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.
Image Building: How Photography Transforms Architecture at the Parrish Art Museum features 57 photographs by artists who range from early modern architectural photographers such as Berenice Abbott, Samuel H. Gottscho, and Julius Shulman, to contemporary photographers like Iwan Baan, James Casebere, Thomas Demand, Andreas Gursky, and Hiroshi Sugimoto. In aggregate, their works—across different building types and different eras—create a fascinating dialogue between past and present.
Interestingly, the Parrish’s own 2012 Herzog & de Meuron–designed building on Long Island, which the New York Times describes as an “elongated, connected double barn,” inspired the guest curator, Dr. Therese Lichtenstein—an art history teacher at the Ross School in East Hampton, N.Y. and a Surrealist photography expert—to tackle the subject of architecture.
Lichtenstein was also intrigued by the connection between Herzog & de Meuron and the architectural photographer Thomas Ruff. In 1994 Peter Blum published a monograph, Architectures of Herzog & de Meuron: Portraits of Thomas Ruff, featuring nine color photos by Ruff of the firm’s projects. According to Lichtenstein’s essay in the Parrish exhibition catalog, the firm hired Ruff “to see what [the buildings] would look like as art” through digital manipulation. She goes on to quote Ruff, who said, “The difference between my predecessors and me is that they believed to have captured reality and I believe to have created a picture.”
Ruff’s two photos in Image Building celebrate the architecture of Mies van der Rohe through this sort of visual manipulation. D.p.b. 02, taken in 1999, features the recreated 1929 Barcelona pavilion, while w.h.s., taken in 2001, features an International Style affordable housing model Mies designed in 1927. Both images are painterly and blurry, defamiliarizing iconic Modern landmarks.
Read the full story HERE >>>> Source: Metropolis The Parrish Contrasts How Different Photographers Portray Architecture
HARTFORD AND OTHER PHOTOGRAPHS
5 APRIL – 15 MAY 2018
Janet Borden, Inc. is pleased to present JAN GROOVER: HARTFORD AND OTHER PHOTOGRAPHS, a selective survey of Groover’s work. The exhibition will run from 5 April – 15 May.
An amazing trove of 100 vintage Jan Groover photographs was recently found. This archive, documenting the architecture of Hartford, Connecticut has not been seen for forty-five years.Each print is 8×10”, dating from 1971-2. Although they are very objective, straight photographs, they also tell a story offering a glimpse into the past of the state capital with a hypnotizing suburban tranquility. Some of them seem very New Topographic, some out of Walker Evans… with a hint of Groover’s later diptych and triptych interests.
The photographs are subtle, yet striking on their own or as a group. This is a show of the exquisite intricacies of black and white photography that have become Groover’s signature. Shown with other selections of her work, these images add a new and earlier chapter, reinforcing Groover’s extraordinary legacy.
Jan Groover (1943 – 2012) was the defining still life photographer of her generation. Her credo was “Formalism is everything,” and her photographs remain a testament to her vision. Beginning with her groundbreaking triptychs, Groover delighted in the intellectual and visual conundrums her photographs presented. Over her long career, Jan Groover managed to coax out the subtleties and intricacies of black and white photography to an extreme that few others achieved.
Jan Groover was born in Plainfield, New Jersey in 1943, and made photographs from 1970 until her death. Her Kitchen Still Life photographs were first exhibited at Sonnabend Gallery. In 1987, Groover had a major solo retrospective at the Museum of Modern Art which subsequently toured the United States. Her work is included in the collections of all major American museums. Groover moved to France in 1991, where she lived with her husband, the painter Bruce Boice. Her archives reside at the Musée de l’Élysée in Lausanne.
Source: Janet Borden Inc.
New Territory: Landscape Photography Today is a survey of contemporary landscape photography from around the world. The exhibition of more than 80 photographs will gauge how artists stretch the boundaries of traditional landscape photography to reflect the environmental attitudes, perceptions, and values of our time.
The works revive historic photographic processes as well as use innovative techniques and unconventional equipment and chemistry to depict landscapes in surprising ways. Taken individually and as a whole, the photographs will show how nearly 40 artists have manipulated materials and processes for expressive purposes, blurring the distinction between “observed” and “constructed” imagery. The exhibition challenges us to see photography differently, and contemplate our complex relationship with the landscape.
Visit the Museum HERE >>>> Source: New Territory: Landscape Photography Today | Denver Art Museum
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