posts dedicated to general musings on art: theories, practices, education, exhibition and review.
posts dedicated to general musings on art: theories, practices, education, exhibition and review.
As a new, traveling retrospective honors Susan Meiselas’s work, she speaks to PDN about the evolution of her approach to her subjects, mixing personal and assignment work, and providing opportunities to the next generation.
By Sarah Stacke
A member of Magnum Photos since 1976 and the founder of the Magnum Foundation, Meiselas is known for continually questioning the uses and misuses of photography and finding ways to collaborate with and empower those she photographs. Her coverage of Central America’s conflict zones, and her documentation of human rights issues and the sex industry, have influenced countless photographers. Larry Towell, who joined Magnum in 1988, says that seeing Meiselas’s 1970s photographs from Nicaragua spurred him “to go out into the world and take pictures.” Having begun her career at a time when not many women were working in photography, Meiselas has broken through glass ceilings, paving the way for other women. She’s also consistently made space for women’s voices to be heard through her work. Kristen Lubben, Executive Director of the Magnum Foundation, says that Meiselas’s work has “shown a fascination with women who trespass boundaries of convention and acceptability.” She adds, “It is particularly timely now to look at these women—and Meiselas herself, for that matter—and learn from their struggles for autonomy, self-determination, and respect.” Here, she speaks with PDN about the evolution of her approach to photographing and working with subjects, mixing personal work and assignment work, and giving opportunities to a diverse new generation of photographers through the Magnum Foundation.
PDN: Would you say one of the primary purposes of On the Frontline is to reveal the thought process behind your work and how the ideas for different series developed over time?
Susan Meiselas: Yes, that was [editor] Mark Holborn’s idea. We also agreed that we would talk about the “frontline” as a psychological space, not just a physical, geographical space.
And I think this question also speaks to emerging photographers. Finding the place from which you work is a key thing that only you can do, it’s the deep motivation of life. It takes time and you explore it as deeply as you can, and you learn from your own process. Life demands a certain level of resilience in order to survive
with clarity and commitment. The combination of those conditions create opportunities to find the place from which you work. It comes with time.
Starting out, I didn’t know what it would mean to be a photographer. I didn’t have a set path. I didn’t have the kinds of things that young people have today like internships, mentorship programs and grants.
PDN: Not as many existed then.
SM: They didn’t, no. What did exist was the boys club and networks of power. Those are still there and are being challenged more now, which is great.
PDN: You’ve said that in some of your earliest work, “44 Irving Street” and “Carnival Strippers,” it was important for you to have the women’s voices included and for the subjects to be able to see themselves in the pictures you made. How has that concern evolved over time?
SM: “44 Irving Street” speaks to the discomfort of the power of authoring. The conflict and contradictions that come with that power have been there for me from the beginning.
“Carnival Strippers” has taken on a new life in the context of the current #metoo movement. It’s work from over 40 years ago and the fact that it feels relevant for people to rethink and look at women’s relationships to each other and the power dynamics between them and their audience—it’s exciting to me that those women’s voices will continue to speak through the “Mediations” exhibition at Jeu de Paume. It multiplies what the photograph means and to whom—the maker, the subject, the audience.
Read the full story HERE >>> Source: PDN Susan Meiselas: On Motivation, Her Legacy and the Future of Photojournalism | PDN Online
AMSTERDAM.- The globally renowned photographer and artist, Miles Aldridge, is celebrated for his chromatically daring, highly finished works, which recall the glamour of cinema, the charge of the femme fatale set in the trappings of modern life. One of the world’s most inspiring image-makers, Aldridge combines a meticulous approach and a rare flair for drama and narrative.
Reflex Gallery in Amsterdam presents a collection of his recent work in a show entitled ART HISTORY – a chance to see Aldridge’s response to the artists who have inspired him and shaped his visual idiom. The exhibition runs from 7 April until 22 May 2018.
