz who I often stated, taught me that photography could be an art form.
(All Rights Reserved. Text @ Brad Feuerhelm. Images @ Roger Ballen.)
Read the full interview HERE >>> Source: American Suburb X Roger Ballen: Ballenesque Interview
Elisa Wouk Almino
In my experience, it’s hard to come across an analysis of Frida Kahlo that doesn’t obsessively fixate on her biography. But a 1984 movie by the filmmaker and theorist Laura Mulvey intrigues me for its specific angle: Kahlo’s relationship with the political photographer Tina Modotti. You might have caught a very different glimpse of this in the Hollywood movie Frida, but Mulvey’s Frida Kahlo and Tina Modotti is not only more essayistic and thoughtful in tone, but offers actual footage and photographs of the two artists in Mexico City. Like all of Mulvey’s films, this one is staunchly feminist and sets out to show how both artists “provoked and defied neat categorization” about what it meant to be a woman and an artist then.
Both women were also romantically involved with Diego Rivera, and both appear in his 1929 mural at the Ministry of Education in Mexico City. But as the author of “Visual Pleasure and Narrative Cinema” — among the first essays to apply a feminist psychoanalytic reading to movies and to critique Hollywood’s subjugation of women — Mulvey makes sure to not make Rivera a focus.
When: Thursday, May 17, 6:30–8pm
Where: Seward Park Library, Community Room (192 East Broadway, Lower East Side, Manhattan)
More info at the New York Public Library.
Read the full review HERE >>>> Source: Hyperallergic The Art and Friendship of Frida Kahlo and Tina Modotti in a Laura Mulvey Documentary
By Greg Scoblete
Compared to cameras that accept Instax Mini instant film, the number of cameras that use the new Square format is still pretty tiny–but it grows by one today with the launch of Fujifilm’s new SQ6.
There’s also a new Square format film, Instax Square Black, that will feature a black border vs. the traditional white.
Unlike the SQ10, the first camera to accept the 1:1 format instant film, the SQ6 is all analogue.
The SQ6 features a tiny front-facing mirror and a selfie mode to optimize exposure for selfies (because of course). There’s a built-in flash with a slot for color filters.
If you’re feeling creative, there’s a double exposure mode for taking two images on a single piece of Instax Square film. There are three motor driven focus modes: macro mode (for focusing on objects between 1ft. -1.6ft.), normal mode (1.6ft. – 6.6ft.) and landscape mode (6.6ft. to infinity).
Read the full review HERE >>>> Source: PDN The SQ6 Is Fujifilm’s First All-Analogue Camera to Take Instax Square Film
This exhibition of William Eggleston’s color photographs developed from negatives made between 1965 and 1974, reminds me of the tagline from the 1969 film Easy Rider: “A man went looking for America, and couldn’t find it anywhere … ”
Los Alamos, a set of William Eggleston’s color photographs developed from negatives made between 1965 and 1974, reminds me of the tagline from the 1969 film Easy Rider: “A man went looking for America, and couldn’t find it anywhere … ” The Metropolitan Museum of Art’s introductory wall text notes that the exhibition’s images were taken on a series of road trips with the photographer’s friends Walter Hopps and Dennis Hopper. Even without the explicit Dennis Hopper connection, Eggleston’s images evoke a Hopperesque alienation: they pay homage to certain American ideals, like the lone cowboy or the expansiveness of the American west, and yet when touching on themes of consumerism, poverty, and racism they maintain a telling distance.
In his well-known 1976 introduction to William Eggleston’s Guide, MoMA curator John Szarkowski wrote: “Whither the South? or Whither America? … The fact is that Eggleston’s pictures do not seem concerned with large questions of this sort. They seem concerned simply with describing life.” This formalist approach to viewing Eggleston has persisted, and the photographer himself has contributed to keeping any thematically minded readings of his photographs in check. In a 1989 Aperture interview with Charles Hagen, Eggleston said:
I’ve seen many pictures that are about the southernness of the South — the sense that it’s a separate culture with its own history, its own ethos. And I’d rather not be associated with those kinds of images … for me there’s no surprise in photographs of that sort.
Eggleston is rightly hailed as a genius of color photography and pondering the beauty of his images can overwhelm any other interpretation. For example, “En Route to New Orleans” (c. 1971–74) shows a hand stirring a drink resting on a plane’s tray table. Out of the window small white clouds float in a blue sky, and light streams through the glass, creating a shadow refracted in yellow and red. This burnt-hued reflection, filled with sparkle and depth, is exquisite. The image might touch on themes of American luxury (is it Coke in the glass?), the allure of alcohol (whiskey?), or the meaning of a hand’s disembodiment, but all interpretations deflate when confronted with the perfection of the photograph’s aesthetics. The same could be said about “New Mexico” (c. 1971–74), which shows a big western sky, fluffy white clouds set against gorgeous blues.