As part of ART HISTORY, Reflex will exhibit works from Aldridge’s extraordinary recent collaborations – with the artists Gilbert & George, Maurizio Cattelan and Harland Miller. Also included in the show are some of Aldridge’s preparatory drawings as well as Polaroids – an opportunity to see the creative inspiration and planning behind the finished product.
His Gilbert & George series, featuring the two artists in and around their East London home, represents Aldridge’s first foray into the process of photogravure. It is, he insists, a resolutely anti-digital process, and one that feels fitting for the work of Gilbert & George themselves. “It is a conscious departure back to analogue,” Aldridge explains.
Read the full story HERE >>> Source: ArtDailyNews Reflex Gallery presents a collection of Miles Aldrige’s recent work
By Alex Greenberger
“One of the great things about working for 40 years and being 190 years old is you get to see history,” the photographer Tina Barney, who is 72 years old, told a rapt audience last week. She paused for a bit, then continued, “You see so much in 40 years, and yet not much has happened at all.”
Barney was referring to the size of her colorful photographs, which, back in their day, were printed at large sizes rarely seen in the art world, but it was a statement that also could’ve applied to the whole of the panel at which she was speaking: “History/Her Stories: Photographs by Women” at the AIPAD Photography Show in New York, a talk about how female photographers can grapple with—and change—history through their work. Her fellow panelists—Sofia Borges, Sam Contis, LaToya Ruby Frazier, and Liz Deschenes, as well as Museum of Modern Art photography curator Sarah Herman Meister—were more optimistic that women photographers have come a long way. All of them seemed to agree on one point: being a woman in a field dominated by men isn’t easy.
Contis, whose pictures of an all-male school in California are currently included in MoMA’s “New Photography” show, agreed that taking pictures can be a way to bring the public’s attention to rarely seen subjects. Like Frazier, she’s working in a tradition dominated mainly by men. “We know Carlton Watkins, Ansel Adams, Edward Weston,” Contis said. All of them have, like her, traveled to the American West and photographed what they saw. But, she said, regretfully, “there aren’t many women in [this] environment.” Her images of students performing the role of cowboys—putting on hats, trying to understand their masculinity—is one way of “looking backward and forward at the same time.”
Alongside Contis’s photographs at MoMA are Borges’s more conceptual ones, which deal with the nature of images. “What is reality?” Borges asked the audience, rhetorically, noting that she “never really understood the connection between meaning and depiction.” In an attempt to better understand the connection, Borges, like Contis, has looked to history. She described a visit to the caves in Chauvet, France, where millennia-old paintings of animals rush along the walls. The paintings made her cry, she said, because she knew that she and the artists who made them were both engaged in the same quest: to find out how pictures can seem like reality, if presented in a certain way.
Read the full story HERE >>> Source: ArtNews ‘We Need to Teach Women in Photography’: At AIPAD, Female Photographers Meditate on Their Roles in the Art World –
by Jonathan Jones
He has spent his life taking epic, mind-swarming photographs of gold mines, oil fields and genocide. But now Sebastião Salgado is turning his lens on the planet’s last undamaged places
Hundreds of people are swarming up ladders, scaling the cliff-like sides of a gargantuan, man-made pit. Is it a picture of hell? Some kind of spirit photograph showing life in the Aztec empire? In fact, Sebastião Salgado’s photograph captures gold-grubbers pouring up the side of an opencast mine at Serra Pelada in Brazil. One of a jaw-dropping series he took of the crazed gold rush that created this great hole in the Earth in the 1980s, the shot is bizarrely timeless and disorienting. Few photographs have such power – to make you question your assumptions about the world, to show you something unbelievable yet utterly real.