Read the full story HERE >>>> Source: Hyperallergic Reconsidering the Political Detachment of Eggleston’s Images
Posted by Greg Scoblete on Tuesday May 1, 2018 for PDN
Facebook is a bit embattled these days (maybe you’ve heard) but that didn’t stop Mark Zuckerberg from putting on his game face and introducing a number of new features for Instagram at the company’s annual F8 developer’s conference today.
Here’s what’s new for Instagram:
Share to Instagram Stories from other apps. Several apps, including GoPro and Spotify to start, will send content directly to Instagram’s camera where you can edit and add to your story or send it via Direct. You don’t have to connect your Instagram account to other apps in order to share to Stories.
Third party camera effects. Instagram will let third party developers create camera effects that users can try for themselves. If you see an effect you like in Stories from an account you follow and want to try it yourself, just tap “Try it on” and the tool will be added to your tray.
Video chats. You’ll notice a new camera icon at the top of a Direct thread–tap it, and you’ll be brought into a video chat. You can chat one-on-one or with a small group. This is currently in the testing phase and Instagram promises a global rollout “soon.”
Topic channels in Explore. The Explore tab is being reorganized to focus on content channels.
The company is also rolling out a bullying filter intended to cut down on online harassment.The new filter hides comments “containing attacks on a person’s appearance or character, as well as threats to a person’s well-being or health,” the company said. The filter is on by default but can be disabled in the Comment Controls center in the app.
Posted by Holly Hughes on Tuesday May 1, 2018 for PDN
W. Eugene Smith Grant for Student Photographers
The W. Eugene Smith Memorial Fund, which offers an annual grant of $35,000 and a fellowship of $5,000 to professional photographers, has launched a new grant for student photographers. The $4,000 grant is designed to encourage and support students whose work renews the tradition of W. Eugene Smith’s humanistic and compassionate photography. Applications for both the professional and student grants are due May 31.
Le Prix Bayeux Calvados-Normandie
Le Prix Bayeux Calvado-Normandie honors war correspondents for their documentary work on a conflict or its impact on civilians, or on news concerning the defense of freedom and democracy. Sponsored by Fondation Carmignac, the Prize includes a 7,000 Euro cash award for winners in each category: photography, television, radio and print reporting. The work must have been done between June 1, 2017 and May 31, 2018. Applications are due June 8.
The ICRC Humanitarian Visa D’Or Award
Supported by the International Committee of the Red Cross (ICRC), this juried prize is given to a photographer who has documented urban warfare, displacement and other consequences of conflict in densely populated areas. The work must have been shot within the past two years. The prize comes with an award of 8,000 Euros, and is open to both independent photojournalists and photojournalists working for press agencies or media outlets. Applications must be submitted before June 11.
Pierre & Alexandra Boulat Award
Named for one of the founding members of VII Photo and her photojournalist father, this award promotes the creation of documentary work with a social purpose, and is open to photographers of any age, sex or nationality who plan to produce a story in a journalistic manner. It comes with a prize of 8,000 Euros. Applications are due June 15.
IWMF Howard G. Buffett Fund for Women Journalists
The International Women’s Media Foundation’s Howard G. Buffett Fund for Women Journalists supports the production of “ambitious projects and underreported, globally important stories.” It makes a total of $230,000 worth of grants a year, and has two rounds of funding. The second round is open for applications from June 19 through August 7.
A little more on this new exhibition at Tate Modern from ArtDaily:
LONDON.- A major new exhibition at Tate Modern reveals the intertwined stories of photography and abstract art. Shape of Light: 100 Years of Photography and Abstract Art is the first show of this scale to explore photography in relation to the development of abstraction, from the early experiments of the 1910s to the digital innovations of the 21st century. Featuring over 350 works by more than 100 artists, the exhibition explores the history of abstract photography side-by-side with iconic paintings and sculptures.
Shape of Light places moments of radical innovation in photography, such as Alvin Langdon Coburn’s pioneering ‘vortographs’ from 1917, within the wider context of abstract art. This relationship between media is explored through the juxtaposition of works by painters and photographers, such as cubist works by George Braque and photographs by Pierre Dubreuil, or the abstract expressionism of Jackson Pollock and Otto Steinert’s ‘luminograms’. Abstractions from the human body associated with surrealism including André Kertesz’s Distorsions, Imogen Cunningham’s Triangles and Bill Brandt’s Baie des Anges, Frances 1958, are exhibited together with a major painting by Joan Miró. Elsewhere the focus is on artists whose practice spans diverse media including photography, such as László Moholy-Nagy and Man Ray.
The exhibition also acknowledges the impact of MoMA’s landmark photography exhibition of 1960, The Sense of Abstraction. Installation photographs of this pioneering show are displayed with some of the works originally featured in the exhibition, including important works by Edward Weston, Aaron Siskind and a series by Man Ray that has not been exhibited since the MoMA show, 58 years ago.
Read the full story HERE >>> Source: ArtDailyNews http://artdaily.com/news/104304/100-years-of-photography-and-Abstract-art-explored-in-new-exhibition-at-Tate-Modern