read the full story here>>>> source the guardian: Sebastião Salgado: my adventures at the ends of the Earth
By Katherine Brooks
Behold, 19 daily habits of artists that can help unlock your creativity:
1. Let go of your idea of “perfect.”
“I do have to step back, take a breather, and realize that it is just a project and not the end of the world if it’s not perfect.” -Brooklyn-based illustrator and lettering master Mary Kate McDevitt
2. Allow yourself to have fun.
“It is when I find myself playing more than trying that I find my way out of a block.” –New Hampshire-based artist and teacher Aris Moore
3. Don’t be afraid to silence your inner critic.
“The inner critic is like that old friend from school that you wish would just leave you alone, but keeps calling and leaving messages.” –UK-based collage illustrator Anthony Zinonos
Read the rest here >>>> source: Huffington Post 19 Daily Habits Of Artists That Can Help Unlock Your Creativity
‘Artists don’t retire,’ says 77-year-old at opening of London exhibition showcasing lifelong interest in perspective
“I just go on and I’m going to go on until I fall over,” said an indefatigable David Hockney as he opened a show of new work in London on Thursday. “I’ve always got something to do and I’m going to do it. Artists don’t retire … I like working, what else is there to do?”
Hockney was speaking at the first view of a new exhibition showcasing his most recent paintings and photographs made in Los Angeles.
read the full story here >>>> source: The Guardian David Hockney unveils new works on perspective created in Los Angeles
Photographer Sally Mann is fascinated by bodies. In the early 1990s, she became famous — or notorious — for her book Immediate Family, which featured photographs of her young children naked. Critics claimed Mann’s work eroticized the children, but Mann says the photos were misinterpreted.
“I was surprised by the vehemence, I guess, of the letters and the dead certainty that so many people had that they understood … my motivations and feelings and who my children were,” Mann tells Fresh Air’s Terry Gross. “People feel like they understand the children just by virtue of looking at the pictures but … those aren’t my children. Those are photographs of my children. They’re just a tiny, tiny moment slivered out of time, a 30th of a second.”
read the article and listen to the interview here >>>> Source: Interview: Sally Mann, Author Of ‘Hold Still: A Memoir With Photographs’ : NPR
LONDON.- This spring Sotheby’s will bring to the market a striking interior by Vilhelm Hammershøi, remarkable for its introspective and beguiling qualities. Interior, Strandgade 30, painted circa 1905, was acquired directly from the artist and has remained in the collection of the same family ever since. Estimated at £700,000-900,000, it will be offered for sale in an auction of 19th Century European Paintings in London on 21 May 2015.
Nina Wedell-Wedellsborg, Head of Sotheby’s Denmark, commented: ‘Hammershøi is an artist whom Danish people hold close to their hearts. But with his ascent to international status through recent high-profile exhibitions, record-breaking prices at auction, and his unique aesthetic that finds resonance among collectors of both Old Master and modern and contemporary art, he has been embraced around the world, in academic circles, among art collectors, and also by the wider public.’
Claude Piening, Head of 19th Century European Paintings, commented: ‘Hammershøi’s paintings present the viewer with a haven of tranquility in which time slows almost to a standstill, yet they tantalise with mystery and unanswered questions. His vision both harks back to the interiors of Johannes Vermeer, and anticipates the qualities that define the work of twentieth-century painters including Edward Hopper, Andrew Wyeth, and Gerhard Richter. It is perhaps this universality that so appeals to the collecting community.’
read the full story here >>>> soucre: ArtDaily News http://artdaily.com/news/78505/Sotheby-s-to-sell-one-of-Vilhelm-Hammersh-oslash-i-s-most-beguiling-interiors—Interior–Strandgade-30-#.VVNOIRcTVuo
J. M. W. Turner: Painting Set Free
June 20, 2015 – September 20, 2015
Herbst Exhibition Galleries
Joseph Mallord William Turner (1775–1851) was one of the greatest British artists of the nineteenth century. His paintings are revered for their spectacular effects of light and color, and have influenced generations of artists. His late work, created between 1835 and 1850, articulated a radical vision that was heedless of public reaction, and explored such themes as the rise and fall of civilizations, the natural and industrial worlds, and religious and cultural mythology.
read more here … Source: J. M. W. Turner: Painting Set Free | de Young